The Phantom of the Opera at the Royal Albert Hall [Blu-ray]

Andrew Lloyd Webber's Phantom is a great musical, and even a profound one. While it is fashionably dismissed as pure spectacle, I'd ignore that common byproduct of its staggering success (the stage show is the second highest grossing entertainment of all time, perhaps the most successful adjusting for inflation). Provided one isn't cynical, it's enthralling, sweeping, and splendidly turgid. At its core, it uses Leroux's mysterious novel to retell the myths of Eros and Psyche and Beauty and the Beast. As in the novel, Phantom tells the story of a Victorian composer, the phantom, a mysterious figure who dwells in a subterranean lair beneath the Paris opera house, haunting it. While in Leroux's original, the Phantom was entirely physically deformed and embodied death albeit singing in an ethereally beautiful way, in this telling, the Phantom is more Manichaean. Half of his face is hideously monstrous, the other half human. What is crucial to the Phantom as a character is the power of art and illusion as a sort of half-truth with which what is true yet unpleasant can be vanquished. With the artifice of a half-mask, the Phantom disguises his hideous facial half and masters his self image. Around the proscenium, sinisterly beautiful statues of angels and demons entangle in an ambiguous interplay, evoking the dissolution the show achieves between stirring beauty and monstrosity. True to the Eros and Psyche base, the Phantom's greatest powers are those of enchantment, which are most fully deployed in the attempt to woo Christine, an ingenue soprano, whom the Phantom loves and guides to his underground, candle-lit domain. Amidst otherworldly voice lessons, and the use of half-light, and sonorous music, he attempts to use art to appeal to her soul. As a Victorian story, the pursuit is chaste. The Phantom's seduction of Christine is never quite sexual, but it is sensual.Phantom is a meditation on love. We witness the Phantom's redemption through love and the plight of Christine in determining whether to requite it. By giving Christine voice lessons, the Phantom appears to fulfill the promise of her dead violinist father of tutelage from an angel of music. Throughout the show, Christine conflates the Phantom with both that angel and her father. Fundamentally, the prospect of the Phantom's love represents certain artistic heights and soulful emotion. Yet, the show thrusts us into a very effective love triangle, whereby the unworldly love of the Phantom is contrasted with he conventional affection of her earthly suitor, Raoul, a Viscount who offers her security and wealth and likely artistic mediocrity. How this all resolves, is, in my opinion, one of the most moving things I have ever witnessed in any film, show, or novel - akin to Gone with the Wind (there can be no sequel). There are other parts to this story as well. With a Cyranoesque combination of wit and threats, the Phantom also conspires to depose the leading soprano Carlotta, replace her with Christine, and intimidate the managers, Andre and Firmin. His ruses, as well as the Phantom's often murderous rage make for engrossing entertainment.The cast, particularly Sierra Boggess as Christine and Ramin Karimloo as the Phantom are excellent. Both sing well; in Boggess's case, prettily, in Karimloo's case, powerfully. Of course no one can surpass the ghoulish pathos of Michael Crawford's origination of the part, or the exotic beauty of Sarah Brightman's Christine in the original album. Yet, both Karimloo and Boggess manage to surpass the originals in their acting range while singing well enough. The cameras allow closeups we could never get in a theater. In the scene where Christine unmasks the Phantom, Boggess says nothing, yet conveys a sense of playful whimsicality in unmasking him . Under so much makeup, Karimloo relies on gesture and vocal dexterity in his performance. In something like John Hurt's elephant man, Karimloo uses what he has left to reach into our hearts and condemn us. Karimloo's Stranger than you Dreamt it, where the Phantom castigates Christine for her disloyalty at unmasking him and then pleads for Christine's love caused me to sob. Sierra Boggess transforms Wishing You Were Somehow Here Again, what typically seemed a pretty yet vacuous second act number, into a pivotal scene. Her devastation at her father's death and coming to terms with it suddenly lend nuance to the scene and sends the show hurtling to its gripping denouement. Boggess's performance here, for which the audience gave a standing ovation, left me sobbing. Hadley Fraser is fine as Raoul, only a touch more dominating and lower pitched than ideal, but still hitting the high notes and conveying the the tender reassurance that Raoul offers Christine. The only downside in my view was Wendy Ferguson, whose Carlotta, the resentful reigning diva who finds herself overthrown by Christine as a result of the Phantom's machinations, if serviceable, seemed one dimensional vocally.Nothing can be perfect in a show, but Lloyd Webber's Phantom is the definitive Phantom. It is the only version to utilize high romance. It also features one of the best scores of all time, at some points literally derivative of Puccini (and Pink Floyd for good measure), and otherwise evocative of Puccini and opera, the score is full of melodic and instrumental sweep. It's Lloyd Webber's most memorable score in an accomplished career. Anyone will likely be familiar with Music of the Night, All I ask of You, and Angel of Music. So far, this is the definitive version of Lloyd Webber's Phantom (The 2004 version starring Gerard Butler pales in comparison). Part of what makes this so gripping, in addition to acting that is cathartically tear-jerking, is the setting. All of the show takes place in the opera house. We shift among the phantom's underground lake, the stages, the offices and dressing rooms, and the rooftop, making only a single detour to the grave of Christine's father. With a few exceptions, notably a chandelier that plummets from the ceiling to the stage, and a giant staircase replicating the grand staircase of the Paris opera house (not exactly minor losses), this production incorporates just about every set-piece and costume of Maria Bjornson's notorious designs. Even reduced, the sets are extraordinary. The costumes, with few exceptions, are sumptuously designed, ingeniously constructed, richly trimmed, extravagantly fabricated.

**Phantom of the Opera at the Royal Albert Hall** is nothing short of a theatrical masterpiece, delivering a mesmerizing and unforgettable experience. This special performance, commemorating the 25th anniversary of Andrew Lloyd Webber’s timeless musical, transcends expectations and redefines what live theatre can achieve.From the moment the chandelier ominously rises, audiences are transported into the hauntingly beautiful world of the Phantom. Ramin Karimloo’s portrayal of the Phantom is both haunting and deeply emotional. His vocal performance is powerful, effortlessly capturing the tortured soul and passionate artist within. Opposite him, Sierra Boggess as Christine delivers a performance that is both ethereal and grounded, her voice soaring with clarity and emotion that captivates the audience.The production values of this performance are second to none. The set design, while adapted for the unique layout of the Royal Albert Hall, retains the grandeur and gothic beauty of the original staging. The use of projections and lighting enhances the immersive quality, bringing the Paris Opera House to life in stunning detail. The orchestra, conducted by Anthony Inglis, plays Lloyd Webber's iconic score with a richness and intensity that reverberates through the historic venue.Standout moments include "The Music of the Night," where Karimloo’s voice blends seamlessly with the orchestration, creating a spellbinding atmosphere. The chemistry between Karimloo and Boggess is palpable, especially during "The Point of No Return," which is charged with tension and raw emotion.Special mention must be made of the supporting cast, particularly Hadley Fraser as Raoul, whose strong performance adds depth to the love triangle at the heart of the story. The ensemble, too, is exceptional, bringing energy and precision to the large-scale numbers like "Masquerade."The production culminates in a finale that is both triumphant and bittersweet, leaving the audience in awe of the sheer talent and passion on display. The applause and standing ovation that follow are a testament to the extraordinary achievement of this performance.In summary, **Phantom of the Opera at the Royal Albert Hall** is a must-see event that showcases the very best of musical theatre. It is a fitting tribute to one of the greatest musicals of all time, brought to life by a phenomenal cast and creative team. This performance will leave you spellbound and is an essential experience for any theatre lover.