There was a time not too long ago when Andrew Lloyd Webber’s “The Phantom of the Opera” showed serious tread on its tires.
Read more One injured in East Bay shooting; suspect arrested
That’s not necessarily a sleight to the show itself. The Broadway production ran for a record-breaking 35 years at the Majestic Theatre in New York before closing in April 2023. Closer to home, an open-ended production ran for just over five years in San Francisco, kicking off in 1993.
It seems all but guaranteed that no theater production will ever match that kind of longevity.
While the theater world has its share of Phantom phatigue, something funny happened on the way to the catacombs; a new touring production, running at the Orpheum Theatre through June 21, feels — dare I say — sublimely fresh and deliciously thrilling?
In case you’ve been living under an opera house since the mid-1980s, here’s a quick overview: In 1881, a masked evil genius known as the Phantom, resides beneath the Paris Opera House; his brilliance includes illusions, hypnotics and ventriloquism. He is also a teacher, giving secret voice lessons to chorus girl Christine Daaé (played in this case by Jordan Lee Gilbert).
As opening night of the opera “Hannibal” approaches, the diva Carlotta (Midori Marsh) readies to sneak peek her aria for the cast and producers. As she sings, a backdrop falls from the flies, and Carlotta has had enough, leaving the company without its star.
With coaxing from Christine’s fellow chorus member Meg Giry (Melo Ludwig) and her mother who oversees the dancers, Madame Giry (Lisa Vroman), Christine is granted the big assignment. She proves to be a revelation and an overnight sensation.
The performance catches the eye of new patron and Christine’s childhood friend Raoul (Daniel Lopez), which does not sit well with the “Opera Ghost.” It is his music gifted to Christine, and she must obey. Once he reveals himself and takes her to his lair, she is overwhelmed by viewing a wedding dress, faints, and awakens the next day, when she pulls off the Phantom’s mask in an act of curiosity. Devastated, the Phantom first begs for her to look past his hideous face, but shortly returns with her to the opera house.
Over time, Christine’s love for Raoul deepens, the Phantom becomes more destructive and vile, and the trio comes together for one final battle, forcing her into a critical decision that brings the story to a close.
Read more Kurtenbach: Baseball’s bargain bin franchises are exposing the SF Giants’ grift
A reinvented yet underwhelming touring production ran at the Orpheum in 2015, but this production smartly returns the musical to its roots, with the late Maria Björnson’s original production design positively resplendent.
This production begins and ends with the brilliance of Isaiah Bailey as the Phantom, whose succulent baritone resides in a voice loaded with stylings. He’s arguably the best Phantom I’ve ever seen in my many viewings of the show. Inside his brilliance lies a complex vibrato, leading to the richest of articulated vocals, even some soulful deviation that lean towards hints of melisma. His “Music of the Night” is equal parts perfection and yearning.
As Christine returns his mask, he is reminded of his occupation in a world that requires his invisibility. His crushed soul of seeing his gift flutter into the hands of another conflicts with his malevolence as he kills for sport.
Gilbert’s Christine is alive and curious, unearthing the heart inside her monstrous mentor. Hers is a customary voice of Christine; innocent and naive one moment, growing into supreme confidence the next. Daniel Lopez is also terrific at Raoul, playing smarmy and opportunistic fluidly. He is paired beautifully with Gilbert on classic numbers as “All I Ask of You” and the finale, where each of the golden-throated trio blends exquisitely.
Other supporting roles are handled with force and gusto. To hear Vroman say the line, “Let her sing for you, monsieur, she has been well taught,” is a neat reminder of her history in San Francisco, having that line said towards her Christine for the entire legendary San Francisco run more than 30 years ago.
Marsh and Christopher Bozeka as Piangi provide the comic relief as the bumbling opera couple, Carlotta dying to reclaim her opera crown, and Piangi literally falling flat as the out–of-place male lead. Both William Thomas Evans and Carrington Vilmont give great vibes as the haughty producers of their failed company.
While it was once believed that this masked singer may have run its course, this massive production proves it can still stake claim to its Broadway crown. Returning to the Bay Area in this ravishing way after more than 30 years is a reminder that this Phantom hasn’t yet lost its bite.
‘THE PHANTOM OF THE OPERA’
By Andrew Lloyd Webber, presented by ATG San Francisco
Through: June 21
Where: Orpheum Theatre, 1192 Market St., San Francisco
Running time: 2 hours, 30 minutes with an intermission
Tickets: $93.60-$308.88; us.atgtickets.com
About the Author
