Famous as the hub of theatre in America, Broadway is home to some of the most amazing shows that have ever graced the stage. Musicals come and go like the tides of the ocean. With the constant parade of shows, it’s hard to tell what’s worth seeing and what to avoid.
Even with newer, more artistic shows, there are still good, solid traditional plays that cannot fade into the background. One that stands out among the rest and has drawn viewers back over and over again is Phantom of the Opera.
Typical of even the most average Broadway show, the sets and costumes were amazing. The acting was right on target, and no one faltered in their step. It quickly drew the audience in, kept them in awe, and created a small bubble of a world that transported the audience to a Parisian opera house.
Granted, the show is not as flashy as the new shows on the block, such as The Producers and Gypsy. Compared to those Phantom seems to be a little on the conservative side. It definitely has operatic undertones—it is set in the French Opera House—that give it a more formal air. The operatic qualities, however, tend to remain in the background as the stars of the theatre battle “OG” (that’s “Opera Ghost” for those not familiar with the fictional politics of the French Opera House).
For a first-time viewer, you quickly learn of “OG” and of the Angel of Music, and it’s not too long before you discover a connection between the two. The show revolves around Christine, a peaceful, sweet blooming prima dona, and the Phantom, a horrible monster who terrorizes the performers and owners of the opera house.
At first, Christine believes that the Phantom is the “Angel of Music” who her father promised to send to her. This angel tutored Christine in her singing, putting her in an ideal position to become the star of the opera house. There is only one obstacle: Carlotta, the current prima donna. Fortunately, the Phantom has no qualms about making things uncomfortable for anyone who stands in his way, even going as far as killing.
In walks Raoul, the new benefactor of the theatre. He and Christine knew each other throughout their childhood, and he is still quite taken with her.
So we have a love triangle, complete with the jealous, vengeful suitor. When the Phantom loses Christine to Raoul, he vows war upon both, bringing a chandelier crashing down by the end of the first act.
The second act involves an opera written by the “angel,” designed with Christine in mind for the lead role. With much trepidation, she takes the part in order to help out in a plot to capture the Phantom.
The formulaic plot manages to draw any viewer into this ironic world of watching actors play actors. It’s definitely worth your time to stop by 44th Street to enjoy in this well-known tale. Also, don’t forget to stop by the Times Square “TKTS” booth to get half-price tickets.
