ROSE BOWL ADJUDICATION
Name of Society:CENTRE STAGE YOUTH GROUP
Name of Production:‘THE PHANTOM OF THE OPERA’
Date:7thApril 2016
Venue:The Pavilion Theatre, Exmouth
Adjudicator:Peter Townsend
Nowadays the accessibility of professional musical theatre - in West Endand touring productions or as transposed on to the ‘silver screen’ or through the medium of the internet and ‘You Tube’on to the myriad of small screens by which we are now constantly transfixed- means that an ‘amateur’ presentation of a technically demanding, modern-day, successful musical has both advantages and disadvantages over its predecessors. On the plus side - with the renaissance of British Musicals since the early eighties - society as a whole now hasa greater familiarity with the genre, whilepossible young, eager, musical talenthas a far greater awareness of the level of ability required to ‘cut the mustard’ in front of a paying audience and the degree of learning, rehearsal, self-discipline and commitment that is required to achieve thatend.
Additionally - as thebackstage,digital revolution continues apace - with a ‘tech crew’ sufficiently well versed in the ever-changing advances in lighting, sound and ‘FX’ and (importantly) with access to the latest equipmentrequired to employ those advances- an ‘acceptable’ standard of visual and audio presentation of a show can now also be achieved - albeit at some cost.
However at the same time - on the negative side- the expectation of audiences- now inured to the spectacle of these sameproductions and (as the ticket prices escalate) tothe higher standards that they are financially able to achieve-hasconsequentiallyalso been raised ever higher for amateur productions with their fewer resources but bags of enthusiasm, commitment and raw talent.
Of all the shows that require artistic - andespecially - technical excellence from an amateur company, ‘Phantom’ must beone of the most demanding. With its semi-operatic,‘sung-through’style; two male and female leads with ability to sing sustained, ‘exposed’ arias and an equalproficiency within a large ‘operatic’ chorus; a ‘Puccini-like’ romantic, sweeping score which also demands emotional playing from a committed, well-directed orchestra; slick, transformational set changes from sumptuous ‘theatre’with ravishing period décor and costumestobleak subterranean ‘gothic’; the technical demands of a huge, mal-functioning chandelier; a ‘transparent’ mirror, appearing dead bodies and disappearing ghosts; an underground lake and moving punt both shrouded in sufficient ‘dry ice’ to have a potential effect on climate change;Victorian pyrotechnics,and a masked title role who can sing perfectly and clearly despite his ‘half-face’ mask which has also to be removable to expose the disfigurement he hides from the world - this show places demands on a company like no other and indeed the UK touring production famously required a fleet of 17 trucks to convey the set, lights, sound system, props, pyrotechnics, costumes and the orchestra’s instrumentsbetween venues.
So any Amateur Company setting their sights on this most successful but demanding of musicals has to be absolutely sure that they have the talent, resources, technical ability, commitment and the bare-faced courage to carry it off.
SET AND PRESENTATION
The initial scene- of the progress of an auction on the dilapidated and forlorn stage of the Paris Opera- was sparsely populatedand had visible ‘lots’ -including a large chandelier - strategically located about the stage in front of the auctioneer’s central dais. Three blue spotlights from above provided just sufficient light to highlight the focal areas through thegloom, establishing the Act 1 Prologue and introducing two of the characters – Raoul, Vicomte de Chagny andMadame Giry - seen now bidding in their later years for artefacts from their past and who would shortly be seen as their younger selves in the subsequent retrospective story which was about to unfold.
After Lot 665 - a papier mach́e musical box - is won by Raoul, the scene was quickly transformed to the same stage some 25 years before. Whenthe drapes were removed from the cylindrical-looking shapes on either side of the previous auction scene,two elevatedauditorium seating ‘boxes’were revealed and a somewhat creased, full-heightscenic backcloth appeared (with an near full-sized elephant to ‘walk’ in front of it)with the now bright lights illuminating a stage peopled by a resplendently dressed chorus and dancers.
With a cadenzatheir leading lady - Carlotta (as Elissa, Queen of Carthage) - launched them into what appeared to be a performance of the opera ‘Hannibal’as the leading man himself - Snr. Piangi - approached her from upstage beforethe unexpectedarrival of the Chief Repetiteur- M.Reyer (to correct the leading man’s use of the noun ‘Roma’)- quickly revealed thisto be a costumed rehearsal. Stage hands then crossed behind the chorus while the old (Lefevre) and new (Firmin and Andre) ownersof the Operawalked on to the stage and the story began.
Thus the standard had been set by a slick, transformational set change with the stage peopled bya tapestry of colourfully costumed singers and dancers complimented by full-blooded operatic singing, a superb orchestral accompaniment with excellent sound balance, acoustics and well conceived lighting and this proficiency was set to continue throughout the show.
Following Christine Daáe’s replacement of Carlotta after she had walked out of the production - a scenic backdrop having inexplicably fallenduring the rehearsal - (‘Think of Me’) -she is seen immediately after the opening night briefly reunited in her dressing roomwith the Raoul we have seen before who was onceher childhood friend and now is Vicomte de Chagny and Patron of the Opera (Angel of Music). He leaves her brieflyandin his absence she is enticed by the Phantomof the Opera House -like a pied piper - through the full-length mirror (a scenic effect that totally worked) so that on his return Raoul enters her dressing room to find it totally empty.
From there the Phantom is seen firstly leading her from SL to SR through a stage level a trap door and then - traversing a high level walkway in the same direction - throughthe cellars ever downwards towards his lair (a journey which must have required some ‘doubles’ to achieve the seamless travelthat followed to the underground lake)
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Here the ‘FX Department’ came into its own and - in the sepulchral gloom- the whole stage became knee deep a tumbling riverof dry ice pouring downstage from RSR to FSL before descendingand dissipating into the auditorium,effectively masking the passage of the punt across the lake (Phantom of the Opera) to his subterranean sanctuary. The mist then melted away(Music of the Night) revealingan organ (CS) and covered mirror which he exposed to show her an animated model of herself in wedding gown. As the ‘model’ reaches out to her through the mirror she faints into the Phantom’s arms and he lays her carefully on a bed.
The following morning - after she invokes his ire by briefly removing his mask thusexposing his disfigurement - he returns herto the Opera House stage above where he (and we)see Joseph Buquet - ‘Chief of the Flys’-rebuked by the same Mme Giry the authoritarian ballet Mistress(whom we have also seen before) for speaking unwisely to the ballet girls about the Opera House’s ghost - the ‘Phantom’s’ - disfigurement and his ‘magic’ lasso. In the office of Firmin and Andrewe then hear of a succession of letters (Notes1) from the Phantom to them, Raoul , Carlotta and Piangi and - having advised them all of Christine’s return - a further one of instruction (to replace Carlotta again by Christine in the forthcoming production of ‘Il Muto’)for the new managers,delivered by Mme Giry.
This sequence was impeccably sung by all 7 of its participantsbut was somewhat difficult to follow (though, no doubt, doubly more so to actually sing). After the demands within the last letter were ignored by the owners their attitude hardened in Carlotta’s favour as the melody morphed(Prima Donna) despite the interjections of protest by Raoul, Mme Giry, Meg and the final, ever-present ethereal voice of the Phantom. In the penultimate Scene we see the further beautifully costumed ‘Opera’ - ‘Il Muto’- under way, with Carlotta ensconced as the Countesswhile Christine is the disguised (and mute) Serafimo, until the voice of the Phantom is heard and is fearfully remarked on ‘out of character’ by Christine.
Carlotta’s admonishment of ‘toad’ results in her own voice being reduced to that of an amphibious croak and she rushes from the stage unable to continue. The quick replacement interlude of a ballet sequence in a sylvan glade from a later Act (called for by Andre) is then itself brought to a shrieking halt as the body of Buquet is seen to swing into view in front of the back drop. This whole scene was managed with great control and increasing on-stage tension culminating in the sudden appearance of Buquet’s lifeless body bringing it to a close.
In the final Act 1 scene - set on the roof -Raoul tries to placate Christine and the two of them pledge their love for one another (‘All I Ask of You’) unaware of the presence of the Phantom who - overhearing her ‘unfaithfulness’ to him -‘explodes’ the auditorium chandelier.
Act 2 Scene 1 - some 6 months later - began with Andre and Firmin (after encountering each other in disguise) introducing the New Year Masquerade Ball supposedly in front of the staircase of the Opera House. This was in fact a stunningly costumed tableau on a central block of steps behind a gauze which gave a high, tiered location for the chorus of 20 plus - as a vocal ‘wall of sound’ - to assail us with the colourful, exultant opening number (‘Masquerade’). However the Phantom made another unexpected entrance in his own ‘masquerade’ costume (‘Why so Silent?’) and with the script of his own new opera –‘Don Juan Triumphant’ - before tearing the chain holding Raoul’s engagement ring from Christine’s neck and disappearing.
Raoul - until then a disbeliever in the Phantom - now learns from Mme Giry just who he may really be.
As Firmin and Andre againwheel on their own desks (thus creating their office)we next find the Phantom’s new opera being discussed as a flurry of further letters from the Phantom are ‘read’ out by their respective recipients (‘Notes II’) with the Phantom’s voice melding with and then taking over the last letter brought on by Mme Girywith further clear and accurate singing throughout from the Principals balanced perfectly with the excellent orchestra. Raoul then decides to acquiesceto Christine continuing to be taught by the Phantom in order to facilitate his ultimate capture or death.
A rehearsal of ‘Don Juan’ was nextquickly created with M Reyer at the pianotaking the chorus and Principals through a new piece. As Piangistruggles to master a simple sequence his partner loses her patience with him and the mayhem around her, whereupon the piano seems to begin to play by itself, the ensemble sing as one and Christine drifts off into her own reverie.
The stage was next bathed in blue light as we saw Christine now in a graveyard hearkening wistfully back to her childhood with her Father (‘Wishing You Were Somehow Here Again’) with delicate and controlled accompaniment by the orchestra’s individual instruments complimenting her plaintive rendition which was received with great acclaim by the audience. The Phantom then appeared- a spotlight on his face - to try to entice her (‘Too long you have wandered in winter far from my fathering gaze’), but Raoul enters to complete the trio (‘Wandering Child) before invoking The Phantom’s wrath on both of them by breaking her trance and winning her over.
We next see Raoul preparing the security for the first night’s performance of ‘Don Juan’ with Firman and Andre, a fireman and marksman, hear three echoing calls of ‘Secure!’ and the reverberating sound effect of heavy door closures signifying the completion of the cordon around the auditorium, whereupon the Phantom’s echoing voice is heard again teasing the marksman (who blindly shoots at nothing) before exhorting them to “Let the audience in, let my opera begin”.
It does - with the chorus revealed in yet more dazzling costumes in red and black designs - before Don Juan (Piangi) retires to an alcove (‘Don Juan’) having exchanged clothes with Passarino in order to seduceAminta (Christine). When he re-emerges his first sung words - “You have come here”(‘Past the Point of No Return’)were sung with such clarity to overcome the Phantom’s echo that we are in no doubt that it is the Phantom who is now enacting the ‘seduction’ of Christine in the guise of Don Juan, with the repeated line ‘Past the point of no return’ consistently sung with total clarity and malevolent control. But the song ends abruptly as Christine - having put on his proffered ring - unmasks him exposing his disfigurement and he drags her from the stage. In the ensuing fracas Piangi’sgarrotted body is discovered in the alcove and Mme Giry leads Raoul to the underground lake in pursuit of the Phantom (‘Down Once More’) and then we are again in his lair.
Christine is now very obviously his prisoner (‘Am I now to be prey to your lust for flesh?’) and courageously calls his bluff (‘This haunted face holds no horror for me now’) but Raoul appears at the open bars of the gate at the back of the lair pleading for her life. As the Phantom welcomes him with mock courtesy and opens the gateto let him in, he slips the ‘Punjab Lasso’ around Raoul’s neck before returning to his ‘throne’ and posing a deathly choice to Christine.
The trio that followed was exquisitely sung by all three and Christine’s kissing of the Phantom presages his release of both of them(‘Take her, forget me - go now and leave me’). The musical boxthen begins to play ‘Masquerade’, Christine returns to the Phantom to put her ring on his finger and then leaves with Raoul before Meg and the mob arrive to find the Phantom who had covered himself with a cape on his throne has disappeared from beneath the cape into thin air.
LIGHTING AND SOUND AND TECHNICAL PROFICIENCY
The standard of the above was of the highest order throughout.
When the requirement was for a ‘fully lit’ stage as in the ‘Opera’ sequences it was ablaze with light that showed the chorus’s costumes off to great effect. But when the scene portrayed was the Phantom’s Lair or the boat passage across the lake, the use of ‘wing’and ‘on-stage’ located spot lights with a blue ‘wash’ often perfectly captured the essence of the moment, as it did throughout from the opening ‘auction’ and subsequent ‘office’ scenes.
The clarity of the sound and the balance with the hidden orchestra was exemplary with the Phantom’s frequent unseen ‘voice-overs’ always crisp and clear and free from excessive echo. The numerous ‘exposed’ solos and duets were pitched exactly right against the orchestra such that not a word was lost, and the blend with the chorus in full voice was also absolutely right.
The Orchestra- finally revealed at the curtain call as located high up behind the stage - played the demanding score with deftness and commitment, and the many times when individual instruments were highlighted - eg in ‘Wishing You were Somehow Here Again’- they played with pin-point accuracy and control. Their direction and playing provided the foundation on which the performers successfully forged their own contribution to the show, despitesinging with an orchestra which was actually high up and behind themwhich is a tricky technique to master especially if the Musical Director is unsighted.
The ability of the back stage crew to quickly create the demanding set changes with their own technical requirements as described above was demonstrated throughout this busy show and they must be congratulated in achieving such a high standard of proficiency.
MOVEMENT AND CHOREOGRAPHY
Compared with many shows of the post-war era - especially American ones - ‘Phantom’ seems in many respects to be fairly static with a number of ‘Set Piece’ chorus numbers replicating 19th Century Opera and also with relatively ‘still’ principal scenes where the orchestration, stage effects and story line provide the impetus for the show. Also when it looks as though the dancers may be given a chance to show their delicate prowess (eg the ‘sylvan glade’ in the hastily established ‘Act 3 Dance of the Country Nymphs’ - complete with flowered hoops) they have only some 30 bars before Joseph Buquet’s swinging body curtails their chance to briefly shine, though what they did looked as enchanting as the glade they were supposed to be within.
Much of the movement seemed to be - after the quick establishment of a scene (eg ‘Hannibal’ (Act 1 Sc 1), ‘Il Muto’ (Sc 7), ‘Masquerade’ (Act II Sc 1), the music call for Don Juan (Sc 3) and Don Juan - Sc 6) - simply the quick dispersal of the chorus - often in a state of acute alarm - and it was obviously so successful that it didn’t register with the writer other than having been achieved with alacrity and efficiency.