Is the so-called 'curse of the Phantom' true?

MANILA, Philippines - Andrew Lloyd Webber’s masterpiece The Phantom of the Opera, the longest-running show on Broadway, is based on a French novel by Gaston Leroux who was inspired by the Paris Opera House and an actual event that transpired inside the 19th-century structure in 1896 — one of the chandelier’s counterweights fell on the audience.

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. In an interview, the cast (many of whom will be flying to Manila to star in the highly-anticipated Phantom run at the CCP Main Theater from Aug. 25 to Oct. 14, to be presented by Lunchbox Theatrical Productions) talked about a minor mishap during a rehearsal that involved the orchestra and lightheartedly called to mind a superstition in Phantom productions — the so-called “curse of the Phantom.”

Side-stories like this only heighten the mystery and allure of this dark, romantic tale of a disfigured musical genius who haunts the catacombs beneath the Opera House while falling hopelessly in love with a young soprano. It’s a tale that has so fascinated audiences worldwide, making The Phantom of the Opera the most popular musical to date.

Lunchbox Theatrical Productions CEO James Cundall laughs when asked if he believes in the “curse of the Phantom,” saying: “No. I think all shows have wonderful stories attached to them and the biggest obviously is the Macbeth. That’s a show that always has a superstition with it because it has a dark story… I think this entertainment is such a wonderful meeting point for all emotions, and fabulous stories come out of it, but no I don’t believe in the ‘curse of the Phantom.’ The thing about live entertainment is that it’s live and when it’s live, things happen.”

This Englishman’s affair with theater is a fabulous story in itself. A descendant of Henry Cundall, said to be one of the closest associates of Shakespeare (his ancestry was traced and revealed to him by his good friend Brian May of the iconic British rock band Queen), Cundall is a former successful banker who ventured into theater production in the early ‘90s and never looked back.

Lineage aside, Cundall’s love for theater came with his upbringing. “When I was a child growing in Northern England, my father used to play musicals. He was a Yorkshire farmer but was incredibly musical. My mother died when I was 11 but she was incredibly artistic.”  

There was also an open theater in his town called Scarborough that held “massive productions like the King & I (complete) with horses, boats, scenery, etc.” that intrigued the young Cundall, who would then put up mini-shows with his brother in his father’s empty barns.

Years later, when Cundall would find himself in the world of private banking, “I basically fell in love with actress who was at a drama school. She left drama school to work and the only way I could see her on weekends was to watch her shows, so the more I got intrigued to theater. When she ditched me, she said I’d make a lousy actor (as I also did a bit of theater) and that I would do better as a producer,” he laughingly recalls.

In 1992, while working in Hong Kong as a high-ranking executive for one of the largest global financial advisory groups, Cundall founded Lunchbox Theatrical Productions with like-minded businessmen (who regularly met during their lunch break) as a hobby initially and then pursued it full-time eventually.

Lunchbox has since then grown in reputation as a leading producer of live entertainment in Australasia, mounting quality productions — from major musicals, concert tours to spectacular shows — in Australia, New Zealand, Hong Kong, Singapore, Malaysia, Philippines, as well as Europe, South Africa, Canada and the UK.

Lunchbox has been bringing productions to the Philippines since 2010, beginning with Cats that also starred our very own Lea Salonga.  

“I’ve been coming here since 1989, and it used to baffle me, that we created a market in Hong Kong, in Singapore, and there wasn’t one in Manila. Everyone speaks English perfectly and everyone is musical, so there should be natural market (here). At that time, the political (scene) was a bit unstable,” says Cundall. “Then I thought it just had to happen. Yes, it was a big risk, but we did Cats… we took the risk, and we were lucky to get very good sponsors like Smart, Citi and PAL. So that’s how we took off, plus we got local partners. It all just came together.”

He adds, “I think (the Philippines) is a great market. I love it here! The people are kind, charming, there’s always an air of hope. I always feel so welcome here. You can do anything here. I think it’s a great country. I think more and more people should discover the Philippines.”

Queried about his plans for the local theater-going market, he admits that “we plan to do a local production, a combination of probably local and overseas. In Phantom, we already have Filipino musicians (for the orchestra). The key for me is making sure the production is the original production. What I don’t want to do is do a new production. I will only do and I only want to bring the one’s been shown in West End in London or Broadway in New York because that’s what people want. It has to be part of a touring circuit.”

Cundall is based in the UK with his wife Rebecca and nine-year-old son Oliver, with their family home nestling on a sprawling 10-acre property. In dealing with challenges at work, he takes inspiration from his son. “Oliver is disabled, but he’s fond of life, he loves pretty women and practical comedy. He doesn’t talk, but he’s cute child. No, I’m never discouraged by (his condition), because there are people who are far worse. I think you just have to accept it and move on, and realize that the child is a gift in a different way. You can’t dwell on what might have been. But what it does do (is that) you are able to put things in perspective.”

Admitting that he’s a fan of entertainment theater and not really into what he calls “serious theater” or theater that, he says, makes him think, The STAR asked Cundall the Top 5 musicals that he adores, in no particular order.

1. The Phantom of the Opera. “It is just one of the most unique musicals. It was created at a time of recession in the UK. It has this lavish physical set, the chandelier, the music composed by Andrew Lloyd Webber, and the costumes remain one of the most iconic in the world. And it’s a love story. I first watched it in London. I have watched it for more than 30 times already.”

2. Lion King. “I watched on the day it opened in New York. I took my future wife there. It was our first date. It’s amazing! It recreates the African feel, that sense of space, the life in Africa.”

3. Les Miserables. “It remains (for me) just the greatest musical. It’s about hope. It will come to the Philippines in the next two or three years. It’s actually an easy musical to stage compared to Phantom as it’s one set.”

4. Carousel. “It’s by (Richard) Rodgers and (Oscar) Hammerstein. They wrote about real issues. It’s about domestic abuse; it’s a key topic for every country. It was addressed in the musical 50 or 60 years ago and I think it’s more important today than it was then. The music is stunning but the story is relevant. I watched Carousel again just a few weeks ago. I had watched it 10 times and I still love it.”

5. Chicago. “It’s sexy, and the music is great and sassy. The dancing is gorgeous and electric. It has a wonderful story, it’s a show I want to do in Manila.”

(The Phantom Of The Opera is produced in Manila by Lunchbox Theatrical Productions, David Atkins Enterprises, Hi-Definition Radio, Inc. and Concertus in association with The Really Useful Group. For details, call Ticketworld at 891-9999 or log on to www.ticketworld.com.ph.)