Phantom Take Three

Photo credit: Matthew Murphy

I know it's not cool for theater kids to admit to liking The Phantom of the Opera, but I do. The story is a fascinating one (there's a reason the 1909 book has been adapted so many times). I first saw the musical in 2001 and was mesmerized by the opulent world. When I revisited it in January, 2010, I still enjoyed it, but it wasn't quite as impressive as I remembered, especially the chandelier, which seemed far punier and slower-moving. But when Norm Lewis joined the cast as the first African-American Phantom on Broadway, I knew it was time for another trip to The Majestic. And I'm happy to report that this time the 26-year-old show felt exciting and fresh, thanks to Lewis and Sierra Boggess breathing new life into their characters.

For those of you unfamiliar with the story (it has come to my attention that many frequent theatergoers have actually never seen it), Christine Daaé (Boggess) is a chorus girl at the Paris Opera House taking singing lessons from a mysterious tutor. When Prima Donna Carlotta (Michele McConnell) drops out of an opera, Christine takes over. Raoul (Jeremy Hays), who she knew as a girl, is in the audience, and is instantly smitten. But her tutor, the Phantom, is very strict and in love with her. Christine doesn't have much to do but sing and look pretty, but Boggess gives her more of a personality, hinting that there is more to her than someone passively letting things happen to her. Lewis's voice is glorious as always. When he is wearing his mask, he makes for a sexy Phantom, but he also taps into his tormented side. His "The Music of the Night" is worth the price of admission.

The last time I saw another long-running show, Chicago, it felt rundown, like everyone was going through the motions. Not so with Phantom. The whole company was present in the moment. Though the chandelier still doesn't live up to the memory of the first time.