With Michael Crawford, Dale Kristien, Reece Holland, Leigh Munroe, Norman Large, Calvin Remsberg, Barbara Lang, Gualtiero Negrini, Elisabeth Stringer, D.C. Musical staging and choreography Gillian Lynne. Orchestrations David Cullen and Lloyd Webber. Produced by Cameron Mackintosh and the Really Useful Theatre Company. Presented by Center Theatre Group/Ahmanson. ‘THE PHANTOM OF THE OPERA’Īndrew Lloyd Webber’s musical, at the Ahmanson Theatre. with matinees Thursdays, Saturdays and Sundays at 2. But in the end, this “Phantom” suggests the story of the Emperor’s Nightingale-beautifully jewelled, exquisitely sung and without a heart. It’s an evening that will fascinate anybody who likes to see how things fit together. Prince’s staging is impeccable, and the great set pieces flow like a film, perhaps to the extent that we wish the show were a film, so we could really go to the roof of the Paris Opera. Maria Bjornson’s sets and costumes evoke a suffocatingly ornate period without seeming silly, and Andrew Bridge’s low-keyed lighting suggests all kinds of dark things moving behind the gilt and the plush. (It’s credited to Richard Stilgoe and Lloyd Webber, and it actually gets quite a lot accomplished, for all its incidental foolishness.) But the accouterments will reward your closest inspection. Barbara Lang is the stiff-backed ballet mistress, Madame Giry, who keeps bringing in notes from the Phantom, without anyone wondering where she gets those notes.ĭon’t examine the libretto too closely. The spoofing of the Opera Populaire goes very well, with Leigh Munro as the temperamental diva, Carlotta, and Norman Large and Calvin Remsberg as those cynical keepers of the cash box, Monsieur Andre and Monsieur Firmin.
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