Surrender to the music of the night

MANILA, Philippines - Surrender to the music of the night — and to the music of Andrew Lloyd Webber — as The Phantom of the Opera comes to Manila for a limited season beginning Aug. 25 at the Main Theater of the Cultural Center of the Philippines. 

Based on a French novel by Gaston Leroux that was inspired by an actual event that transpired inside the Paris Opera House in the 1800’s, there’s something about this darkly intense tale of a disfigured musical genius haunting the catacombs of the Opera House and falling hopelessly in love with his protégé, a young soprano, that has captured the imagination of audiences worldwide. It’s touted as the “world’s most popular musical,” and you can start with its record as the longest-standing musical on Broadway and its 26 years on West End.  

The STAR joined a recent media junket to Johannesburg, South Africa to catch the touring international production of The Phantom of the Opera at the Teatro of Montecasino. It’s the production (which boasts of 130 cast, crew and orchestra members) that’s also taking on the CCP stage, to be produced by Lunchbox Theatrical Productions.

With the Phantom being around for a long time and mounted all over, the cast top-billing the Manila run takes pride in the fresh energy infused into this particular production.

Jonathan Roxmouth, who is the Phantom, said, “The way it is written will always be a good show, but what makes it a great show is the freshness that people doing it for the first time can bring to it, and I think frankly, we got that down so well.”

Being cast as the Phantom, no matter how cliché it may sound, is really a dream come true for the stage actor and TV host who, at the time of our visit, was being described by the South African press as the “hottest property” in their country’s musical theater scene.

“It’s a no-brainer that the Phantom role is up there with Jean Valjean of Les Miserables as the two pillars of great musicals in terms of roles,” he said.

When he saw the original Phantom run in his country several years back, “by the time the curtain came down, I sort of knew that was the role, come hell or high water, that I will one day play. And that happened. Not only did I get the dream role, but compared to that first production, I also got the dream cast.”

Still, it’s a tightrope for many reasons, not to mention, a vocal and physical challenge. “You gotta whack out like seven A flats every night, with full volume power, while hiding behind angel (statues), and climbing ladders. That’s the vocal toll,” Jonathan explained.

“But I found that it really takes a toll on your body,” he added. “When you are constantly being told, especially for the last scene, that you have to be a little bit more wild, and then maintain that madness eight times a week when you aren’t is difficult.”

Then, there are expectations. Anyone who dons the Phantom mask has huge shoes to fill.

“The fact is everybody knows how the Phantom is made to look, sound, act, behave, cry, smile, laugh. There’s such a preconception to the role. Phantoms in the past have stamped the role as their own that there isn’t much left to make your own so you really have to be creative to avoid being a copycat.”

For Jonathan, he has embraced his enviable role by singing it the way he knows best. “People either remember that breathy Michael Crawford version, and I’m not doing that. Anthony Warlow then came along with that extraordinary sound, but if you don’t have that, there’s no point in trying to recreate that. My director and I actually discussed this in rehearsals that you get so bogged down when you listen to the original cast recording. So, you have to trust your own sound. I think it’s not just true for the Phantom, but it’s true for everybody else.”

Fellow cast member Anthony Downing couldn’t agree more. But being part of the cast is a privilege more than anything. Anthony plays Raoul, the Opera House’s dashing patron and Christine’s childhood friend whom she falls for, sending Phantom into a rage.

The musician-dancer (he was a composition major in college, studied piano for a time in London and won a Latin Dance competition), who’s been in theater since 2003, said, “It’s a dream role. I remember living in London, and doing another job, and when I watched the performance, I dreamt of being in that position and really, it is a dream fulfilled.”

For Thabiso Masemene, playing Piangi, the Opera House’s favorite male lead, is his initiation to musical theater. Thabiso, who is part of a successful South African singing group called Gaabo-motho Tenors, is an opera singer by training, and an award-winning one at that. “I’ve been doing opera roles, so I’m grateful for doing this.”

On the other hand, Jason Ralph, a multi-awarded South African stage and TV actor, portrays Monsieur Andre, one of the managers of the Opera House. “(Monsieur Andre) is a challenging role because Phantom has been going for such a long time. They know exactly what they want — they’re very specific. I didn’t deviate. Well, I did try during rehearsals but that was stopped (laughs). So that’s the challenge — to give them what they want.”

Christine, the object of Phantom’s obsession, will be played in the Philippine run by Claire Lyon, a classically-trained soprano soloist from Australia. 

Other cast members are the London-trained Cat Lane (also from South Africa), who plays Meg, a star ballerina who is Christine’s friend, and Andrea Creighton, a Paris and UK-schooled actress from New Zealand, who is Carlotta, the Opera House’s prima donna who gets dislodged from her lofty position for Christine, as engineered by “the beast below.” 

Also featured are James Borthwick (as theater manager Monsieur Firmin), who has done numerous TV, film and theater shows in South Africa; and Rebecca Spencer (as Madame Giry) who had principal roles in over 50 opera companies across the US and Canada.

The Phantom production has also tapped Filipino talents such as the tenor and UP College of Music alum Dondi Ong who will be the cover of Piangi, plus orchestra members selected by musical director Guy Simpson during auditions held in Manila earlier this year.

“I think it’s wonderful to be in a version of Phantom where we’re serving more than just the scroll,” said Jonathan, adding that the production truly showcases “real triple threats,” “opera singers who have acting instincts” and “dancers who can really sing.”

The audiences will understand what Jonathan means via the show’s ballet scenes — the result of dance rehearsals every single day, Cat said.

She added, “We really are looking forward to doing the show in the Philippines. We’ve also heard great things about your country.”

They’re also eager to meet Lea Salonga. Jonathan said, “I don’t want to sound like those clichés, ‘Oh my God, she’s so amazing!’ But (Lea Salonga) really does represent to a lot of people, male or female. (Her) work ethic just sets her apart. I mean we’re talking about the girl who is found (in Manila) who asks the (Miss Saigon producer) to sign her Les Miserables poster and years later, is playing Fantine in Les Miserables’ 25th anniversary. That’s a story that’s incredible.”

One challenge though that these foreign visitors forsee — it’s not the weather, mind you — is “working after going to the islands.”

“We’ve done serious Googling about the Philippines,” they laughingly admitted. 

Meantime, the show is stirring quite an excitement as producers announced a season extension until Sept. 30, adding 16 more shows.  

But no surprise there.

After all, The Phantom of the Opera is a tour de force that promises not just an aural, but also visual spectacle. Johann Kupferburger, company manager of the South African production team, told The STAR during a backstage tour that the set Filipinos will be seeing is an exact replica of that in London and New York. “It’s the exact set that has toured before. It takes about two and a half weeks to put up.”

The lighting, the costumes, the sounds and “absolutely everything” needed to recreate the elaborate show will be traveling to Manila in more than 20, 40-ft. containers. These include the show’s focal piece — the chandelier — which weighs more than 700 kilos and thus, will have to travel in a separate unit.

All these add up to the profundity of the Phantom experience, an ageless story that everyone can relate with, to the tune of Andrew Lloyd Webber music.

Jason said, “It’s a love story. It’s about unrequited love. People can relate to that.”

Anthony, for his part, said, “What grabbed me is the music. Everything just works musically, melodies, harmonies, orchestration… It’s just all perfect. I think that’s why it’s going for years.”

And then there’s the story of the central character that makes you somehow feel, to borrow a line from one of the songs, that “The Phantom of the Opera is there inside your mind” — long after the show ends.

Jonathan said, “There’s something about the Phantom himself. There’s always someone in the audience who relates to being alone, excluded or turned down.”

He added, “I certainly think (in this production), the audience isn’t just hearing something phenomenal, they’re seeing it as well, and when those (two) things come together, with the story so vast and epic, I think it’s inevitable that the audience is going to fall in love with it.”

(Presented in Manila by Smart Infinity and Citibank in cooperation with Philippine Airlines as the official carrier, The Phantom of The Opera is produced by Lunchbox Theatrical Productions, David Atkins Enterprises, Hi-Definition Radio, Inc. and Concertus in association with The Really Useful Group. Book your tickets now at Ticketworld [891-9999] or log on to www.ticketworld.com.ph.)