“Phantom of the Opera,” Broadway’s longest-running musical, is showing at the Kravis Center in West Palm Beach until Friday, April 1. With a reboot from producer Cameron Mackintosh and under the direction of Laurence Connor, Andrew Lloyd Webber’s hit production is back and better than ever. Mackintosh is no stranger to breathing new life into classic shows—he’s already redone “Les Miserables” and “Miss Saigon.”
But “Phantom” is special. Its literary beginnings date back to 1909, when Gaston Leroux first published the story. This gothic French novel draws on themes of tragedy, darkness, alienation, unrequited love, and of course, the supernatural.
In its original American stage production (starting in 1988), Lloyd Webber touches on these themes, especially the unrequited love and the supernatural. However, his version fails to marry the humanity of the phantom with the rest of the characters, which is something that Mackintosh does well, among other details.
Here’s an overview of noteworthy changes in Mackintosh’s overhaul of “Phantom of the Opera”:
The chandelier
“Lot 666, then, a chandelier in pieces …” This opening line, which originally introduced the chandelier, hasn’t changed, but its animation and famous release are timed later in the performance. The placement now makes more sense and adds a more dramatic flair. Additionally, the chandelier itself shines and sparkles more brightly than before.
Masquerade ball
This is the scene that has changed the most. Spoiler alert: there’s no longer a grand staircase. Instead, the stage is full of mirrors (including a circular one hanging above the cast) to create an illusion of more dancers than are actually present. It redefines the haunting, mysterious undertones of the show and toes the fine line of reality and fantasy. The choreography by Scott Ambler is beautifully done. It’s longer than Lloyd Webber’s production, so take time to soak in the music and the original 19th-century costumes by Maria Bjornson.
Set design
Unlike past designs, the new set by Paul Brown takes audiences deeper into the world of the opera and its mad genius. The set rotates 360 degrees, and there’s a staircase down into the phantom’s lair that is steep and dangerous, just as one would imagine. And the lair itself is darker and dingier, despite a few candelabras scattered on and around the organ.
The changing room for the corps de ballet is relatively the same, as is the opening at the auction and the manager’s office. However, the numerous backdrops for each opera house rehearsal and performance (“Hannibal,” “Il Muto,” and “Don Juan Triumphant”) are more detailed and colorful than in the past, along with extra props and furniture. It helps bridge the gap between imagination and reality of the stage to form a more complete understanding of each scene.
Phantom’s human interactions
Previously, the phantom felt somewhat detached from the rest of the cast, with the exception of Christine Daaé. He hid in the shadows and watched people from high above or down below. But Mackintosh’s phantom, played by Derrick Davis, is different. His presence is more palpable throughout the play. He reads letters to the new opera owners, speaks directly to masquerade attendees and cast when he drops off his score for “Don Juan Triumphant.” Such inclusion makes the phantom seem relatable, rather than an unknown being to be feared.
Special effects
Gunshots, fire and shadows projected on stage are only a few of the numerous special effects that bring “Phantom” to life. It sounds crazy, but it’s true. Keep an eye out.
Overall, Cameron Mackintosh’s changes are definitely beneficial for “Phantom.” They add depth, not distraction, to a timeless classic, without being too much or too over-the-top. And the most important aspect, the music, hasn’t changed at all.
