January 26th, 2013 25th Anniversary Gala (and a bit on Thursday's performance and the weekend in general)

So, Saturday--best performance of Phantom I've ever seen? Probably not--still gotta give the edge to the near-flawless trio of Mauer/Southard/Cudia. But the energy from the cast and audience was through the roof, and this was probably the most excited I'd been to see the show since I was fourteen years old--all the more so because I almost didn't make it (thanks to my Phamily for getting me hooked up with seats--you guys are the best!). And what a weekend! Highlights including but not limited to: the brunch at Ellen's Stardust Diner, where we got the waitstaff to exhaust their entire PotO repertoire (great title song, Arianna and Jon-Jon!), discussion on whether or not certain business with the apple constituted as "motorboating," Kim Stengel stopping by after-show drinks at the pub (I was afraid to approach her, lest I embarrassed myself with excessive OMGBESTCARLOTTAEVER! gushing), Dani's peculiar obsession with booze, visiting the 9/11 Memorial, and just being with a bunch of seriously awesome phans. I'm still trying to process it all, but writing down my thoughts helps with that, so here I go.

Pre-Show: Sat next to the mother of one of the ensemble members, who got a text at about 6:25 saying the show was going to start late. About 10-15 minutes past start time they run the pre-show video, which is mostly clips of interviews and news footage from Phantom's history. Seeing Nancy Reagan and Princess Diana making their way to their seats really hammers home what a long time twenty-five years is, and what an unprecedented event this is. Huge cheers for Mackintosh, Prince, Bjornson, and Crawford. Another long pause while the stage is pre-set for the auction (the video screen preventing the draperies etc. from being in their proper places) and we're off to the races.

Auction: Why do people always laugh at the Meyerbeer skulls? Every time I see this show, someone giggles when those skulls are brought up, and I don't get it. (My brother, waaaay back when we first saw this show, opined that the three skulls symbolized three people who would die during the story. If you take the view that the Phantom's disappearance is symbolic of his death--as I tend to do--that kind of makes sense.) Kyle Barisich does a huge pause and turn-out on "dead," which rings false to me. If I wanted obvious fourth-wall breaking, Kyle, I'd be back at Edwin Drood.

Overture: Much applause for the chandelier, which is gorgeous. Music is gorgeous. Goose-pimples ensue.

Hannibal: I love the way Michelle McConnell plays Carlotta's "stage presence"--it's very artificial and stagey, but in a way that's very captivating; you can see why this woman is such a big star. Kenneth Kantor is one of the best Lefevre's I've seen, trying to be amiable in the presence of his business colleagues but just so obviously put out not only with the Opera Ghost, but everything else he's been dealing with (nice little twitch on mentioning Carlotta's five-season tenure--"Oh God, have I been dealing with this woman THAT long?"). Jim Weitzer--hello new favorite Andre! He's just so delightfully smarmy. Love the way Ellen Harvey reacts to his hand kiss--"Seriously, are you for real?" Much applause for Sierra's entrance.

Think of Me: Boggess is overall improved on RAH, but I don't quite get the charm and passion for music from her that I like to see in this song. But she sings it beautifully, so overall it's a decent first impression.

Angel of Music: Ellen Harvey isn't the best Mme. Giry I've seen--then again, I've seen Leila Martin--but she's pretty darn good. Her narrow face and full lips are a great look for the character, and I love her cool, haughty turn of phrase in these first scenes. Kara Klein is serviceable as Meg. Boggess is playing Christine's fear of what's happening to her a bit earlier and more pronounced, which is a major improvement.

Little Lotte: Let's be fair to Kyle Barisich--like everyone else, he was bringing his A-game to the gala. Unfortunately, this still amounts to a B-or-C-level Raoul. He's just too stiff in the part, and while I like a lot of his choices for the character (there were some nice bits reminiscing with Christine) they don't always come across naturally, especially with his very deliberate method of singing. Raoul needs a passion and energy to match the Phantom's if he's not going to pale by comparison, and Barisich unfortunately doesn't bring that.

The Mirror: I'm really warming up to Hugh Panaro's Phantom, but this isn't his best song--he does this weird upward inflection on "fool" that just sounds silly. Decent "I am your Angel of Music" lines, though.

Title Song: Yes, the doubles are definitely the unsung heroes of this scene. It's the first time we see these two characters together, and they need to set up the tension and attraction/repulsion dynamic that carries through into the next scene. Tonight's teams do very well--I love the Phantom's hand gesture on "my power over you..." No applause for the lake, surprisingly. Maybe everyone was just too wrapped up in the moment.

MotN: Yay, Boggess actually acts scared for a few beats! Panaro's Phantom reminds me of a Bond villain: urbane, cynical, detached, and filled with contempt for anybody he considers his inferior (which is just about everybody). This gives MotN more of an air of calculated seduction than an honest outpouring of passion and desire. Different approaches, both good in their ways. It also makes for a very good contrast at the very end, when Christine is entirely vulnerable and the Phantom can't bring himself to take advantage of it, establishing the conflict between his innate desire to possess and control and the more selfless love that will eventually lead to his redemption. Much applause following the gorgeous conclusion--still the best resolution for a song I've ever heard.

I Remember/STYDI: Hugh does one of the better crawls out there--pathetic and desperate without feeling over-the-top or ridiculous. And I love the way he puts the mask back on--you can just see the confidence and power flowing back into him. Boggess spends a lot of this scene curled up in a fetal position--again, good to see her playing more of the dark side of this relationship.

Magical Lasso: It was there. More good work from the doubles, though.

Notes/Prima Donna: Not only is Weitzer my new favorite Andre, I think he and Tim Jerome may be the best manager pairing I've ever seen. The way Firmin and Andre play off each other and deal with the various levels of madness cropping up around them makes or breaks this scene for me. Jerome's cynical amusement and Weitzer's attempts to be charming are great contrasts to each other, and they have great comic timing together (love the sideways glance and slide away from Raoul before "Far too many notes...") Poor Kyle just doesn't know what to do with himself in this scene. McConnell is made of awesome divaness.

Il Muto: Sierra is obviously enjoying getting to rock the Serafimo booty shake (great reaction on "I'd gladly take the maid with me!" too). I miss the long low note, though--that was always one of the best laughs in the show. Weitzer makes up for it with a hilarious "ballet from act--*pause with frozen smile as he realizes he doesn't know where to go from here*--three!" speech. Not much of a fan of Hugh's laugh--too giggly for my taste; I lean more towards the classic bwa-ha-ha style--but I love how he "conducts" Carlotta's croaking. Would have liked more reacting to the shadows, but the dance is lovely, with solo work from the oddly named Kfir.

Rooftop/AIAOY: I think this is Sierra's best scene, and where she really taps into Christine's mix of attraction and revulsion towards the Phantom--so why does she always have to play it against inferior Raouls? Kyle again has some good choices (lovely pause downstage during the pre-AIAOY interlude, like he's just realized how much he loves this woman) but is altogether too rigid vocally and acting-wise, which dampens the warmth I really like to see in this scene. He sings "let me lead you through this solitude," which I found to be a nice variation, like he still doesn't fully get what Christine's going through but knows he will do anything to help her through it.

Reprise: While the grief-to-rage transition didn't go as far as I'd liked, Panaro sings this beautifully, and I love the way he leans way out over the angel on the last note (without knocking his hat off, as happened on Thursday).

More to come...

~LCD

Great Part 1 review of the gala performance! Thanks for sharing with us, LadyCDaae! I agree with pretty much everything you said. Looking forward to reading Part 2...

And it was nice to meet you in person this weekend too, though I wish my time spent with the group wasn't so brief, as I would've liked the opportunity to talk to you (and everyone else) more.

Posted through the end of Act 1. Act 2 to follow...

~LCD

And on to Act 2!

Entr'acte: During this time I was able to get a good look at conductor David Caddick, who has a marvelous directing style--very flowing and energetic.

Masquerade/Why So Silent: As good as I've seen it, if not better. Gorgeous, spooky, spectacular, and simply amazing. Panaro really works the contempt and superior attitude in this scene.

Giry's Story: Harvey's Giry really doesn't want to be telling Raoul this--she's very rushed and abrupt, getting out the information as fast as possible before something terrible happens to both of them. Nicely done.

Notes/Twisted Every Way: This probably Kyle's best scene--he's very protective of Christine and has some good business pacing upstage during the note, clearly trying to figure out how to fix this mess they're in. Amazing dynamic on the counterpoint section--I love it when the passions and danger just keep building in this show all the way to the final conclusion. For some reason I didn't get as many of the changes in "Twisted" from Sierra that I normally see--that could be a combination of the distance from the stage and my bad eyes, though.

DJT Rehearsal: Sounded like Christian Sebek was singing this part even flatter than normal, to emphasize the difference between what Piangi's doing and what the score actually is. Overall well done, though I like the "can you be certain of that" reaction to have a bit more tension and less humor.

WYWSHA: Like ToM, not the best I've seen but beautifully sung and well performed overall. Huge applause at the conclusion.

Wandering Child/Bravo, Monsieur: Hugh's Phantom clearly enjoys taking the piss out of Raoul, both here and in Final Lair--wonderfully and wickedly mocking. And I'm sorry to keep harping on Kyle (who by all the accounts I heard this weekend is a very sweet guy, and was much better in the tour), but I really need a Raoul who delivers on this scene--it's the first time he and the Phantom confront each other directly and it works best when the power is not entirely one-sided. I can feel the flame spurts all the way in the mezzanine.

PonR: Sierra is a very saucy Aminta, clearly all too willing to be seduced--which makes me wonder if the Phantom is indirectly accusing Christine of leading him on. Smoking hot back scratch. She also does a variation on the discovery that it took me a couple viewings of RAH to get, but which actually works very well--instead of reaching under the cowl and feeling the mask with her hands, she leans up against his face and brushes against it with her cheek. Excellent proposal from Hugh, with him dropping the attitude and approaching Christine with more honesty than he's done all night. For some reason I find the way Klein keeps her hand up amusing.

Final Lair: Hugh really works the veil in this scene, offering it to Christine all the time, adjusting it, and finally reaching out to it in despair before he lets Raoul go. His coldness and cruelty play well of Sierra's desperate passion, and the moment where she blocks Raoul from him is very fierce--they nearly collided with each other on Thursday! Kyle, again, doesn't really know what to do with himself (to be fair, Raoul gets the short end of the blocking stick on this scene). I love the way Hugh plays the moment before he releases Raoul--like he's finally accepted Christine will never be able to forget the monstrous side of him. And he sobs "My angel," as the lovers sail off into the distance, which is a nice touch.

And now I'm going to crawl into bed and rest my sick self, but more on the after-show later!

~LCD

GREAT review, LadyCDaae. I enjoyed reading it and the small details you pinpointed throughout. Also gave a good sense of what the cast did on stage and the reaction in the audience, and how these might or might not be connected.

Great Part 2 of your review, LadyCDaae -- thanks for sharing your views with us! And again, I found myself agreeing with most everything you mentioned.

Fantastic review. I've never been able to remember scene-by-scene details when I see shows, particularly not from a distance.

I'm glad you appreciated Tim Jerome. He doesn't get near the love he deserves. I saw him in '05 a few months before the record-breaking performance, and he was by far the best Firmin I'd seen live or otherwise, and remains so. I'd love to see Schweitzer with him. I like his Raoul.

Did Carlotta say "for the past 25 years these things do happen"? I like when they change that time stamp up, even when it doesn't make sense, just as a nod to the audience.

Sorry, no changes in that particular section.

I'm glad you appreciated Tim Jerome. He doesn't get near the love he deserves.

I should add that among other things, Jerome has this great little sarcastic laugh after "Your public needs you..." an an excellent delivery on "When the role of the Countess..." I love it when Firmin shows how much it grinds his gears to be giving in to this crazy bastard.

And now the rest!

Curtain Call Etc.: Huge standing ovation, naturally. Greg Mills is rocking the Masquerade pirate outfit upstage center, and is very distracting. Cameron Mackintosh and Hal Prince come onstage; CamMac gushes over Hal and his legendary career, and who can blame him? ALW has a short video congratulations. Notes are read from the absent Gillian Lynne and Michael Crawford. Lovely reminiscing about Maria Bjornson (though sadly, not much mention of Steve Barton)--apparently she designed the Masquerade costumes in one week. Awesome talent, gone too soon. Hal acknowledges the stage crew--making special note of the 39(!) members who have been there since day one--the house staff, the original cast, and all the replacements. We're told that PotO is Broadway's single greatest generator of income and jobs ever--in this economy, another thing to celebrate. ALW and Sarah Brightman have a video interview (their first together since PotO opened), and manage to get through it without looking completely uncomfortable. Then Sarah herself comes on, and says a few kind words.

So if you haven't seen the video of what happened after that, go check it out, cause it's really neat. Ramin's fangirls squeal so much at his appearance that I start to wonder if they ever actually listen to him sing, and decide this might explain a lot about his appeal. I still don't know how anyone can look at him with JOJ in the room. I'm still not feeling Peter Joback vocally, but in his defense he's got some nice gestures going on--I love a Phantom who can really work the hands (Brad Little sigh...). I also really like the one-upping going on in the "Sing for me" lines. MotN is lovely, despite ALW's face beaming down like the awkwardly smiling god he probably wants everybody to think he is. I don't envy the person who has the job of cleaning up the chandelier.

****

So that happened. And it was unbelievably awesome. But the best part of the trip was getting to spend it in the company of so many awesome phans (special thanks to Romil and Kenny, who were both instrumental in getting me hooked up with tickets at the next-to-last minute and who deserve all the hugs and cookies forever as a result). I'm not very good in social situations (which explains part of the appeal of this whole story to me), so if I did anything to offend you or weird you out this weekend, I apologize. There are not enough words to describe how wonderful and amazing you all are and how much you mean to me. Hopefully we'll have the chance to do this again sometime.

~LCD

LadyC I know how you feel in regards to social situations. I worry a lot about offending people too even if I didn't mean to, it makes me wish people would tell me if they were offended for some reason so we could talk the situation out but not many people actually do that.

Whoops, I said "Schweitzer" when I meant "Weitzer." Had the ex-Montana gov and future president or VP on the brain apparently.

I continue to say it's a shame they keep "honoring" the history of the show with mostly recent Phantoms and, in this case, ones who have nothing to do with the Broadway production--except Hugh obviously, who, though not my favorite Phantom by any means, at least has a more than 20-year history with the production. I liked what they did at the record-breaking performance, when they brought out all the former Phantoms in their masks.

Yeah, I was a little miffed that they couldn't find at least one other Broadway Phantom (what, Howard McGillin not returning your calls?)--though Joback will soon meet that criteria, for good or for ill.

~LCD

Definitely agree with you senor. It would also be cool to see a few Christines come out to sing in addition to a few phantoms.

Haven't heard great things about Joback, makes me nervous about going to see him perform.

I'm sure Gary Mauer and John Cudia were around as well, and probably Cris Groenendaal (or was he there anyway?) and Davis Gaines and Thomas James O'Leary and Timothy Nolen and Mark Jacoby. Marcus Lovett is across the pond, and Brad Little is in South Korea, so they're excused.

Davis Gaines was in the audience! He was right there! I know for a fact because someone I know kind of chased him down after the show lol

What a shame. He's also right here

<--------

He's everywhere! He's Davis Gaines of the Opera! (don't know if my very bad joke is even mildly funny)

SenorSwanky wrote:I continue to say it's a shame they keep "honoring" the history of the show with mostly recent Phantoms and, in this case, ones who have nothing to do with the Broadway production--except Hugh obviously, who, though not my favorite Phantom by any means, at least has a more than 20-year history with the production. I liked what they did at the record-breaking performance, when they brought out all the former Phantoms in their masks.

You know, Senor, I kinda felt the same way. Even though it was thrilling to see JOJ, Ramin & Peter on that stage singing with Hugh, after the fact I couldn't help but think it would've been even more awesome to see other former *Broadway* Phantoms on that stage alongside Hugh. And yes, maybe some former Christines too.

It was definitely awesome to see JOJ

SenorSwanky wrote:I'm sure Gary Mauer and John Cudia were around as well, and probably Cris Groenendaal (or was he there anyway?) and Davis Gaines and Thomas James O'Leary and Timothy Nolen and Mark Jacoby. Marcus Lovett is across the pond, and Brad Little is in South Korea, so they're excused.

Mauer was in Hong Kong doing a concert but Beth was there with their kids; Davis Gaines was there with his partner I believe, several of us talked with him after the show and he was very kind to pose for pictures.

Yet no participation in the celebration despite being the third or fourth Raoul and the Phantom for almost three years.

If you're talking about Mauer, he was doing a concert he already had booked months previous.

Great review! I agree with mostly everything you pointed out; Im glad I saw Sam earlier in the week as Sierra left a little to be desired with me personally, and I was actually I fan of her RAH performance going in. Hugh I liked more than I thought, but still had some issues with some things. I agree about the mirror scene being rather weak, and the way he says fool...like "fewwwwwl" is rather distracting, and not in a good way. Sierra is still doing the weird thing with her a's that sounds off to me. I also wanted more from Hugh in the AIAoY reprise, I just didnt see the agony I was hoping to see, as when I saw Greg earlier in the week in the role. I will say the supporting cast is one of the strongest I've seen, the managers, Carlotta, and Giry are all fantastic and well layered. Kyle...I just dont get it. He's so nice and charming to meet, but his Raoul is so stiff and cold. No idea.

Im very excited for Joback to take the role, talking with him before the performance I learned how near and dear this role is to him, the man is trying harder than most even realize, to make this role work and to do it justice. I kept hearing that night how people dont like they're bringing in a 'younger' Phantom..Joback is 42 people. Does he sound younger? Yes. But from what I hear from those who saw him at HMT he gives one hell of a FL. Again, Im really looking forward to seeing him in the role.

I was clearly talking about Gaines.

Mackintosh wanted Colm in the post-show finale, but he had to turn it down. I know Joback and Hugh were for sure (current Broadway and soon to be Broadway Phantoms) so either JoJ or Ramin was a filler for Colm. Anyways it was still wonderful to see, and sitting among the alum and hearing them sing around me was another real treat.

I actually spotted Joback getting his photo-shoot done earlier that day, he was in full Phantom suit, no mask, outside the Majestic, they had cleared the street for a few moments and got some shots, so I had a feeling of what the post-show finale would entail and when I saw that I already knew who our new Phantom would be haunting the Majestic. Needless to say much of the finale was spoiled for me before I saw it, but alas.