Review: 'The Phantom of the Opera' Tour at The Palace

Written by Christian Janis and Kathleen Dowling

Waterbury, CT - Filling in for Nancy Sasso Janis, we two had the pleasure of viewing the Friday, November 17th showing of the Andrew Lloyd Webber classic, ‘The Phantom of the Opera’, as a part of the show’s November 15th-26th run at the Palace Theater in Waterbury, the CT leg of its all-new North American tour. Critics raved that this new production overseen by Cameron Mackintosh was “bigger and better than ever” and they weren’t wrong.

Much of the production’s splendor is from taking on the same classic ‘Phantom of the Opera’ formula that brought the show much of its original fame, and updating it with new technology and flashier broadway production. We both found this to be entertaining to watch, as well as having some considerable drawbacks along with it.

First off, hands down the best element of the show was the lighting, designed by Tony and Olivier-award winner Paule Constable. The lighting was the star of the show at times, with atmospheric and dramatic shadows enhancing the overall experience from the get-go. From the eerie and atmospheric prologue, to the lovely masquerade ball, the lighting always held a spot as a centerpiece. The on-stage ‘backstage’ lighting in particular cast some lovely shadows that were larger than life and really built a stage with character. Another unforgettable highlight of the lighting was the phantom’s lair, which featured gorgeous hanging lights that were very reminiscent of antiquated incandescent light bulbs. An additional favorite was the famous ‘Phantom of the Opera’ number, where the gondola floated over a shimmering river of lights.

Traditionalist fans of the classic musical will not be disappointed with its newest North American incarnation. The beautiful sets and costuming, for example, (designed by Paul Brown and Tony-award winner Maria Björnson respectively) were absolutely breathtaking and wholeheartedly contributed to the spectacle that ‘The Phantom of the Opera’ itself has become synonymous with. Derrick Davis, as the titular ‘Phantom’ role was faithful to the musical adaption of the now-iconic story with all of the acting, vocal, and musical skill that the role requires. The role of Christine Daae the night of the 17th was portrayed by one of her understudies (either Jordan Ensign or Emma Grimsley) because the normal Christine, Eva Tavares, was instructed at the last-minute to rest her voice. We both agreed this was barely noticeable, as the role was portrayed fabulously, even on the late notice, with beautiful clear tone and lovely high notes.

Raoul, Christine’s primary love interest, was played aptly by Jordan Craig and the comedic opera diva Carlotta Giudicelli was portrayed hilariously by Trista Moldovan. The Auctioneer was portrayed by familiar face Constantine Pappas (Judas in Jesus Christ Superstar at Waterbury’s own Seven Angels Theatre last season). Monsieur Firmin and Monsieur André were played respectively by David Benoit and Edward Staudenmayer, Madame Giry was portrayed by Kristie Dale Sanders, while Ubaldo Piangi and Meg Giry were portrayed by Phumzile Sojola and Julie Eicher respectively.

The one drawback of this spectacle was the pyrotechnics, in our opinion. At its best points, fire was used in a gorgeous way, in that the candelabras and torches were lit with real flame which added a real rich touch of layered atmosphere. It was very subtle, at times like this that drew us in completely to see fire on stage like that. However, the pyrotechnics was also used in a less subtle and nuanced way for a dramatic effect. A few gunshots were used, which worked to keep energy high, as well as adding a smell of smoke throughout the theater, which for me just drew us in even further. The gunshots were loud for sure and it should be noted as a disclaimer to anyone attending that it will be loud at times.

The times that the pyrotechnics did not work for me was when there were straight up fireworks used to accentuate pieces like the chandelier and the Phantom’s apparent ‘fire powers’. I get that it draws in audience members who have the misconceived notion that all musical theater is high notes and kisses, but for me it tipped the delicate balance of the subtlety of theatre and labeled itself as a “Broadway spectacle”, therefore sacrificing the integrity of the original work. I will say that it was absolutely entertaining to watch the fire and sparks fly, but it gave up the subtle nuance of the original work and seemed to be trying too hard to be a blockbuster. I’m sure that it gives the show a wider net to draw in audiences past the “seasoned musical theater veteran”, but personally it would have been nice to see a little more restraint in this area.

There are certainly differences in this adaptation of the story when compared to other great versions, especially with the ending. To not spoil anything, we will say that the story continues into another Andrew Lloyd Webber musical, Love Never Dies, which is a direct sequel to ‘Phantom’. For all eager fans of the franchise, this musical can be seen at The Bushnell from May 29th to June 3rd. A very high recommendation on both of our parts, however, is to see the 1925 silent film adaptation of the story, directed by Rupert Julian, as it gives more perspective on what can be done with the story.

All in all, it was a fabulous performance of a long-standing classic musical. This musical certainly has made its mark on Broadway history and has been updated accordingly over the years to keep up. It has been around since 1986, and at this pace of innovation, it will surely last many more years to come.