The Phantom of the Opera

Reviewed by Holly Bartges

The mystique of Andrew Lloyd Webber’s The Phantom of the Opera can’t be touched by any other musical in the history of mankind. Now it seems to have a life of its own, determined to grab life when and where it can, and when it grabs, theatres surrender. Maybe the ghost himself has something to say about this. Denver Center Attractions for the Denver Center for the Performing Arts has brought Phantom back to the Temple Buell Theatre for its fifth run. For the uninitiated, the Buell was specifically built to house this phenomenal production.

“The Journey” - Gary Mauer as The Phantom and Marie Danvers as Christine Daaé from the third national touring production of Andrew Lloyd Webber’s The Phantom of the Opera. Photo by Joan Marcus

In 1880 the fashionable music world of Paris was stunned out of its wits by the news of a mysterious Phantom by the name of Erik. A deformed and demented musician kept the Paris Opera in total panic. Operating from the depth of complicated and puzzling catacombs he did indeed kidnapped a young opera star, Christine Daaé, murdered her fiance’s brother, and managed to steal a large sum of money from the opera’s managers. Several other unexplained murders were attributed to him before an angry mob managed to kill Erik. Paris detectives were stymied over not being able to crack the case, and there is enough historical documentation to believe, out of desperation, they employed an outside source, which might well have been Sherlock Holmes.

News of his demise could not put the fear of the Phantom to rest. As late as 1980, the New York Times published an article July 26, stating, “The police here are seeking The Phantom of the Opera who killed a female violinist at the Metropolitan Opera House.” Evidently the Phantom of the Opera could not be contained in just the Paris Opera House.

The Paris Opera House, which covers nearly three-acres, was indeed built over a large lake. During construction, the lake was drained, huge pilings were driven deep into the earth, and the lake was allowed to fill. Water from the lake was used to feed the hydraulic system for stage equipment. The hydraulic system is no longer used, but the lake remains.

Unexplained mysteries breed even more unexplained mysteries, particularly when murders are involved.

The story grabbed Gaston Leroux. He wrote his story in three months, and it was published in 1911. The Phantom continued to ignite imaginations. Hollywood produced several films, and then Andrew Lloyd Webber picked up Leroux’s novel and he heard in his head “The Music of the Night.” October 9, 1986 marked the musical’s world premiere at her Majesty’s Theatre in London. Phantom opened on Broadway January 26, 1988 with advance sales of $18 million.

Seventeen years later, this multi award-winning musical extravaganza shows no signs of giving up its ghost anytime soon.

This is a very good thing.

On its fifth Denver tour, the blockbuster musical with its romantic, mysterious story, and heart-grabbing music continues to hold tight its appeal. When the curtain falls on the last note, the immediate thought is always, “How long do we wait until it returns.”

In a long line of Phantoms, Gary Mauer proves he has the wherewithal, power and strength of voice to rightfully wear the mask and cloak. Expectations run high for those who have witnessed the awesome musical several times. Will the sights, sounds, and magical qualities live up to previous experiences? This particular Really Useful Theatre Company touring production has no worries.

The complicated technical aspects producing Phantom knows no shortcuts pulling out all of the stops. It cost $10 million dollars to mount this production. The weekly cost of keeping the Phantom alive is $610,000. The chandelier is a replica of the Paris Opera House chandelier.

Marie Danver’s interpretation of the Christine Daaé with her beautiful voice fits snugly into the high expectations. She appeared in both the Los Angeles and Broadway companies.

Kim Stengel knows Carlotta Giudicelli inside and out. She knows her foibles her fears, her most private thoughts. Stengel is the longest running Carlotta worldwide, having played her 3,500 times, and that doesn’t count the Denver run. To say she is perfect is the understatement of the moment.

John Cudia knows Raoul, Vicounte de Chagny, having joined this tour direct from the Broadway Company. He was twice nominated for a National Broadway Theatre Award for climbing inside Raoul’s skin, heart and soul. He, who loves Christine beyond all measure of time, reveals his tenderness in a wheelchair at an elderly age during the auction in the beginning when he bids and wins the cymbal-clanging monkey he heard about but had never seen. There is poignancy in this moment often missed by those seeing the production for the first time.

This is Patti Davidson-Gorbea’s third National Phantom tour. With her black dress, and animated walking stick commanding attention wherever she is, Madam Giry keeps her dancers in line and rehearsing. Filled with perfection and a no nonsense approach, Giry slyly reveals a soft spot for Christine. She knows a great deal more than what she is willing to reveal, until necessity demands it. Davidson-Gorbea projects the secrets Giry holds even when her firmness demands attention.

John Whitney provides innocent humor as Ubaldo Piangi, who he has played before. He knows comic timing, and knows how to execute it, a trait Ubaldo needs when playing opposite Carlotta. He needs it in Hannibal, especially mounting the life size elephant. He needs it in a performance of Il Muto with “Poor Fool. He Makes Me laugh.” He does, and he does it well.

If for some reason beyond explanation, one has never experienced The Phantom of the Opera, this is the perfect time since it plays through December 4. With Webber’s music and Charles Hart’s lyrics, the score remains unmatched with “Angel of Music,” “Think of Me,” “Phantom of the Opera,” “All I Ask of You,” “Wishing You Were Somewhere Here Again,” and the haunting “Point of No Return.”

The magical qualities of the Phantom appearing and disappearing hides remote control boards and radios with numerous hidden unsung heroes whose names are hardly ever known, who faces go unrecognized, although Phantom’s success depends upon each and every one. The vastness of this production nearly boggles the mind with the skillions of details commanding attention night after night after night. What matters is that it all works in split second timing with its amazing orchestration. Amongst the unsung heroes is the orchestra itself with Principal Conductor Glenn Langdon. Nothing in the world of music anywhere matches the thunder of organ music when the Auctioneer (John Kuether) introduces the chandelier. Time moves from 1911 to a rehearsal of Hannibal in 1881.

The Phantom rules. It is his Opera House, and he won’t let anyone forget it for one minute. Some scoff at his existence, but Madame Giry knows something most don’t know. Mauer chills the bone with the Phantom power, secretiveness, and knowledge, and then melts the heart with his heart-breaking loneliness. Deep in his lair in the bowels of the opera house, at the height of his determined rage, with Raoul hanging by a rope, the Phantom’s compassion for Christine reveals a human quality only the Phantom appears to possess. Aside from the spectacular story, breath-taking set, dominant music, magnificent acting, herein lies part of the magical appeal of the Phantom. His love and compassion for Christine reaches beyond his tortured isolation with music still in him, and now there is no place to put it. He gives Raoul back to Christine.

The Phantom continues to live because he will not let us go.