Broadway 8/2/14 Matinee (Lewis/Patterson/Hays)

Well, now that's more like it!  A lot of the same on character interpretation (so there will be more skimming over in this review) but overall the energy was better and that makes all the difference.

Prologue/Overture: Not much new to report, but it's the overture.  Yay.

Hannibal: Heather Hill is on for Carlotta, who I enjoyed more overall than Abeles.  Her interpretation might best be described as a less overblown, more nuanced, and generally better version of Minnie Driver.  She had similar petulant airs, but rounds them out with greater poise and an air of coy charm.  This is a diva who knows how to put on a nice face for her public, even if she can't sustain it under stress.  I do like seeing actresses who give Carlotta something beyond voice and temper--it actually sets her up as a more interesting rival to Christine (kind of like how a good Raoul improves the overall love triangle dynamic).

Think of Me: Sorry, Sierra fans...but I preferred Mary Michael Patterson's performance this weekend.  The transition into her upper register isn't quite as fluid (and she did fluff one note, the "soar" on the rooftop scene), but her voice has a nice, clear beauty.  More importantly, though, her acting was a lot better--I loved the way her face lights up when she really starts to sing out and feel joy in her performance.  So, in brief, Sierra is the more powerhouse vocalist, but MMP gives a more natural and moving performance (hmmm, why does that sound familiar...?).

Angel of Music: Maybe it's because I saw her do Sense and Sensibility in Denver, but MMP's arc for Christine reminds me a bit of Marianne Dashwood: a dreamer and romantic who has to grow into a more mature and practical perspective.  She has a great mix of wonder, excitement, and fear when she describes her "supernatural" encounters with Meg; it's very charming.

The Mirror: *delighted shivers at Norm Lewis' entry*

PotO: So the double thing isn't quite as noticeable from the mezzanine.  That's a plus.

MotN: Cleaner technical performance from Norm here, which allows me to appreciate what he's doing vocally a lot more.  He has a very visceral way of savoring the phrases that makes you feel the power and passion in the character.  It's definitely one of the more distinctive interpretations of the song I've heard, and that alone makes it worth hearing.  Patterson has a good mix of "excited and scared" (to borrow from Sondheim) in the scene, too.

I Remember/STYDI: I love the way Lewis bears down on Christine after the unmasking.  And the little beat where she kind of recoils from him right before "Oh Christine..."  Awww.

Notes/Prima Donna: Yes, the energy is up, the songs aren't dragging, and it sounds gorgeous!  I mean, I got chills--I almost never get chills on "Prima Donna."  Laird Mackintosh isn't quite as perfect a comic match for Tim Jerome as Jim Weitzer was, but they still have some good moments together.

Il Muto: Not much to add here, but I will note I like Hays' wry delivery on "There appear to be no seats available, other than Box Five."  Raoul has a sense of humor--who knew?

AIAOY: Fluffed note aside, not bad.

AIAOY Reprise: Seeing this from the mezzanine gave me a better appreciation of Lewis' physical performance in this scene--the way he almost crumples into himself before rising to his full height in fury is very impressive and frightening.

Masquerade: Much better--cleaner diction, higher energy, and amazing atmosphere.  I love how Patterson is trying to be playful and flirtatious with Raoul, but keeps getting freaked out by the things around her--it makes for a nice spooky mood.

Notes 2/TEW: Oooh, I love Hays getting all confrontational on "They can't make you"--like he's going to start a fight with anyone who tries to contradict him on that.  Patterson, again, is subtler and more effective than Boggess--she does a great swoon into Raoul's arms at one point.

Graveyard: Wonderfully nuanced grief in Patterson's voice, but my favorite part is how she kind of deflates during the lead-in to "Wandering Child"--like she was thinking "yeah right, of course I'm not getting any sign from above to help me out here."  Which gives Lewis' Phantom a great opening to play into--part of her still wants this dream to be real, even as she becomes increasingly aware that's impossible, and he works on that temptation beautifully.  Hays gives a brave, powerful performance in this scene--always essential to a really good Raoul, I think.

DJT: Patterson has a bit of the same vibe Samantha Hill did with Aminta--that of a girl just starting to become aware of her own sexuality and attraction.  I've always rather liked that angle.

Final Lair: Patterson's "tears of hate" wasn't as fierce as I would have liked it, but she has a great lead-in to the kiss--she sings "God give me courage" like it's really a prayer for strength in that moment, and she throws herself at him as if afraid she'll lose her nerve.  It's not tender, but neither is it deliberately manipulative--more like she's doing the only thing she can think of to knock some sense into him.  And it's beautiful, and tragic, and heartbreaking, as it should be.

And now I just sit back and wonder when I'll get a chance to return...

~LCD[/i]

Wild guess, but was Kirsten Blodgette the conductor for this performance? Or still David Caddick?

Pretty sure it was Blodgette.

~LCD

LadyCDaae wrote:Pretty sure it was Blodgette.

~LCD

Why am I not surprised… She is just radically much better, in my book. A better pacing and more flow to the orchestra overall.