My Twenty-Two Year Journey with THE PHANTOM OF THE OPERA

My journey with The Phantom of the Opera began in 1992 at the tender age of four. My godmother took me to see the first National Tour at The Kennedy Center in Washington, DC. I was absolutely mesmerized. I have since seen the show on six or seven other occasions but I will always remember my first time, which ironically, was one of the show's advertising campaigns in recent years. The details from that first experience are fuzzy, but I very vividly remember the Phantom's lair, the Masquerade, and of course, the famous chandelier. Not yet five years old, I already knew what a "high C" and a "high E-flat" were from running around my house singing the title track at the top of my lungs. I thought I was part of the show and I experienced the drama along with Sarah Brightman and Michael Crawford every time I listened to the cast recording on cassette tape.

Fast forward two decades and I still love The Phantom of the Opera, but for different reasons. Becoming a singer myself, I appreciate the glorious music that Sir Andrew Lloyd Webber has written for Christine and The Phantom get to sing. I'm not as enamored with the chandelier and the boat as I once was, but those first chords of the overture still give me goosebumps every time. I was lucky enough to attend the 25th anniversary concert a year ago and what an incredible experience that was. The festivities and the special performances that followed the show were fantastic, of course, but there was one element of the show that made the evening special. Her name was Sierra Boggess.

This brings me to the special performance I was able to attend a few weeks ago for a blogger event. I was more excited to see this show than I had been for any other repeat visit, and I was not disappointed. Sierra Boggess and Norm Lewis in the main roles are the most excitement this show has seen in years. I don't use the term 'reinvent' lightly, but that is exactly what they did with these roles that are over twenty-five years old. They are vocally brilliant, which was not unexpected, but what makes their performances so profound is their chemistry and their acting choices. I think their previous onstage relationship as father and daughter (in The Little Mermaid) adds an interesting element to their Phantom relationship by making it seem even more forbidden. The highlight of Sierra's performance is her Act II solo Wishing You Were Somehow Here Again. The vocal nuance that she applies to the scores give such depth to the character and we experience Christine's emotional highs and lows alongside her. Super fans will also be excited to hear the Wandering Child trio from London has been added to the end of this scene. Norm's booming baritone adds a new flair to the previously tenor-performed songs Music of the Night and the title track. However, where he really shines is in the final scene Down Once More/Track Down This Murderer. He finds some small notes of humor in this character that is often played only as brooding and grotesque. He actually resembles a child throwing a tantrum as he forces Christine to choose between Raoul's life and her own freedom, which adds all the more pain and anguish to his character.

Hal Prince's staging of this beloved musical is timeless, yet if I squinted a little bit, I almost felt as if I were watching a new production because the performances are so fresh. Whether you're a casual fan or you've grown up with The Phantom in your soul like I did, it is worth revisiting. It is an absolute joy and a pleasure to revisit the staging and hear Sir Webber's glorious romantic melodies with two exquisite talents at the helm. In fact, take your own children and maybe, just maybe, the musical theatre will take hold of them and refuse to let them go as it did with me over twenty years ago.

My Most Memorable Theatre Experiences: #2 The Phantom of the Opera

When I was 4 years old I was visited by the angel of music and I was never the same. My aunt took me to the Kennedy Center's Opera House to see the national tour of The Phantom of the Opera and according to her stories, I was the most well behaved four-year-old that anyone in the audience had ever seen. I was completely mesmorized and though I've seen the show several times since then, I'll always remember my first. Come to think of it, wasn't "remember your first time" an ad slogan used to promote the show a few years ago? Anyway, it's becoming increasingly difficult for me to decipher my first memories of the show from more recent ones, but I certainly remember the specatacle, from the the Phantom's lair  to the masquarade, and of course the falling chandelier. But above all else, I remember the music and that has lived with me for the past 18 years. I loved to listen to the original cast recording, I believe it was on cassette tape then, and I specifically remember running around my house singing the cadenza to "Think of Me" and the notes above the staff at the end of the title track, because I wanted to be Christine Daae. I was probably the only four year old in my neighborhood who know what a high C was.

While I have come to love many other musicals in my theatre-going career, The Phantom of the Opera will always be my first. And as a singer, I still love singing this score more than anything other piece of music I've ever learned. Though there are surely other musical theatre composers that I admire more, I will always credit Andrew Lloyd Webber with inspiring my love of the musical theatre, which has become for me, a love that never dies.

Fun Fact of the Day: The Gamble of Investing in a Broadway Show

It is no secret that investing in a Broadway show can often be a big risk, but in actuality, 2/3 of all Broadway shows fail to make back their initial investments. In theatre lingo, we call it "recouping" when a show makes back the money initially put into it by investors. At that point all the money that the show makes above its weekly "nut"--or the sum total of its weekly operating costs--becomes profit for the show's producers. So what this basically means is that for every mega hit like The Phantom of the Opera that recoups and makes a huge profit every week, there are two shows like The Little Mermaid and 9 to 5 that are forced to close on Broadway before making back their initial investment. I should note that while some shows fail to break even on Broadway, they often have great success with national tours and subsequent regional productions.

So why do producers continue to invest in Broadway shows? Because for every Taboo and Caroline or Change, there is a Wicked.

Weekly Poll Results

Based on your votes last week, the winner for best male role in the musical theatre is a tie. Benjamin Barker/Sweeney Todd in Sweeney Todd and Bobby in Company each received 38% of the vote; both are roles in Stephen Sondheim shows. Coincidence? I think not. The leading men in the big British imports fell next in line with Jean Valjean in Les Miserables receiving 27% and the Phantom in The Phantom of the Opera receiving 22%. The Music Man's Harold Hill came next at 16% followed by Peter Allen in The Boy From Oz with 11%, The King from The King and I with 5% and Billy from Billy Elliot, Emile de Becque from South Pacific and Claude from Hair tied for last with zero votes.

This week's poll will go up later this afternoon. All of you dancers out there will like this one...hint, hint.

Fun Fact of the Day: Long Running Broadway Musicals

While some great Broadway shows have had to close early due to finances, other shows have enjoyed very extensive Broadway runs. The following are the top ten longest running Broadway Shows.

*1. The Phantom of the Opera-opened January1988; currently running
*2. Cats-opened October1982; closed September 2000
**3. Les Miserables-opened March 1987; closed May 2003
***4. A Chorus Line-opened July 1975; closed April 1990
5. Oh! Calcutta! (revival)-opened September 1976; closed October 1989
6. Chicago (revival)-opened November 1996; currently running
7. Beauty and the Beast-opened April 1994; closed July 2007
8. The Lion King-opened November 1997; currently running
9. Rent-opened April 1996; closed September 2008
**10. Miss Saigon-opened April 1991; closed January 2001

Notable Facts:
*The two longest running musicals in Broadway history were both composed by Sir Andrew Lloyd Webber
**The 3rd and 10th longest running musicals were both written by Claude -Michel Schonberg and Alain Boublil
***Because the top 3 longest running musicals are "British Imports," having premiered on the West End before opening on Broadway, many theatre purists consider A Chorus Line to be the longest running "Broadway musical"

Our Musical Theatre Dream Roles, by The Democracy Diva and The BackStage Barbie

The Democracy Diva's (@democracydiva) Dream Roles:

1.      Mama Rose in Gypsy

I know this is one of the Backstage Barbie’s dream roles as well, so I’ll leave the lengthy descriptions of the brilliance of Mama Rose to her. But just know that this is absolutely, undoubtedly, the most important female character in the history of musical theatre. When I saw Patti LuPone perform as Rose, I found myself sobbing hysterically during “Rose’s Turn.” Not because it was sad, but because I couldn’t even believe that Patti was acting. I couldn’t believe she could emote like that – so raw, so pained, so angry, bitter, sad, resentful, desperate, passionate, ambitious – you don’t to be a stage mother (or a mother at all) to feel an unbelievable emotional connection to Mama Rose. She has more depth than any other character I’ve ever seen, and any belter could just dream of blaring out Mama’s notes at full voice.

2.      Fanny Bryce in Funny Girl

As a female Jewish belter, it would be impossible for me to leave Fanny Bryce off my list. Played to perfection by the incomparable Barbra Streisand in the movie and original Broadway cast, Funny Girl’s upcoming revival is the current hot topic in the Broadway community. I won’t bother to go into details about how vocally incredible this role is; just listen to “Don’t Rain on My Parade,” and you’ll understand what I mean. Everyone can relate to Fanny’s drive and ambition and the struggles she faces, but Jewish girls with less-than-perfect noses feel a unique connection to her, and to Barbra. I’m not too bothered about who will play her in the revival, but I do hope it’s a Jewish girl who sings “Who’s an American beauty rose with an American beauty NOSE!”

 3.      Kate in The Wild Party

The only dream role I’ve had the incredible privilege to play, Kate enters the stage by proclaiming that prohibition can “shove it” as she pulls a flask out from her garter. As a supporting lead, Kate is used more as a device to further the plot than as the focus of the plot itself, but she also sings what I consider the greatest female belter song in modern musical theatre: “The Life of the Party.” A caricature of the 1920s vaudeville performer, Kate drinks to excess, snorts cocaine, seduces her friends, and is a diva in the truest sense of the word. Being Kate was absolutely thrilling; it made me feel as if there was nothing I couldn’t accomplish, and I’d give anything to play her again.

4.      Cathy in The Last 5 Years

Cathy is possibly my saddest dream role, because I am far, far too Jewish to play this “shiksa goddess.” But she’s a dream role none the less. She is incredibly real and incredibly relatable – her story is not one of trying to drag her children or herself into show biz or vaudeville; there’s no exaggerations, it’s not over-the-top or showy. Cathy is just a woman in love with a man; and she tells her story beautifully, through tearful ballads and brassy, jazzy tunes. A high belter, the role of Cathy is incredibly vocally demanding, but listen to “I Can Do Better Than That” and you’ll understand why she’s the best.

5.      Maureen in Rent

Sometimes your first dream role sticks with you forever. And when I was eleven years old, I knew that I wanted to play Maureen. Who needs to be in Act I when “Christmas Bells” serves as the build-up to your epically divalicious first line: “Joanne, which way to the stage?” And she more than makes up for lost time by immediately diving into “Over the Moon,” kissing her girlfriend and showing her ass during “La Vie Boheme,” and belting like there’s no tomorrow in “Take Me or Leave Me.” This role catapulted Idina Menzel into the spotlight and made her the stuff of Broadway legends; Maureen is by no means the largest or most powerful role in the show, but nobody has more fun than Ms. Maureen Johnson.

The Diva's Honorable Mentions:

6.      Moritz in Spring Awakening

Yes. I would rather play Moritz than Wendla. Moritz is by far the most interesting character in the show, and while I loved everything about Spring Awakening, nothing struck me as much as John Gallagher Jr.’s portrayl of this tragic figure.  Moritz truly makes you laugh and cry, and he steals the show from the rest of the impeccably talented cast because he has this angsty rock star in his soul just bursting out of him. Moritz’s self-doubt is universal, and his expressive rock anthems are incredible to listen to and to watch. I’d give anything to be screaming “Don’t Do Sadness” into that microphone, red lights flashing around me.

7.      Hedwig in Hedwig and the Angry Inch

It’s confusing to be a girl wanting to play a man who dresses as a woman, but so is life. Hedwig is a post-op transgender punk rock singer from East Berlin, Germany; the rock score tells stories of her botched sexual reassignment surgery, her rejection by the boy she loves, her incredible passion for music and performance, the impact of the fall of the Berlin wall on her youth, and her desperate, starving need for attention. (She’s the East German Lady Gaga, if Lady Gaga used to have a penis.) The music is different from every other rock musical in that it is indistinguishable from actual rock musical. Nothing about it feels like musical theatre; while watching Hedwig, you’re undoubtedly at a rock concert. Hedwig is a refugee, a victim of abuse, a so-called sexual deviant, a songwriter, and a cutthroat, angry woman who has faced an incredible amount of pain. But she has a soft side, as evidenced by the chilling and inspiring song, “The Origin of Love.”

The Backstage Barbie's (@barbiebackstage) Dream Roles:

1.     Christine Daae in The Phantom of the Opera

I fell in love with the role of Christine when I saw The Phantom of the Opera, my first Broadway show, at the tender age of four. I was completely captivated by those glorious high notes written by Andrew Lloyd Webber, specifically for the original Christine, Sarah Brightman. I used to run around my house attempting to sing the high E-flat at the end of the title track and although I'm sure it didn't sound great, those notes were inspiration nonetheless. When I began to study classical voice technique and decided to focus on training my head voice, my goal was that high E-flat because it was a requirement for the role of Christine. To this day, reaching that E-flat, and now the G above it, is the greatest milestone in my vocal training. I love that Christine has such a difficult decision to make, between Raoul and the Phantom, which torments her throughout the entire show. She loves that Raoul is safe, but has always felt pulled toward the Phantom for helping her find the power of her voice. While the Phantom's name is in the title, I have always felt that the show was really Christine's story.

2.      Glinda in Wicked

Anybody who knows me knows that this role is a given for me. I have dreamed of playing Glinda since the first time I saw her descend from the rafters of the Gershwin theatre in her bubble and that dream has lingered with me ever since. I love that Glinda gets to sing all over the map, from the coloratura notes in the opening numbers of each act, to the pop belt in Popular and the heartfelt duet For Good with Elphaba. The most extraordinary thing about this show is that it truly celebrates two powerful women and the strengths and the differences that allow them to succeed in their own ways. This is a piece about friendship, which is actually quite rare on Broadway. While Glinda may seem the more shallow of the two witches, I find that she actually undergoes a deep transformation from a spoiled, selfish girl to a strong-willed, independent woman who learns to think for herself and make her own choices.

3.     Nellie in South Pacific

As a soprano with the look of an ingenue, I've always found the Rogers and Hammerstein shows to suit me very well. While some of their shows are quite fluffy, I always thought of South Pacific as delving a bit deeper and being quite revolutionary for it time in its discussion of racial tension and ultimately acceptance. Nellie gets to sing some of the best songs every written, from Wonderful Guy to Cockeyed Optimist. In the roles that I love, I tend to be drawn to strong, take charge women and Nellie, a World War II military nurse is certainly one of those. While she appears to be bubble gum sweet on the surface, she actually has her own deeply rooted issues as she was brought up to judge those of different races. She eventually overcomes this and learns to love Emile de Becque's bi-racial children as her own. This role is particularly special to me because my great-grandmother's name was Nellie and the two actually have a lot in common: courage, compassion, and moxie. 

4.     Val in A Chorus Line

Anyone who has ever seen A Chorus Line knows that Val has the foul mouth of a sailor, but is really just a sweetheart. Now I'm not saying that this necessarily describes me, but it would be so fun to play. First things first, this show celebrates dancers, and dancing has always been my first love. This was the first musical that led me to tears, and not just a few tears, I cried buckets because of its message of the importance of dance and the sacrifice that dances make: "what we do for love." What attracts me to Val is that she puts on a tough girl act to mask her fear in the audition, which is something all dancers can relate to. And most of all, it would be pure enjoyment to sing "Dance Ten, Looks Three" and play that bawdy, sassy character on stage eight times a week.

5.     Mama Rose in Gypsy

Like the Democracy Diva, and probably every other actress in the musical theatre, I dream of one day playing Mama Rose, the ultimate stage mother. Its been said that this is the greatest role for an actress in the entire musical theatre repertoire and I have to say that is correct. She is a character that is so well written with depth and emotion, but also allows for great interpretation by the actress given the opportunity to take her on. There is something so incredible about her resilience because even though June, whom she poured all her loved and attention into, leaves her at the end of act I, she is able to quickly switch gears in order to focus on making Louise a star. Rose gives up everything in her life to try to make her daughters actresses, even the chance to have a normal, comfortable life with Herbie as a husband. But she cannot shake the dream of getting her family into the spotlight and when Louise becomes a burlesque star and realizes she doesn't need her mother anymore, everything comes crashing down. This results in Rose's Turn, which I believe to be the single greatest song every written for the musical theatre. There is nothing more heartbreaking than Mama Rose, in all her desperation, shouting "I had a dream, I dreamed it for you June, it wasn't for me Herbie, and if it wasn't for me, then where would you be, Miss Gypsy Rose Lee." While the Democracy Diva cites Patti LuPone's performance in this song as the most thrilling, I prefer Bernadette Peters' rendition. What I love about Peters' performance is that she has an inherent sex appeal in the song, which makes it very believable to the audience that Mama Rose really could have been a star if she would have focused on her own career instead of her children. And since I am not a belter, I love that Bernadette was able to find a way to give a powerhouse performance in the role while mixing into her head voice.


The Barbie's Honorable Mentions:

6.     Cunegonde in Candide

I love that this show is a musical, operetta, and a farce all wrapped in one, which happens to showcase my greatest strengths as a performer. And after spending a great deal of time with my voice teacher mastering Cunegonde's aria Glitter & Be Gay, I would love the opportunity to sing it in the show.

7.      A trio of Sondheim roles (because I love the music so much to choose just one)

Cinderella, Into the Woods

Song: No One Is Alone

Desiree, A Little Night Music

Song: Send In the Clowns

Sally, Follies

Song: Losing My Mind, In Buddy's Eyes