Phantom of the Opera (2011)

My Eyes! My Ears!

The Phantom of the Opera has been housed at the Majestic Theatre since January 9, 1988. It is the longest-running show in Broadway history. It won 7 Tony Awards: Best Musical, Leading Actor, Featured Actress, Direction, Scenic Design, Costume Design, and Lighting Design. That's right: no victory for Andrew Lloyd Webber's score (the prize went to Stephen Sondheim for Into the Woods). In many respects, it is a distinct, universal theater-lover's rite of passage to see Phantom of the Opera.

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As I trekked up to the balcony, I remember finding the curtain a little off-putting. What was with all the glum drapery? (I had forgotten how the show started at the auction in the run-down theater.) I scanned for the chandelier. I was curious about the mechanics of it -- I wondered if there were tons of cables hooked up to it for the famous crash sequence. I can't remember what I saw.

I do remember seeing shadows dart around backstage. I, in all of my teenage haughtiness, was furious. Are you kidding me? This is a professional show and the cast members do not know better than to remain unseen to the audience before the show starts?! I would never make that error . . . 

I don't know whether to cringe or laugh as I reflect upon that reaction. What I then saw as laziness and unprofessionalism I now view as the thrill of live theater. I could have just rejoiced in the thrill of being reminded that theater isn't about perfection. Ultimately, it isn't about things going without a hitch. It is about the we've-got-to-do-this-thing-one-way-or-another mentality. It is about anticipation. It is about adrenaline. It is about backstage magic.

I now look back at that moment with gratitude. I think of how the pacing actors were swept up in preparing themselves. While I could hardly relate to the actors then out of condescension, I can absolutely identify with them now as I think of how flurried I feel when preparing for my work day to start.

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Part of the show's allure is the always intensifying mysterious atmosphere. Everything (the music, the lights, the sets, the script, etc.) works toward that goal. The sound team was in on it, too. During one of the scenes, the Phantom's voice was heard coming from various sections in the theater. It was thrilling, terrifying, and unusual. I had never thought about the concept of placing amplifiers in various locales to focus sound. After all, I was most familiar with seeing large amps in a small school theater and I had never thought to observe the monitors at the touring productions (what middle school student would?). The effect made me realize how creativity in the theater far extends past the interpretations/performances from the actors.

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Another spectacular part of the show is the costuming. Even from the balcony, the costumes wowed. I was enamored at how much the costumes reflected each character's personality. The costumes did not distract, but they helped visually characterize the roles. Most notably, at least to me, was Madame Giry's costume. Her black dress perfectly depicted her essence. The cane was a superb prop to add to the costume; it reminded us she was old and it assisted her in demonstrating her ability to command others. It both softened and hardened her.

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Lastly, I recall flames shooting up through the stage floor during a scene. I swear that the flames went 40 feet in the air. What most amazed me was not their height, but their brilliance. My eyes actually hurt when I saw them. I can only imagine that I would have had permanent eye damage had I been seated any closer. This moment stood out to me because it made me acknowledge that with more funding, more effects can happen. I knew that I could not see that effect at any high school in my area. Certain effects can only be seen from major productions, and that can be part of the enticement of going to the theater. Yes, movies can engage your senses in new ways, but I'll argue that the stage offers that more frequently and in more ways. I am not the biggest fan of going to see a show for its glitz and glamour, but Phantom reminds me that there is no shame in indulging, if not harming, your senses.

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The next show I would see gave me my first true experience in theater-in-the-round. Although unmet with critical acclaim, the 2011 revival of Godspell would deepen my appreciation for the agency of theater.