Concept of Redemption in Phantom of the Opera

Everyone takes something different away from the Phantom of the Opera. There are many themes buried in the story, which I think lends to its undying popularity. It continues from generation to generation, and the reason behind it must certainly be attributed to how it speaks to us individually in many areas of our lives.

Some general themes we often relate to are:

• The hurt of unrequited love
• The need to hide behind our symbolic masks to veil our inward ugliness
• The need for acceptance and unconditional love
• The need to be forgiven for the evils of our past
• The need to be seen and wanted in order to save us from our loneliness and isolation

No doubt the list can go on and on. However, one theme that many take away from the story is the concept of redemption that plays out in the final lair scene. That theme is often prevalent with those of religious beliefs, because they see in the story analogies that relate to their ideals. Perhaps it's the salvation they wish the Phantom to experience, who once murdered, tortured, and kidnapped others. How he receives that salvation comes through the realization that if one truly loves, one lays down their life for another.

I believe that is part of the theme that some individuals attempt to hang onto in regards to the original, and why the sequel bothers them. It infers that after that kiss in the lair, the Phantom wasn't really redeemed after all or was he? His parting words at the end are not one of praise that he's been saved. Rather he cries:

"Forget me; forget this; leave me alone; take the boat, swear to never to tell of the secret you know of the angel in hell. . ."

Those words tell me he wishes to do one thing, and that is to sink back into isolation and obscurity, because he still believes he's an angel of hell and not a redeemed angel of heaven.

I find it interesting how we all want to save the man from his pitiful life. Forget Raoul who has it all - the riches, the good looks, and the girl. We love the underdog, in spite of his dark tendencies and many sins. He needs fixing. Someone should rescue him. Let's all give him a kiss, and show him that he can be loved. We hate the thought that his isolation remains, and we want to pull him out of the dark lair and bring him into the light.

The theme of redemption is certainly there, but redemption can often be a process that is fully realized after a significant event happens in our life. Throw away all the books you've read and the recent stage sequel. People cry, Phantom Needs No Sequel! But are you really satisfied with the ending? How do you come to terms with his life after he disappears through the chair? Do you really think that experience instantly changed him, and he lived a happy life afterward? Was he suddenly healed from Christine's kiss or was he still a broken man having lost the one person he loved more than life? It's an interesting question to ponder, and I'll be honest that I'm often curious as to how people rationalize what we are left with at the end of the stage version.

I think that if he really learned anything in the lair scene, it was the pain of sacrifice. He learned the meaning of unconditional love by watching two people he harmed display the act in front of him. We could spend plenty of time analyzing what was really behind Christine's kiss. Was it pity? Was it coerced? Was it surrender? Was it love? Whatever it was, it was that pivotal act that shook the Phantom to the core and became a turning point in his life. However, I don't believe that incident was the cure all of what ailed the Phantom. He was still a man in isolation. He was a man who experienced profound loss having loved another. He was still hounded down by everyone, who showed him no compassion and wanted him dead. If that's the case, then where was the redemption?

Redemption can be an instantaneous experience, but it can also be a process. Whether we like the plot of Love Never Dies or not, it does have a purpose in the lives of some fans. It brings closure. I see it as the end of the process or his journey. He's slow to learn. The obsession that he was never able to get over came to end. Often, things need to be taken away from us so we can finally change and grow. He no longer has Christine, but he now has the responsibility of fatherhood. Will he finally learn from that experience and find the culmination of his redemption in the end? Perhaps the unconditional love will be given to him by a child rather than a woman, and he will learn for himself the concept of laying your life down for another. Not what we had pictured, but it will serve a purpose.

In any case, if you want the story to have a fulfilling ending and you wish for the theme of redemption to remain, you must give to the Phantom some story in your mind that leads him down that ultimate path. Disappearing into the chair leaves for me a hollow ending. God knows, I had to write my own book to satisfy what I pictured for him the remainder of his life. Countless others have written stories as well to satisfy their cravings to close the story one way or the other.

It's obvious that some fans (and I know - not all) do find that closure in the current sequel by Webber. Apparently, it satisfies their questions. If you are one of those individuals who didn't need a sequel to satisfy your curiosity regarding the Phantom's ultimate redemption, that's great. No doubt you've figured that out for yourself. However, there are those that are still searching for the answer to what's beyond the back of that chair and the mask that's left behind. Right or wrong, it's just the way it is.

As for me, I see the concept of redemption in this story as a process and a journey, and not one that came to completion at the end of a kiss. Frankly, I think that would have been too easy. Change comes through growth, and growth comes through experience. The Phantom up to that point had neither.

Thoughtfully,

Vicki aka The Phantom's Student

Happy Birthday Phantom Vegas Spectacular!

• Yes, I've seen it 11 times in Vegas.
• I attended and loved Phantom fans week that was held back in September of 2009.
• Teresa and I owe the cast our regards for being so kind and coming on All Things Phantom show and letting us interview them back in 2009/10. Great people.

I would be remiss in not wishing them a very HAPPY FIFTH BIRTHDAY! May you have many, many, more!

If you're planning a trip to Vegas make sure you check out the very cool offer of two tickets for $99 to see the show. Broadway World just posted:

"For a limited time, guests can enjoy a 2 for $99 ticket offer. This offer can be redeemed by using the code 99PAIR when ordering tickets. The offer is valid through September 4, 2011 and is not valid on previously purchased tickets."

Go sit under the chandelier and feel the rush!

Cheerfully,

Vicki

The Amusement Park is Closing Down In London

Well rumors yesterday swelled on the Internet, and my Google alerts filled my inbox this morning. Andrew Lloyd Webber's production of Love Never Dies in London is closing August 27. There is no word of reworking it in London, though the Melbourne show continues in Australia.

Read here the morning news at:

Variety

Broadway World

No doubt a variety of reasons pushed the show to close in London. The Adelphi is co-owned by Webber and another group, who wished to bring in a new production hopefully more profitable. In addition, the bad reception in London and the opposition from a certain campaign tainted the show from the beginning. As far as critics, critics are critics, and mediocre reviews were published. However, some of the general public and the fans generally liked the show, in spite of the crap thrown its way. The voices that were the loudest, didn't necessary represent the entire Phantom community.

I'm so very thankful I had the chance to see it both in its original version and revised version and have been blessed to watch the performances of wonderful performers. Frankly, I never would have made it to London and enjoyed my first experience of English soil, if it hadn't been for the lure of seeing the show and reporting on it when I returned.

My heartfelt good wishes go out to all the cast as they move onto other opportunities. And to Webber, I say, thanks for letting me observe in London the choreographed reunion of my favorite two characters, Christine and the Phantom.

While some are no doubt having parties and others are already standing by the grave ready to throw the first clod of good-riddens dirt on the London production's coffin, it's still alive elsewhere on stage in the world. If Webber stays true to his plans, it will tour Australia, and perhaps one day visit Toronto and Broadway.

Usually we say it ain't over yet until the fat lady sings. In this instance it ain't over yet until the last one is thrown over the pier and drowned. My support of Webber and his endeavors continue, as I admire the man greatly and enjoy his creations.

To the London cast who leaves - GOD BLESS EVERY ONE OF YOU!

To the naysayers I say, don't rejoice over the failure of another.

To the lovers and supporters of Love Never Dies, rejoice in what you had the opportunity to enjoy in London.

To Webber I say, take heart, there are those that still support you and your creative right to take Love Never Dies elsewhere.

I'm itching to say so much more! I hate it when I have to bite my tongue. I really hurts.

Sigh...

The Phantom's Student

NOTE:  I've closed the comments on this post for a variety of reasons.  Mostly, I just don't want this blog to turn into a forum debate about Love Never Dies.  There are so many other places on the Internet to talk about the likes, dislikes, and its recent demise from the West End, that I just don't feel it appropriate to rehash the matter here.  Thanks for your understanding. 

Returning to the Air July 23rd! All Things Phantom

We have some exciting stuff lined up both here and at All Things Phantom on BlogTalkRadio.  We will be doing a test show on July 9th at 4 p.m. PST and our first full-length return to the air show on July 23rd at 4 p.m. PST (subject to change).

A Twitter account has been set up to tweet our happenings @AllPhantomBTR  If you have a Twitter account, come on over and follow the madness.  Retweets and mentions are appreciated.

Also, we have an awesome new website at AllThingsPhantom.com  where you can subscribe for email updates on upcoming guests.  We are in talks with some great ones, so check back!!

Okay, I'm off for my next exciting adventure to bring you interesting tidbits from Phantom-land.  I hope you'll enjoy what's coming down the line. 

As always...your obedient servant,

Vicki

Q&A With Tam Mutu - Alternate Phantom at London's Love Never Dies

Recently, Tam Mutu graciously agreed to answer a series of questions on the Tam Mutu Appreciation Group page on Facebook. 

Since I had the opportunity to see Tam in April of this year and thought his performance was stellar as the Phantom, including grabbing him at the stage door to get his autograph and meet him personally, I asked for permission to post the questions/answers on my blog.  Permission was given, so here they are.  If you wish to know more about Tam's background in theatre, his bio is linked back to the Love Never Dies website.  

Many fans are hoping that Tam will be the Phantom when Ramin Karimloo leaves in September.  He would be an excellent choice.  His voice is powerful, and his interpretation of the Phantom is moving.  I hope you'll join me and many others and support Tam in his role in Love Never Dies.

1) What do you like best about playing the Phantom?

In musical theatre terms, he is like a super hero. It’s great to be able to give my interpretation of a wonderful character and join a very successful list of people who have.

2) How do you prepare mentally to become the character that you play on stage?

For me the mental work starts at the beginning of the rehearsal process. I do a lot of research on the character and on the play itself (when the play is set, location, etc.). I try to learn as much as I can and talk things through with fellow actors, designers, and, of course, the director. This allows me to make choices and find my own truth. I learn my lines inside out. Before I go on stage, I may look over notes I have made throughout the rehearsal process or that I have been given by the resident director from a previous show/rehearsal. If I have done my preparation and research and obviously rehearsed thoroughly, the mental work has been done. It’s then a case going on stage and trying to remember the work/choices I have made and aiming to be as truthful each night as I can possibly be.

3) Have you ever had any accidents on stage?

Yes. One night in the old (original) show after ‘"Til I Hear You Sing" , I used to rush upstage and close the curtain around the Christine doll after being interrupted by Madame Giry and Meg. Well this night as I ran upstage, I slipped and fell flat on my back nearly knocking over Sierra who was the doll. There was a massive gasp from the audience. So embarrassing!

4) Have you some sort of ritual before each performance?

The make up usually takes around 45 minutes each day. I generally tend to listen to music or watch DVDs while this is happening. It can be a little mundane otherwise. It used to take over an hour, but the wig department has done really well to get the time down. Well done Biddy!

5) Would you like to play the first Phantom at Her Majesty’s?

Ha Ha Ha! I get asked this a lot. Yes, I would like to do the original Phantom. Be nice to complete the circle, albeit I have gone anti-clockwise in the process.

6) Have you experienced incidents when you messed up your lines or did something wrong during a show?

Yes. This actually happens more often than people think. The trick is to cover it as best as possible. Most of the time the audience doesn’t notice but it is a horrible feeling when it happens.

7) Do you have any specific music you like to listen to while you get ready for a show?

My music is random to say the least. One day it could be Mario Lanza the next it could be Eminem. It usually reflects how I am feeling or if I need to be inspired or motivated in some way.

8) Was it hard to adjust to the new changes and a new cast?

Yes, it was weird at first but you learn to adjust pretty quickly. The line changes were awkward as some of them were very subtle, but enough to trip you up ("‘Til I Hear You Sing’" being a prime example). I used to see costumes and not match the faces with what they were wearing. Was really weird. Things are all good now though.

9) Was there a time on the stage when you actually felt you were the Phantom?

I guess there is an element of that every night really. I have to commit to what I am doing and believe that I am that person.  Otherwise I am not being truthful, and I feel like I am cheating the audience.

10) Who has been your favourite Gustave to work with?

Ooh, I can’t answer that. All of them have brought something different to it. I am amazed by how fearless they all are. Inspirational really!

11) Would love it if you could make an album, but if that’s not possible how about having an official website where you could perhaps record some songs and put them online, as quite a number of musical theatre artists already do?

That is something I should be looking into I know. Am not the best at looking at myself and the idea of my own website makes me queasy. Ha Ha Ha!

12) I can imagine it must be really tiring some nights, so how do you wind down after a long day at the theatre?

Cup of tea at home. Movie/TV/Xbox.

13) What is your view on people that see the show on multiple occasions?

Thank you for all your support. We must be doing something right.

14) How do you feel about people who wait to see you at stage door?

I feel that if someone has taken the time to watch you in the show, then the least you can do is give them five minutes of your time.

15) If the show were to become a movie, would you consider playing the Phantom?

Ha Ha Ha! Yes think I stand a good chance of pipping Johnny Depp and Hugh Jackman to the role. It would be great.

16) What is your dream role?

When I was at college I always wanted to play Curly in ‘Oklahoma’. I love all the traditional Musical Theatre roles. Have had a thing about Martin Guerre for a while too.

17) Is there anyone you would really love to sing/act with?

Wow that’s a toughie! Would love to sing with Vittorio Grigolo. Am a massive fan of his. Also sing/act with Hugh Jackman. He can do everything and one of my big inspirations.

18) How did your acting/singing vocation start? Was there anyone who inspired you to become an actor?

I was a late starter really. I was in the school choir, but didn’t start drama/singing until I was about 15. I joined the local amateur dramatics society and gradually became more confident and more interested. I remember the first time I thought I would like to act for a living and that was when I was in the NYMT doing a production of ‘Whistle Down the Wind’. The person who most inspired me to want to perform was probably one of my best friends, Jeremy Sharples. He had (still does) an amazing voice and was in my local am dram club. He’ll probably kill me for mentioning his name Ha Ha ha!

19) Are there any singers/actors who have inspired you, either living or dead, i.e. we know you admire Mario Lanza.

It’s strange really because I never really thought of myself as much of a singer. It was just something I did and enjoyed. Have grown and learned so much from singing and learned to appreciate voices and allow myself to be appreciated, if that makes sense. Anyway singers: Definitely Mario Lanza! Pavarotti, new guy called Vittorio Grigolo (amazing!), Jeremy Sharples, Freddy Mercury, George Michael, Sierra Boggess, Whitney Houston and the amazing Jeff Buckley. Actors: I love Leo Di Caprio (always wanted his career) and Johnny Depp. Pacino because you can’t take your eyes off him and my friend Joseph Millson who is supremely talented.

20) Which is your favourite part of Love Never Dies, and do you prefer one song to any other?

My favourite part is probably the end of Act 1 when the Phantom finds out about Gustave. It’s great to do. I love all the music, but feel really fortunate to be able to sing ‘"Til I Hear You Sing." It’s such a great song, and I think one of ALW best for a leading man.

21) If the show were to be moved to Broadway, would you like to go with it as Phantom?

Yes.

22) Any roles on the great White Way you would like to play?

Any. Would be great to work on Broadway.

23) Many London theatres are said to be haunted. Have you ever come across anything spooky and seen/heard an actual theatre ghost?

I haven’t actually. The scariest thing I have seen is probably some of my fellow actors naked in the dressing room. It can be very traumatic!

24) Going back to the question of your own website, apart from enabling folks to hear you sing we could also be kept up to date with any concerts or future shows/TV/theatre work that you might be doing. Any plans for a website?

I am hoping to sort something out.

25) Do you have a favourite film… book… TV programme?

Film: Top 3 (at the moment and in no particular order) Star Wars (Empire Strikes Back), Groundhog Day and The Usual Suspects. Book: A season with Verona by Tim Parks (Loved it) and The Dark Tower series by Stephen King. TV Show: Spongebob Squarepants (Yes I am deadly serious!) and South Park.

26) Lastly, the figure from history you’d most like to meet.

Alexander the Great (male) he must have been some guy. Cleopatra (female) see what all the fuss is about.

* * * *

Thanks to those who were involved in spearheading this Q&A with Tam Mutu on Facebook.   The talent in the show is phenomenal, and I'm happy to support getting the word out on Tam's great interpretation of the Phantom and his aspirations for the future.

Go visit his page on Facebook and show your support.

Regards,
The Phantom's Student aka Vicki

Camelot

OK....


THAT was fun!  


I mean come on...sharing the stage with Jeremy Irons and Melissa.  Revisiting a dream.  We had such a blast.

This is a photo by Krissie Fullerton from Playbill.com  (Thanks guys for the coverage).  Here's a link to the story.

Playbill

Don't forget...concert Friday night in Camarillo, CA at The Spanish Hills Country Club.

Define Flop, Andrew Lloyd Webber

Today in an article printed in the The London Evening Standard, Andrew Lloyd Webber had a few things to say about the London release of Love Never Dies. Basically, he believes his bout with cancer was a setback to Phantom II, causing it to fail. In hindsight, he regrets not postponing the release until he was better and could focus upon the production with greater intensity. He termed it a "flop."

Frankly, I was a tad surprised he used that terminology to describe the London release. Though it has had its problems, I wouldn't term it a complete failure or a dismal flop. There are plenty who have seen the show since its inception, who like it and continue to like it. No doubt the poor reviews in Andrew's mind defines "flop" regardless of audience acceptance, along with the concerted effort by a group to raise a ruckus over its existence.

I will be honest, as I have been since the first time I saw it on March 24, 2010, that I didn't give it "raving" reviews, but took from it what I liked and wished some things were different. One of my first comments was there was a lot of bare stage in the production, compared to the opulence of Phantom of the Opera. Also, the costumes were not memorable by any stretch of the imagination. However, the original cast of Ramin, Sierra, Joseph, and the others made up in my mind whatever lacked in glitz on stage. Their performances were stellar, and the new cast are very talented as well. I loved seeing the Phantom and Christine together again engaging in a choreographed scene of regret and longing.

As far as musical score, I had no complaint either. Even after the CD release when some of the die-hard opposers on Facebook admitted to their dismay they couldn't turn off listening to some of the songs, it was proof even the most hardened of hearts were still touched by the music including Ramin's rendition of 'Til I Hear You Sing and Sierra's Love Never Dies.

However, then came the story and that blasted plot spawned off of Frederick Forsyth's The Phantom of Manhattan, which now totes 199 two-star reviews on Amazon. Disliked by the masses, the thought of basing a sequel off of his book enraged some in the Phantom community. Certainly, there was something better than that trash! Well, what remained was the Coney Island theme of the Phantom hiding among freaks and other themes of adultery, illegitimate children, and Christine shot to death at the pier.

If that wasn't bad enough, the characters changed, and people cried blasphemy. No one changes like that in "ten long years"! Christine is a whore! Raoul is a drunk! Meg kills her best friend! Gasp! Then, of course, lest we forget there were the screams that Phantom needs NO sequel that raged across the Internet like annoying tweets from a thousand black Starlings.

Well, the stage version is not word for word Frederick's tale of woe, but it is what it is. Some people have accepted the plot from start to finish. Some like parts, but wish they could change it in places. Whether Webber thinks the plot needs changing again to please the masses, is hard to say. I question though if it was once again rewritten, would it still please everyone? Well, I don't think I even need to give my opinion on that note. It's obvious the answer to that is no.

Right now he's pleased with the revised Melbourne version of glitzy sets, color, staging, and costumes. He'll probably leave it as is. After all, it's his baby. It's his conclusion to the story he birthed on stage. The ending concludes the love triangle. The Music of the Night is really over this time.

The stage that was once bare is filled with wonder, and the costumes that were once mediocre are breathtakingly beautiful. Ben Lewis is one formidable Phantom, and Anna O'Byrne is a porcelain Christine, whose beauty takes your breath away. The audience is raving, the critics are still critics, but Andrew is pleased. He has come to a place of satisfaction of seeing the story how he wanted it to be birthed on stage, but could not produce earlier due to his illness. In his eyes, it's a hit. You may think he's delusional, but he has the right to strive for success.

Frankly, I don't think the London production is a total flop. It didn't close a month later like people hoped. The lights are still on, the seats at the Adelphi still hold bodies. However, like any creative genius that puts a new musical on stage, Webber wants to see that musical succeed. He does what he does, folks, because God has given him a gift. When people love what he creates, he finds satisfaction in his calling. When people criticize him as having missed the mark, he feels disappointed that perfection wasn't attained. That's how all creative people feel. You are driven to do what you do, because that's how you were made. What keeps you going in your craft, in spite of the trash thrown your way, is the knowledge that you have touched others by what you've created.

I was overjoyed to read his words, "But now there is a great production and it's not going to go away." It shouldn't go away either. Love Never Dies should continue to bless those who wish to be blessed by it and find enjoyment in seeing the Phantom with Christine. No one has the right to make that decision for others. If you don't like it, fine. Don't waste your money seeing it. Go buy another ticket to the original and bask in what gives you pleasure, and let us who like it bask in ours.

In conclusion, I can only say, I don't define Love Never Dies as a flop. I define it as creative work that's been in progress and now brings satisfaction to its creator. Where it goes from here, one never knows. The Melbourne team should be congratulated a thousand times over for giving to Webber what his heart desired to see in a musical that is deeply personal to him, as it is to you. I think they did a fantastic job, and Andrew has every right to fluff up like a peacock and show his feathers in pride! Well done Melbourne! Well done indeed.

Bravo, bravissimo!