Phantom of the Opera is Creepy... and I Still Love It

- January 06, 2019

I have had a revelation. The Phantom of the Opera is creepy, and disturbing on so many levels. That bothers me. But what bothers me more is that I still really love it. #sorrynotsorry

I love the desperate, creepy obsession the Phantom bears for Christine. I love Christine's struggle with her adoration and draw to the Phantom. I really love the haunting music that sets my soul to shivering. I love the costumes and creative sets and the golden, filigreed ornamentation of well, everything. While I hadn't connected the two until I began blogging about Beauty and her Beast (yes, I can be slow), I realized that Phantom is an over-the-top, wonderfully gothic, tragic Beauty and the Beast. And Stockholm syndrome discussions aside, I. love. it.

Quentin Oliver Lee is a terrific (and quite tall) Phantom + Emma Grimsley as Christine (in our production)

My Bestie invited me to see the latest American Phantom tour on its stop in our neck of the woods as part of the Dallas Summer Musicals series. Ironic, since it's winter and we're seeing a Dallas Summer Musical. Also disturbing.

Friday, January 4, 2019

Tara, as a side note, I really am grateful for all of the installments of
#bonnieandtarasexcellentadventures.

Back to The Phantom.

I really enjoyed the set for this Phantom production, and how the whole set shifted to reflect different scenes. There were large gothic statues to depict the top of the opera and the cemetery. Two large, gold theater boxes framed the stage, complete with plump cherubim. A pocket office in bold, red brocade wallpaper was background to Phantom's delivery of notes. One of the coolest elements -- steps emerged from the top of the set to lead down to the Phantom's underground lair. Phantom used pyrotechnics to reflect his magic / inventions. Oh, and mist. Lots and lots of mist. It was an innovative take, which set it apart from previous productions we've seen. The acting and musical intonations also seemed different. Gestures and actions were bolder. Vocals ended on strong notes. The chandelier is still a prop, just used less magnificently.

This version was recently produced by Cameron Mackintosh, which is apparently a big deal, as he's a big-time producer dude of popular musicals. I missed the over-the-top, showy romanticism of the last production, but it's been relatively unchanged since the production first released in 1986. And I guess the 80s called and asked for The Phantom back. This version is purposefully more realistic and dangerous -- less "high romance." Yup, noted that. Either way, Phantom, cheers on the level of creepiness and allure you achieved.

Ultimately, I'm happy to see any Phantom production, and Friday evening was delightful. #longlivePhantom.