Gammage Goers
A panel of ASU Gammage theatregoers shares their opinions throughout the season.
The Phantom of the Opera
October 28 - November 22
Video Reviews
More Reviews
-
THEATER GREATNESS AT GAMMAGE
To me, the term “theater greatness” describes an aspect of a show that turns an enjoyable night in the theater into a thrilling one. Sometimes, enough components work together to make a show as a whole an experience of theater greatness. It doesn’t happen with every show, but I did experience it at The Phantom of the Opera on Friday night. What was great about this show?
It wasn’t the music. I find the music pleasant, but not engaging. The title song is properly scary; some of the others are pretty, only one is beautiful (The Point of No Return). Yes, you can hum some of the tunes because you hear them over and over and over (did I mention over?) during the show, and you’ve probably heard them at every wedding you’ve attended since 1988.
It wasn’t the lyrics, which I consider the weakest part of Phantom. They do little to explain anything about the characters, their feelings or motivations. They rarely advance the plot, and they aren’t clever, poetic, or even very interesting. The show feels very slow at times, partly because the characters are singing with great emotion, but with very little to say.
It wasn’t the plot, construction, or the characters. Though I had read Leroux’s novel on which this show is based, and seen two movie versions, neither the story nor the characters and their relationships became clear until near the end of the second act. And by then, I’m thinking more about how long it will take to get out of the parking lot.
One excellent aspect of the show was the live orchestra (especially the French horn players). This orchestra’s efforts enhanced the action, and the music accompaniment fell short only during the synthesized sections.
The cast as a whole came close to greatness. Each voice, from top to bottom, was strong, clear, and as good or better than the voices on the original cast CD.
My experience of theater greatness was watching and listening to the performance of Tim Martin Gleason as the Phantom. It was as close to perfect as I could imagine. His voice is simply one of the best I’ve heard – ever. It is exactly the voice I could believe would inspire Christine to study with him, follow him, and even fall in love with him. Gleason’s singing and acting added a depth to his character that transcended the written music and lyrics. In short, his performance was absolutely thrilling.
On Tuesday, November 17th, my family and I enjoyed an exceptional performance of "The Phantom of the Opera" at ASU. I am very disappointed in the "Gammage goers" reviews. I did not find the play dated. If it reflected the '80's, it was the 1880's, which would be appropriate. Perhaps we live in a day and age when being overly critical is in fashion. It's good to appreciate art for it's genuineness rather than the audience's personal taste. This production should be judged on the heart that was put into it, and for that, I was impressed.
Tim Martin Gleason's performance was breathtaking and vibrant. When he had the mask on, he was passionate. When the mask came off, he portrayed the broken child that knew neither how to give affection, nor accept it. To me this was the best translation of the author, Gaston Leroux's, emotional intent, that I have seen.
Trista Moldovan's performance was powerful. Her voice filled the entire theatre. Her singing gave me shivers and won me over entirely.
I completely support this production, and the efforts of the entire cast. I look forward to seeing them next time around.
Elizabeth
I have had the good fortune to have seen the stage production 3 times (twice at the Alhambra in Bradford and again 2 months ago at Her majesty's theatre in London) and would rate it as the best experience I have ever had in the theatre. So along comes this movie and I was not sure what to expect, before going I said to friends that if it was half as good as the stage show then it would be marvelous, well it exceeded that - I would rate it at about 80% myself. My wife and I saw the movie last night and were enthralled all the way through, the costumes and scenery were superb, and we both thought the performances were excellent. My only minor detraction was with Gerard Butler, I just had this gut feeling that his voice just didn't quite have the power to portray the Phantom to the full extent; but what do I know? I have no knowledge or training or background in theatre or singing, as I said it was just a feeling that I had myself. I would recommend this movie to anyone who may enjoy musicals - if you don't, then I rather think you would hate it (but then you are unlikely to be reading this are you?)
Great idea, Nisha B! With the price of the tickets, Gammage ought to include free child care services to patrons that cannot find a sitter. This would add the the enjoyment for parents and other patrons as well.
As Phantom lovers, what do you think about Phantom of the Opera 2 taking place on Coney Island?
Hello Donna-
Glad to hear that you enjoyed the experience. I wasn't as impressed, that doesn't mean that the show was horrible, it just means that this was not the show for me. It doesn't mean that others didn't find it enjoyable.
Sorry to hear about the crying kid. That can bring an individual out of the moment so easily, and it can be a little difficult to get back into the swing of the show. In the defense of the patrons, I understand how it might be difficult to juggle a matinee time and childcare. The unexpected sometimes happens. That is what theatre is all about right? Maybe Gammage could offer a child care option for season ticket holders? That could be incentive to buy season tix to the shows. Just a thought.
Nisha B
I am actually going to see this production of the Phantom for a third time tonight, Wed 11-18. I have sat in the Grand Tierre, and the very back of the Orchestra and now the lower balcony. I have seen the phantom in Vegas - which is a totally different visual experience and my son who came with me the first time this run has seen it on Broadway. (He felt the Gammage production was very close to the Broadway producation but the Gammage tour singers were much better) Why are we going for a third time? Simply put, Tim Martin-Gleason has the most phenominal voice. That this talented actor/singer does not have a CD out is unbelievable given the great quality and range of his voice. He hits the high notes without going into falsetto and the low notes are equally as strong. He is the first Phantom that you can hear in the musical rounds and consistently puts great emotion into his singing. His rendition of masquerade at the end of the show makes you want to cry. You can feel his betrayal, anger, and great love for Christine in the rooftop scene. He so effortlessly swings from one range of emotions to another that you truly do see the Phantom as a sad crazed creature of isolation that he is. He also builds up to the word "be" in the line "where your soul wants to be" as opposed to just belting the word "be" out as so many singers (including Michael Crawford) tend to do. This build up allows for the listener to truly be carried away into the moment.
I have to also give kudos to Nancy Hess who allowed us to hear Madame Giry's voice for once loud and clear both when speaking and when singing.
Overall, very talented cast . Gammage does need to work on its sound system as the first night we went there was a lot of static (we were in the orchestra section that night) and the second night one of the mics popped out but that is afterall theater. At least this tour the chandelier has worked every night!
And contrary to some people's opinion - any seat at the Gammage is a good seat. Granted you may not have seen the Phantom pop out when he is playing with Carlotta's voice, or you may not have seen the chandeleir for the whole length of the fall, but part of the suspense is never knowing where the phantom is and when you can't see him (but only hear him) it actually adds to the mystery of the play.
The Phantom of the Opera
I have never been a fan of Lord Andrew Lloyd Webber. I remain steadfastly in the Sondheim camp.
There are only two Lloyd Webber musicals that I have enjoyed on the stage. I have always loved Joseph and the Amazing Technicolor Dreamcoat (having seen it in its original stagings in both New York and the West End). Joseph is light, whimsical, and tuneful (yes, derivative but delightful).
The Phantom of the Opera is my favorite Webber musical. Each time I have seen it, I have never been disappointed (London's Her Majesty's Theatre [twice in one week], New York's Majestic Theater [five times, not in one week] and on tour in Chicago. That I have not seen any production of Phantom (save the less than perfect film) in almost twenty years is amazing. It seems a lifetime since I ogled the fabled chandelier.
I truly looked forward to The Gammage hosting the return of this, the longest running Broadway And West End musical in theater history. I was not disappointed. The collaboration of Prince, Bjornson and Lloyd Webber produced a splendid Beaux-Arts homage to Gaston Leroux' original novel that easily stands the test of time. The spectacle the engulfs the stage at the Gammage is a heady, satisfying musical extravaganza.
Tim Martin Gleason, the actual "Phantom" of the title, may only appear physically on stage for less than an hour but his voice and presence dominates the evening. His co-stars, Sean MacLaughflin (ever a bit too smug) and Trista Moldovan (their mutual love interest) are a perfect match for Gleason (at least vocally).
Harold Prince is the unquestioned master of the American Musical Theater. His associations with theater greats George Abbott and Jerome Robbins have served him remarkably well. The French word for stage director is metteur en scène and (true to the French spirit) Prince definitely keeps his eye on all aspects of his productions. Lloyd Webber's score for Phantom is doubtless his best but how much of it was inspired but Prince's uncompromised romantic vision. Prince's visual collaboration with the late Maria Bjornson produced the musical's breathtaking, glorious award winning production design; soft, plush sweeping designs meant to mask the terror lurking behind the ever moving curtains. Phantom of the Opera is a work of art on many levels. It is easily Lord Lloyd Webber's seminal work. Considering how many of Mr. Prince's collaborations have left their lasting mark on the theater, the word seminal seems superfluous ; his being the recipient of a record 21 Tony awards says it all!
The Saturday 11/14 matinee showing was terrific! I saw Phantom at Gammage a few years back, but that performance pales in comparison to this one. I believe the understudy played Christine and she should be the main person in this role! Her voice melds with Tim Martin Gleason's so perfectly! Wonderful magic effects--where did he go and how did they do that? at the end was the best. The only complaint I have is for people to please PLEASE hire a baby sitter and not bring children barely old enough to talk! Disruptions and crying during the most critical and quiet portions of the show can ruin it, and it is selfish of parents not to excuse themselves IMMEDIATELY if a child is acting up. Sorry to be so negative, but it was a magical moment that afternoon, spoiled by the cries of a child in the audience at the worst possible moment...
I have seen Phantom 3 times before and was never disappointed. The Sunday 11/15 evening performance was fair. The volume of the actor's voices in the balcony could be hardly heard. Also, I wish they would have told me that I would not be able to see the actors that were performing high up in the back of the stage. Many significant scenes were ruined by the inability to see. I would have paid a higher fee if I knew my vision was blocked. I do not blame the actors themselves but during dress/tech rehearsals....this should have been reviewed.
To tell you the truth, I have seen Phantom a dozen times, but this time, there was something amiss. It was like a speaker was broken in the balcony, but all I could hear was the Phantom. Every other actor's voice was muffled. Apparently, you have to buy orchestra seats to get the true Phantom experience at Gammage, which is a shame. They should look at improving the acoustics for all to enjoy.
1 - 10 of 10