New-look ‘Phantom’ packs a few surprises
Die-hard fans will find plenty to savor in the production at the Orpheum in S.F.
Nobody haunts theaters like the Phantom of the Opera. That’s pretty much his whole deal, embedding himself in a theater and making it his own.
That’s equally as true with the musical that bears his name. With music by Andrew Lloyd Webber, book by Richard Stilgoe and Lloyd Webber and lyrics by Charles Hart, “The Phantom of the Opera” is the longest-running musical in Broadway history, hitting 30 years this January, and in London it’s been running continuously since its premiere in 1986. It also became the longest-running Broadway musical in San Francisco history with a considerably more modest but still impressive five-year run at the Curran in the 1990s.
Now SHN has brought “Phantom” back to the Bay as part of a one-two-three punch of Cameron Mackintosh-produced Broadway blockbusters at the SHN Orpheum Theatre, preceded by “Les Misérables” this summer and followed by “Miss Saigon” in October.
This isn’t the same “Phantom” that’s come through town before, however, but a substantially reimagined production that originated on a U.K. tour in 2012 to celebrate the musical’s 25th anniversary. Directed by Laurence Connor, who’s also the co-director of the “Les Misérables” that just left the Orpheum, the show has a lot of the familiar iconography — the half-mask, the perilous chandelier — but very different sets, special effects and staging than returning audiences may remember.
Based on Gaston Leroux’s 1910 suspense novel of the same name (in French), “Phantom” tells the tale of a deformed, obsessive music fan living deep beneath the Paris Opera House and causing fatal “accidents” when thwarted, and the
pretty young opera singer unfortunate enough to become his pet project.
The most impressive aspect of the new production is the rotating cylindrical set by Paul Brown, which unfolds to reveal a dazzling array of locations. Other visuals are somewhat less impressive, such as the looming shadows of Nina Dunn’s projections and the pyrotechnics.
The makeshift pipe organ in the Phantom’s lair just looks like somebody’s cluttered desk.
The musical highlights of Lloyd Webber’s melodramatic score and of Connor’s staging are largely pastiches of traditional opera, which — far from coming across as empty frippery in need of the Phantom’s alleged musical genius — are sprightly and entertaining, while his own compositions are dour and discordant. Trista Moldovan is a delightful standout as haughty opera diva Carlotta, making the Phantom’s insistence that she be sidelined and silenced seem like further evidence that this “Angel of Music” has no idea what he’s talking about.
Aside from his deformity and isolation, there’s nothing sympathetic
about this Phantom. Quentin Oliver Lee has a pleasing voice as the title character, but he’s otherwise underwhelming in the role. His attempts to be imposing just feel like empty posturing, even though the Phantom does indeed murder people.
As the object of his obsession, Eva Tavares is a radiant and exuberant Christine with a lovely voice, seeming far too good not just for the Phantom but also for Jordan Craig’s cocky and entitled Raoul, her designated love interest.
It’s a generally strong cast all around, including Rob Lindley and David Benoit as the comically heedless new owners of the opera, Kristie Dale Sanders as the Phantom’s forbiddingly stern go-between
and Phumzile Sojola as the pompous tenor. Maria Björnson’s elaborate costumes for the operas within the musical are a treat.
The orchestra under the direction of Jamie Johns deftly handles Lloyd Webber’s bombastic score, from the oddly disco-tinged title song to the pleasant romantic duet “All I Ask of You.”
Despite occasional stumbling blocks that highlight rather than conceal repetitive passages, this new look at a widely beloved blockbuster offers plenty of gloomy razzle-dazzle that should please the fandom of the opera.