Review: New PHANTOM OF THE OPERA Lush and Romantic

The air was thick with excited talk from patrons for the opening night of Phantom of the Opera. Dressed in their finest attire, they entered the ornate Orpheum Theatre gazing up to see if the famous chandelier was in place and they were not disappointed. The excitement only mounted. With a show that has grossed more than $890 million on Broadway (5.6 billion world-wide) and garnered seven Tony Awards and countless others, it's hard not to be excited. For over two decades this show has enthralled audience members young and old and has once again captured the minds of Bay Area audience members at the Orpheum Theatre in San Francisco. Playing now through October 4th this spectacular and lush musical, featuring our favorite phantom specter is one show you shan't soon forget.

The Phantom of the Opera takes place within the majesty and splendor of the Paris Opera House sometime around the turn of the century. From his dank quarters far beneath the opera house the phantom runs "his" opera house by keeping the owners and the company fearful of his every secret move. They fear that the opera house is haunted. When the story begins he terrorizes the cast and crew, forcing the lead soprano Carlotta to resign, paving the way for his protégé, Christine Daa?, to be the star. He is known to her only as the "Angel of Music" and he was sent to her by her father, now dead.

When Christine falls in love with an old flame, Raoul, the Phantom's all-consuming love for her unravels them both. This story of a musically gifted monster feared by all, and yearning for human touch and the love of the only woman who has ever treated him kindly, has captured the hearts of sold-out audiences everywhere.

Hodges & Hodges waited in our seats with bated breath for the legend and the mystery that is - The Phantom of the Opera.

Nick: The last time I saw Phantom of the Opera was over a decade ago on Broadway and I couldn't wait to see its touring incarnation with a new scenic design, updated orchestrations and changed choreography.

Linda: I know that some were worried about the changes, being such big fans of the original 1986 version, but it was beautiful. That said, I was glad to see that Maria Björnson's costumes weren't updated.

Nick: The chandelier is always one of my favorite parts of the show and this one took advantage up updated technology. Beautifully designed by Howard Eaton with over 6000 crystal beads it was spectacularly lit by lighting designer Paule Constable.

Linda: Even though you know it's coming, it still never fails to amaze.

Nick: I liked the Paul Brown innovations in scenic design. The transformation from an old rundown and decrepit building into the beautiful Paris Opera House was a magnificent.

Linda: There was no loss of romantic lushness. If anything, the contrasting of "dark and dismal" with "gold and glittering" was breathtaking.

Nick: Paul Brown not only outdid himself in the opening numbers but throughout the show he proved his skill in creating mesmerizing sets. The intricacy of his sets continued to wow and amaze me throughout the entire performance. I just couldn't believe what I was seeing with my own eyes.

Linda: The big test for Brown was going to be the loss of the grand staircase in "Masquerade" the opening number of Act II, but sounds of awe and scattered clapping from the audience put those fears to bed. It was magnificent. So, too, was the Phantom's lair deep below the opera house. A large, moving cylinder, several stories high made its way forward from the back of the stage. We saw Christine and the Phantom in a walkway near the top and then he seems about to step out into thin air when magically, steps appear and the couple make their way down them into the waiting boat. Simply stunning. You could hear people gasp, especially when the steps retracted back into the cylinder.

Nick: Lest we get caught talking about the set all night, I have to say that Katie Travis as Christine had to be one of my favorite performers. My number one pet peeve is when I go to a show and I cannot understand the words of the singer due to lack of enunciation. Katie Travis not only was understandable for every word she said, but to do so while singing such a high soprano was absolutely phenomenal to say the least.

Linda: I like the arc she created for her character - from shaky new star and mesmerized ingénue, to a woman unafraid to claim love for herself - she was flawless.

Nick: I also enjoyed her interactions with the Phantom, played by Chris Mann. The manipulation of her feelings and the alluring power he had over her was palpable. Mann practically had me drawn to him with his outstanding acting skills.

Linda: He had a singing technique that took me a while to get used to. He seemed to be slightly sharp in his pitch, but would finish a line with a lilting punch that made me question whether he really was off pitch.

Nick: I sensed that too but his performance in the last scene in the Phantom's lair was genius. His ravaged longing for Christine causing him to resort to violence and murder was clear in every muscle movement and vocal intonation.

Linda: Storm Lineberger as Raoul was wonderful as the childhood friend, turned suitor. For me, Raoul was a representation of what the Phantom might have been had destiny not delivered such a cruel and twisted fate to him.

Nick: David Benoit and Edward Staudenmayer as Monsieur Firmin Monsieur André respectively, were a delightful pair. They were the perfect duo as the new owners of the Paris Opera House. They were dramatic, fraught with intent, and just downright funny.

Linda: Yes, they brought a well-needed laugh at just the right moments.

Nick: Jacquelynne Fontaine who played soprano Carlotta Guidicelli, and Frank Viveros as comic tenor Ubaldo Piangi, were delightful. All I can say is bravissimo. Their vocal offerings we're perfect additions to this amazing cast.

Linda: They were both adept at putting comical elements into acting performances. And their operatic voices brought authenticity to the show. In previous offerings the Carlotta character is an aging singer and it's almost a service to her when the phantom tries to replace her. But Fontaine's Carlotta has an amazing voice, making the phantom seem all the more maniacal.

Nick: You could not have any of these amazing performance without the backing of a lush and powerful score. The score is one of the most important parts of Phantom because the music is in and of itself a part of the story. And this orchestration was one of the best that I have ever heard. Musical director Dale Reiling really outdid himself. It is always a delight when I go and see a show and I cannot hear one instrument out of place. The music shook me right down to my core with its beauty and raw power.

Linda: The orchestrations were wonderful. It's the first time that we've seen audience members make their way to the pit after the show and listen to the finale while gazing over the side. When the orchestra finished everyone clapped and several people voiced their appreciation for their fine work.

Nick: If you have never seen Phantom of the Opera or even if you've seen it many times, this Phantom at the Orpheum Theatre is definitely worth seeing.

The Phantom of the Opera
Book by Richard Stilgoe and Andrew Lloyd Webber
Music by Andrew Lloyd Webber
Lyrics by Charles Hart
Directed by Laurence Connor
Now through October 4th, 2015
www.shnsf.com
Photos courtesy of Joan Marcus

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