Hello All! Good grief - it's been so long. My son is now two years old and at playgroup one day a we...
Hello All! Good grief - it's been so long. My son is now two years old and at playgroup one day a week. I've nearly finished my MA and move house in a year's time. Life is busy, but I've returned to see what's going on!
Member since:10.02.2003
Reviews:36
Members who trust:59
This is it.
This is most probably, but not definitely, just an incredibly slightly small, teensie-weensie chance, not a great huge chance mind you, but quite possibly the last visit to the theatre for quite some time.
Actually I have no evidence to back that up and that’s probably the most ridiculous claim I’ve ever heard since Comfort launched their ‘fast-dry’ liquid, claiming it to be a revolution for the washing machine. Personally, I find clothes dry quicker either on an outside line, a radiator or even a tumble drier, and therefore I fail to accept the premise of a fast dry laundry softener…
Anyhow I digress… Perhaps a better way of describing this is to say that there are no more theatre trips planned for the foreseeable future. The ever present prospect of becoming parents has given us far more to look forward too.
Needless to say, however, that with ‘Mary Poppins’ and ‘The Producers’ on the way to the West End, my obsession with theatre will rear it’s head in the not too distant future.
***THE THEATRE***
The first theatre to be built on the site of ‘Her Majesty’s’ opened in 1705 and was named ‘The Queen’s’ with permission from Queen Anne. In 1711 Handel was employed as the resident composer and conducted his first opera ‘Rinaldo’ for the first time in this country.
The theatre was renamed ‘The King’s Theatre’ in 1714 following the accession of King George I before it was destroyed by fire in 1789.
Three years later a new ‘King’s Theatre’ had been built and played host to the first of a string of Mozart’s operas to be heard in the capital. A swift name change to ‘Her Majesty’s Theatre, Italian Opera House’ in 1837 celebrating the accession of Queen Victoria the theatre was again destroyed by fire in 1867.
A new building was erected in 1869 and stood empty for six years before playing host to Bizet’s ‘Carmen’ and the first ever complete performance of Wagner’s ‘Ring Cycle’ in 1882. However, the theatre was demolished in 1892.
The present theatre was built in 1897 and has played host to people such as Ivor Novello, Vivien Leigh and Judi Dench and John Mills.
For the past 18 years it has been the permanent London home of Andrew Lloyd Webber’s gothic musical ‘The Phantom of the Opera’ based on the novel of the same name by French author Gaston Leroux.
The story begins with an auction of opera memorabilia on the stage of the Paris
Opera House and a strange lot – that of a barrel organ decorated with a papier-mâché monkey – receives the attention of an old man called Raoul, the Vicomte de Chagny.
The auction moves on to a strange piece – a shattered chandelier that once hung from the dome of the opera house. It has been partially restored and fitted with electric cable for lighting. The auctioneer reminds those gathered of the strange story of the phantom of the opera and the part he played in shattered the chandelier. He holds the plug and socket above his head and at the moment he connects them an explosion occurs and the chandelier magically fixes itself and sweeps back to the top of the theatre as we are taken back in time to relive the story the auctioneer had hinted at…
A new opera – Hannibal – is being rehearsed on the stage of the Opera House and is not going well. The current manager is giving up his position and introduces the new managers Andre and Firmin. Andre asks the resident Prima Donna, Carlotta, to sing for him when a backdrop falls from the flies narrowly missing her. The company panic and begin whispered conversations about the ghost as Carlotta storms out leaving the new managers without a star for their production.
Meg Giry, the ballet mistress’ daughter, suggests that one of the dancers could take Carlotta’s place. Christine Daae has been taking lessons but is unwilling to say who from.
After a tentative start, Christine performs the lead role in the show and is a great success, drawing the attention of the Opera House patron and former childhood friend Raoul, Vicomte de Chagny. They meet backstage in her dressing room, but as soon as Christine is alone, a mysterious figure appears behind the mirror – it is the Phantom, the teacher she has never seen – the Angel of Music.
The Phantom takes Christine through the subterranean levels of the Opera House finally crossing a lake 5 levels down – the only entrance to his lair. There, he explains that he is a composer and she is his only inspiration, he’s been teaching her so that she can sing his music.
The next morning he returns her to the Opera House and demands, by letter, that he take the lead role in the performance of ‘Il Muto’. The theatre managers decide to give the lead role to Carlotta and to take the risk of the Phantom following through with his threats.
After hearing Christine and Raoul declare their love for each other, The Phantom lives up to his promise and creates an accident that nearly ends in disaster as the cast step forward to take a bow after the ending of ‘Il Muto’.
Following the incident at ‘Il Muto’, The Phantom has not been seen for a while and the managers, cast and employees enjoy a masked New Year’s Ball to celebrate his disappearance. However, the Phantom turns up at the ball and presents them with an opera he has written and strict instructions for them all to follow, most notably giving Christine the leading role…
Raoul takes the precaution of making sure that every door in and out of the Opera House is locked so that should the Phantom appear, there is no way he can leave.
And so the performance of the Phantom’s opera begins and the stage is set for a final showdown.
***THE CHARACTERS***
THE PHANTOM – The anti-hero of the story. A horrifically disfigured composer who is desperate to find acceptance in his lonely life under the opera house.
CHRISTINE DAAE – The young chorus girl who has been taking singing lessons from The Phantom believing him to be her Angel of Music, promised to her by her father before he died.
RAOUL VICOMTE DE CHAGNY – The new patron of the Opera House and childhood sweetheart to Christine.
***THE PICK OF THE CAST***
JOHN OWEN-JONES - The Phantom. Performed as Jean Valjean in ‘Les Miserables’ – the youngest ever actor to do so, and has also appeared in ‘The Pirates of Penzance’. He has an incredibly strong voice and belts out the tunes incredibly well. Sits in make-up for two hours before every performance in order to be transformed into The Phantom.
KATIE KNIGHT-ADAMS – Christine Daae. Performed as Eliza Doolittle in ‘My Fair Lady’ and has played in ‘West Side Story’, ‘Cats’ and ‘Sunset Boulevard’. Great singing voice and gets just about the right level of melodrama within her performance.
RAMIN MARIMLOO – Raoul. This is his West End debut. Lucky blighter!
***THE SONGS***
Written by Andrew Lloyd Webber with lyrics by Charles Hart, ‘The Phantom of the Opera’ contains some of Lloyd Webber’s most recognised works.
THE PHANTOM OF THE OPERA – The title song, sung by The Phantom and Christine on their journey to his underground lair (insert suitable Dr Evil quote here!).
THE MUSIC OF THE NIGHT – Sung by The Phantom as he seduces Christine and explains why he wants her to sing his music.
ALL I ASK OF YOU – Sung by Christine and Raoul as they declare their love for each other, overheard by The Phantom from his hiding place.
MAQUERADE – Sung by the entire company. The New Years Ball is going so well until The Phantom turns up.
WISHING YOU WERE SOMEHOW HERE AGAIN – Sung by Christine at her father’s graveside.
***THE SET***
I’ve complaints about the set, in fact about the show overall, on some of the theatre message boards on the internet complaining that Phantom looks its age and is not wearing well – moan, moan, moan, gripe and snipe etc. What a load of rubbish!
The set is amazing – at the beginning of the show the front of the stage is covered in old drapes, but as the overture begins, the drapes are whisked away to reveal the façade of the ‘opera house’ the story is set in.
The journey down to the Phantom’s Lair takes place down a walkway at the back of the stage that lifts up and down at one end to give the feeling of a never ending staircase going further and further underground. Candles and large candelabras rise up from the floor of the stage as we reach the place where the Phantom lives.
And of course there’s the chandelier, but I wouldn’t want to ruin the surprise…
***THE CONCLUSION***
OK then. Did I actually like it?
Yes indeedy! ‘The Phantom of the Opera’ is a wonderful, stunning visual feast, combining instantly hummable tunes with grand spectacle on stage and therefore in the live arena.
It has a plot, that on one hand may seem totally and utterly preposterous but on the other holds a message that is so important to us all as human beings: the need for love and acceptance.
Whilst The Phantom goes to extreme lengths to try and win the affections of the one he loves, he comes across as being quite a tragic character and one with whom – particularly in the final few scenes – you can particularly empathise with.
The opening of the show takes a while to get going as it introduces us to so many characters within a short space of time – you really have to make sure that you are alert and listening to every single word that is being said!
Some of the songs are more difficult than others to follow as, at times, there are up to 6 characters singing about the plans, with only key information coming through the general hubbub! They are very cleverly written, but take quite some getting used too!
Overall though, Phantom has it all: Murder. Mystery. Suspense. Love. And a cracking score..!
NB: Legroom is quite poor in all areas of this theatre. I was sat on the front row of the stalls – great view and would sit there again, but found it quite difficult to get comfortable!
BEWARE: Ticket Touts buy the Balcony seats and sell them to unsuspecting tourists as Dress Circle or Upper Circle seats and put more on the price. NEVER EVER BUY FROM A TOUT!
Don’t forget to add the booking fee onto those prices as most agents will add anywhere between £2.50 and £2.00 per ticket onto the total cost.
I have rarely seen tickets available at the TKTS half-price ticket booth and it books up months in advance. If you really want to see it, my advice would be too book as far ahead in advance as you could to get the best seats and avoid disappointment.
***ACCESS ISSUES***
Wheelchair access is to spaces in Row S or alternatively transfer to any aisle seat in the Stalls – there is access at street level for disabled patrons. A member of the front of house staff will be assigned to look after wheelchair users, but they must bring a non disabled companion with them also.
Guide dogs are not permitted in the auditorium, but can be dog-sat in the Managers Office.
An Infra-red system is fitted with 6 headsets available for use. Book in advance and collect from the box office.
Check out www.officiallondontheatre.co.uk/access for more information about access issues.
Souvenir Brochuer costs £5.00 and is full of photos, a story synopsis and interviews with the creative team.
The smaller programme costs £3.00.
***GETTING THERE***
Nearest Underground station is Piccadilly Circus served by the Bakerloo (Brown) and Piccadilly (Dark Blue) lines.
I hope you have found this review helpful and entertaining.
Great review - Ive not seen this show before - i definitely will now
melodysparks 12.06.2004 01:57
Great review well written you rally filled it with everything great job
rosillew 06.06.2004 17:12
I saw this twice and loved it..... I was in the second row from the front right under the chandelier, and the first time I nearly jumped out my skin when the chandelier came crashing down towards us and stopped suspended not far above our heads, i was ready for it the second time, Heatherx
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Advantages: A night of theatrical magic - immerse yourself. Disadvantages: None I can think of - the experience is worth the face value of the top priced seats.
Feb 23rd, 2004
exceptional by (23%):
very helpful by (77%):
