The rare magnificence of The Phantom of the Opera and its matchless opulence

Two decades ago, I saw “The Phantom of the Opera” in London in its original version as produced by Cameron Mackintosh. However, I arrived so late that I only saw The Phantom flying over the heads of the viewers, then declaring his love for Christine in a labyrinthine lobby of the Paris Opera House.

Based on the novel ‘Le Fantome de l’Opera’ by Gaston Leroux, with music by Andrew Lloyd Weber, lyrics by Charles Hart and direction by Harold Prince, “The Phantom of the Opera” is currently being shown at the Cultural Center after having gone through several revisions and adaptations.

Nothing I’ve seen on Broadway or London’s West End matches the rare magnificence and opulence of the touring company’s production which will run in Manila for several weeks.

The fabulous period costumes worn in a royal court, the gigantic sets, including elevated opera boxes, ornately sculptured props, e.g., a towering, golden elephant, a gliding canoe, the voluminous drapes, the wide stairs occupying the entire stage and ascending way up to the top — all of which, as part of the overwhelming production design by Maria Bjorson — appear and disappear on the instant as though by magic.

The audience is further stunned by Andrew Bridge’s lighting effects: bursts of flame, flickering candles, flashes of light alternating with total darkness which deepen the foreboding of evil.

The Phantom, described as a “disfigured man skulking through the labyrinths of the Paris Opera House” is not as grotesque as expected, but he is forbidding, with half of his face covered by a mask — now the symbol of the opera in advertisements.

Jonathan Roxmouth, whose voice is soaring, resonant, expressive, is a magnetic presence as The Phantom. The air of gloom and doom he creates pervades, with the cast onstage and the viewers offstage forever wondering: when, where and how will The Phantom appear next? — He is hopelessly in love with the actress-singer Christine, poignantly portrayed by the beautiful, refined, crystalline-voiced Claire Lyon. Christine is engaged to the high-born Raoul, played by Anthony Downing who persuasively arouses audience sympathy. The Phantom’s courtship of Christine is in stark contrast with Raoul’s own, the former being strangely fierce and abrasive; the latter, gentle and tender. Incidentally, The Phantom does not startle the audience by flying through the air as he did in the London theater; instead, he appears, towards the end, above an elaborate carving, speaking in ominous, threatening tones.

The cast is excellent; the soloists act and sing exuberantly. Authenticity is initially injected by an auction in the opening scene at the Opera House after which the story begins with discussions and preparations for forthcoming operas with the Phantom intruding yet unseen. One session is interrupted by an accident which nearly kills lead singer Carlotta, and this is viewed as The Phantom’s doing. Carlotta (Andrea Creighton) backs out, and Meg Giry (Cat Lane), daughter of Mme. Giry (Rebecca Spencer) suggests that Christine take her place. Both mother and daughter, as well as the rest of the ensemble, perform with marked distinctions.

Consistent with the period costumes, the period dances choreographed by Gilliane Lynn veer away from today’s bravura technique, delineating the delicate, refined classicism of the 19th century as exemplified by Taglioni, Pavlova, et al.

The orchestra admirably led by Stan Tucker has 14 Filipino instrumentalists who are proudly the show’s local contingent. Another local touch is given by one opera manager who tells his companions he will be in Boracay should they need him. (The line drew hearty laughter.)

“The Phantom of the Opera” involves such a huge cast and an equally huge production staff that management must be an incredibly challenging feat. The enormous budget required is something Filipino producers can only dream of. See the horror musical which will “horrify” you in a most ecstatic manner. The Masquerade Ball alone, with a hundred cast members in glittering, fanciful costumes, singing as a thunderous choir (while poised on the aforementioned sprawling staircase) makes for a riveting — indeed, arresting — audio-visual experience.

Please send invitations, press releases, printed-out photos to my home address, and not to The STAR. — RLO