Theater Review
'Phantom' offers drama, suspense
Campus Times
November 13, 1998
Several hundred "phans" of Andrew Lord Webber's "The
Phantom of the Opera" have crowded the seats of the Pantages Theatre
in Los Angeles during the last 11 weeks to witness the fifth-longest running
musical in history.
These people have arrived with the excitement of seeing the Phantom,
who has been played by Davis Gaines since 1991, and the drama of his enduring
love for Christine Daaé, portrayed by Marie Danvers.
"I've been wanting to see it for a long time," said La Puente
resident Socorro Vazquez, 45, who saw the production for the first time
this Tuesday with her husband, Robert. "When I heard it was playing,
I said a quick 'yes.'"
Through "The Phantom of the Opera," Webber (also known for
his work in "Cats" and "Evita") sets the scene at an
opera house in which cast members are preparing for the play "Hannibal."
During rehearsals, retiring house manager Monsieur Lafévre, played
by Robert Hildreth, introduces new managers Monsieurs Firmin and André
(Chip Huddleston and Ian Jon Bourg) and shows them around the stage.
When "Hannibal" prima donna Carlotta Guidicelli (played by
Patricia Hurd) sings her part, a backdrop falls just short of where she
stands, nearly killing her.
Frightened by this incident and by the thought that it is the work of
the Phantom, Hurd refuses to sing, leaving the production without a lead
actress. It is at this point where Daaé steps in to demonstrate her
own singing abilities, which she has perfected since secretly receiving
lessons with the Phantom, her "Angel of Music."
Following her performance as Carlotta, Daaé returns to her dressing
room, where she is visited by Raoul, Vicomente de Chagny (Richard Todd Adams),
a nobleman of the opera and longtime friend of Daaé. While Raoul
is out of the room, the Phantom appears to Daaé, and she leaves with
this half-masked man to his labyrinth below the opera house. There, "The
Angel of Music" continues his lessons with Daaé.
Moments later, Daaé tears off the mask from the Phantom, only
to be frightened by the deformed and scarred right side of his face. Himself
frightened by this revealing, the Phantom takes the actress back to her
dressing room.
All seems to return to normal as Daaé begins to practice her
secondary role for the new opera "II Muto." Yet ballet mistress
Madame Giry (Leila Martin), Raoul and Carlotta each receive notes from "your
obedient servant," the Phantom, demanding that Daaé be given
the lead role in the play. He threatens that, if his requests are not met
accordingly, disaster will strike during the performance.
Opera managers refuse to comply to the Phantom's requests, and, at the
performance of "II Muto," chaos begins as the Phantom holds true
to his threats. During this confusion, Daaé and Raoul escape to the
rooftop together, where they confess their love for each other. Eventually,
they are engaged, and agree to keep the engagement secret. In the meantime,
the issue of the Phantom is no longer of concern as he has not been seen
in six months.
However, during a masquerade ball in the Opera House, the Phantom appears
again, hurt by the notion that he feels Daaé has betrayed his affection
and love for her.
At this point in the story, Raoul has become cross with the threat of
the Phantom and concocts a plan to trap this "Angel" by using
Daaé as bait. He prepares armed guards and police for the attack,
but is unsuccessful in his attempts because the Phantom is always ahead
of his plans.
Instead, the Phantom only becomes more enraged by this scheme and confronts
Daaé on his own. Tensions rise and conflicts grow worse between the
two men in Daaé's life, and, in the end, the Phantom takes hold of
Daaé once again, kidnapping her to his labyrinth.
The Phantom professes to Daaé his affection for her, and says
that the only thing which keeps them apart is his physical appearance. "This
face, this infection which poisons our love," he claims, is the primary
factor for which Daaé cannot love him the same in return.
It is then that the peak of the story occurs, as Raoul pursues the Phantom
and Daaé with the sole intent of destroying the Phantom and regaining
his fianceé in his arms forever.
The ultimate choice is Daaé's however, and she must choose between
the "Angel," whom she cares for and who has given her the strength
to become a successful actress, or Raoul, the love of her life.
The story ends as she makes the final decision as to whom she wants
to betray.
According to a playbill, Weber described "The Phantom of the Opera"
as "the musical that is closest to my personal baby."
Through glamorous and detailed costumes, nearly flawless makeup, bold
tones and music and spectacular lighting, "The Phantom of the Opera"
can be enjoyed by all audiences alike. Younger audiences particularly enjoy
its grand displays and adults find that they are attracted to its love story,
which can relate to all people in some manner or another.
In some cases, the story's actions stir emotions and bring about sporadic
tears, as happened to Vazquez.
"It was excellent," she said. "It has everything. It
makes you cry, it makes you laugh, it makes you sad."
Vazquez admitted that she has become a fan of "The Phantom,"
and that if she had the opportunity, she would "definitely see it again
because there's a lot of things you missed the first time."
"The Phantom of the Opera" will conclude its tour in Los Angeles
on Sunday. To purchase tickets, or for more information about the opera's
schedule, contact the Ticket Master office at (213) 365-3555.
