I saw ‘The Phantom of the Opera’ at His Majesty’s Theatre, London. I really enjoyed how every aspect of the production, from costume to set design, amplified the spectacle of the production as well as the Gothic setting of the story. I was struck by the spectacle of the performance: from the unveiling and ascension of the chandelier to the theatrical illusion of candlesticks appearing from smoke, the whole production was packed with extravagance and spectacle that held the audiences’ breath throughout.
It seemed to me that the glamour of the production also mirrored the Phantom’s mysterious identity. The Phantom hides behind a mask, delivering letters and requiring a box reserved every night mirroring the production’s flair for the dramatic. And yet, as we discover, the Phantom is simply a man desperate to be understood and loved (although this does not justify the murders). Just as Christine sings ‘Think of Me’, the Phantom only desires to be held in someone else’s thoughts. He views music as a universal language, a way of understanding someone through song. Even if Christine can never see his real face, he wants to connect and be understood by her through song. Instead, the lasting visual image of the production is of his mask held up proving that it is not the man who will be remembered but the myth, the Phantom. All the spectacle and glamour of the production is transient, as the opening sequence suggests, mirroring the impermanence of the Phantom’s memory. The myth of the Phantom and the dusty souvenirs are all that remains.
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