In this writing piece I shall share a personal Journal of my acquaintanceship with a world of stage drama that was Just there in the alleys of midtown Manhattan along with other passing commercial business enterprises. This is the side of arts and literature that remained producing and presenting theater shows to the urban public. I rarely thought that I could hardly relate to this realm of theatrics, especially being a twenty first century metro dweller.
As I set off my expedition hunt for the literature rich Treasure Island through the city-borough into the Broadway box, little id I know that I would so to speak stumble upon and unlock the metaphorical Pander’s Box. After opening the majestic vault I was as if in the midst of the gems and Jewels that aroused from the 42nd street neighborhood entity. I got enlightened by encountering a gemstone from this collection of treasures and trinkets known as “The Phantom of The Opera. It should be quite obvious by now the fact that the Phantom happens to be the cunning culprit responsible for the act of my Broadway musical ‘cherry popping exposure. I hope the reader would excuse my French simply because I mean no disrespect in any profane way to a long time next or rival production called “Mary Popping”. In other words “The Phantom of the Opera” has comfortably secured the first spot in my list of viewing many other Broadway plays that are yet to come.
I cannot help but emphasize this promo genial melancholy contact by quoting a title of a very popular pop song “First Cut is the Deepest” which I could now relate to very intimately. “The Phantom of The Opera” is an iconic bidirectional passionate tale that is converted into the longest running Broadway theater act so far for about two decades. It is adapted from a French novel by Gaston Leroy. , an epic story of the menacing masked musical aster called The Phantom who inhabits and prowls the underbelly of the eighteenth century Paris Opera stage house.
He triggers sheer terror among its residents by inducing fatal curses and making egocentric demands. All of these acts are the results of a three-way love affair centering the young promising amateur opera apprentice Christine Dead who is torn between her bosom friend turned fiancé©, a wealthy theater philanthropist: Viscometer Rural De Change, and the other man, The Phantom. Thus, begins the cat and mouse tug of war for Christine who is left with an awkward choice involving sacrifice and betrayal.
In spite of a linear story the play gets quite intense through its course of unfolding the enigmatic melodrama. This whole theatrical assembly comes alive with all its grim elegance, dark eloquence, gothic refinement, and cryptic complexities through the collective efforts of everyone involved and every technological stage magic presented that were certainly very instrumental in the process of exhibiting the indulging creation.
The action and the acting of the characters, the sounds and the noises of the composer, the thunder and the lightning of the light tech, the colors of the stage and costume design, the theme ND the music of the playing orchestra, the singing and dancing of the performers hold the capacity to take any casual viewer on an exciting emotional fantasy-filled roller coaster ride too mental wonder land. Under this basic circumstance, I will spare the technical details and leave the act of proper credit distributions regarding directing, screen play and acting performances to the navy. . ‘signet professional critics and paid reviewers. For me it was Just like taking first baby steps in the event of a walk through an imaginative archaic market fair held in a colorful mystic floral garden. Although “The Phantom of the Opera” displays certain complications throughout its twisted conspiracies and old fashioned social wits, yet it promotes simplicity with exquisite vigor. This particular feature not only tallies a subtle charm but also elevates The Phantom to a dark timeless romance chronicle.
The Phantom himself is an elusive being with a compound persona at various levels with traceable features that combine the sophistication of Drachma, notoriety of Jack the Ripper, and the agility of Batman. The theme song has also blended into his inherit magnetism in a spell bound sync that flows parallel with the Phantom’s reputation. Christine, Rail, La Carrot, Madame Girl and her daughter Meg are among other prominent crew members of the phantom clan that revolve around the central character though out the blossoming story telling.
Despite the phantom’s brute, a deep sense of sympathy arouses for the poor thing as he dexterously delivers the following message loud and clear, “Misery loves company’. I have no intention to reveal the spoiler but cannot escape from mentioning the boat Journey through the Styx-like foggy river which indicates and reminds the audience the end is very near and all of this will soon come to a provocative climax.
This very idea of approaching its terminal point stirred me to scream out loud and break the silence as if I was watching an outdoor contact sport, yet I had to hold back and take refuge under my own calmness. I had to contain myself from this screaming urge with the intent of only not to tamper with perfection. Even after running for many thousand times for many years the “Phantom of The Opera” has matured beautifully. The whole experience of viewing this play is as smooth as drinking an old fine wine sitting in a sky touching high reaching balcony on a work day after hours evening time.
