During our visit to Las Vegas last week, Jim got us tickets to see The Phantom of the Opera at the Venetian Casino Hotel. Being a total Phantom of the Opera geek, I was ecstatic. I have seen the tour more times than I can remember well enough to count, and have enjoyed both its music and technical production since 1989.
The theatre in which Phantom is playing was designed and built specifically for this show. It is reminiscent of the Paris Opera House - the location of the story. The theatre was pretty amazing, but, of course, as all attest, the jewel of the theatre is the infamous chandelier. With modern theatrical rigging technology employed, sections of the chandelier swirl above the audience after the opening auction scene and eventually assembles itself into a single fixture high above the audience before falling later in the show at free-fall speed to just feet above the audiences heads. Even I - a theatre production person - gasped at its speed, closeness to the audience, and was given goosebumps when the theatre went completely dark just before what appears to be the chandelier slamming into the audience.
Other upgraded production effects include more pyrotechnics - bigger flames and the addition of fireworks over an exterior scene of the Paris Opera House. The traps and elevators in the floor seems to be much faster than I have ever seen during the Los Angeles run - which makes for a very effective, and surprising, curtain call at the end for the Phantom.
Seated in the front row, I was able to see all of this wonderful detail - but not all was so great. I was disappointed with the fabrics used, especially for the proscenium curtain. The detail looked to simply be printed onto the bottom hem of the curtain - a curtain that was so thin it bled upstage lighting. Also, I was disappointed with the sparseness of the Phantom's organ. If it were not for the moving bellows, you really couldn't even tell it was an organ. The Daae crypt inside the mausoleum was also very flat and unconvincing. Further, I felt that the costumes for Masquerade greatly lacked the color and interest found in the original production.
As for the talent, I was very surprised. Those that really stood out were those in the roles of Phantom, Raoul, Madame Giry,
Phantom: I had been spoiled having heard Michael Crawford many times in the role of Erik (the Phantom). While I still think I prefer his voice performance (knowing that feeling could be due to hearing it more often), I must readily admit that I felt Anthony Crivello's physical performance of Phantom is much better - in fact, the best I have seen. He completely sold me on the character, convincing of Erik's madness yet garnering heartfelt sympathy for him all the same.
Raoul: Honestly, I have never really loved this character in the show, probably because I tend to root for the underdog - and in the end the Phantom loses the girl to Raoul. But in this production, Andrew Ragone captured my attention from the very first scene we see him in his box seat. Manly rather than goopy-sweet, his performance caused me to "switch sides" and secretly root for him during the show. Both in voice and acting, he was right on.
Madame Giry: While not necessarily in the production, Madame Giry is actually quite a part of the core of the whole story of Erik. The actresses that have performed this role have never left a mark in my memory. Tina Walsh certainly broke the mould. Her build, her height, her voice, and her fascinating facial expressions mesmerized me and made me really take note of her participation in the story.
Messieurs Andre & Firmin: These two characters are often rather lost as well, though very much a part of the story. John Leslie Wolf as Andre was fantastic an elicited much laughter from the audience while Lawson Skala facial expressions were exceptional. Both vocal performances quite good.
I should also mention that I was very concerned regarding the running length - only 95 minutes versus the 2 hour 30 minute run time for the original production. I was a bit worried which numbers were being cut to make such a short production. As it turns out, every single musical number still remains in the show. In putting together the Vegas production, Andrew Lloyd Webber, Hal Prince, and members of the original creative team greatly tightened up the show - and they did it in such a successful way that I left the production not even realizing it was shorter than the original. All of the tightening resulted in a well moving show. Never once was there a lull.
In the end, I left mesmerized, "full of Phantom", and wanting to see it again. Just when I thought I had gotten my fill the last time I saw it in Los Angeles. You can visit the Las Vegas Phantom of the Opera website (here).