The Honors Department went on a cultural outing to Chicago’s Cadillac Palace Theatre to see “The Phantom of the Opera”on Sunday, Jan. 25. The musical is set behind the scenes of the Paris Opera House in the late 19th century, which is rumored to be haunted by the mysterious Phantom. After a rehearsal scare, the prima Donna leaves, and Christine Daaé, a chorus girl, fills in as the lead soprano. Her young talent draws attention, including that of her mysterious, unseen tutor, the Phantom himself. As his obsessive infatuation with Christine grows, she, in turn, draws closer to her childhood friend, Raoul, opening the story to the depths of human loneliness, exclusion and love.
Cameron Mackintosh’s production gave life to Andrew Lloyd Webber’s 1986 musical, using clever set design, comedic performance, and talented vocalists (besides Raoul). What stood out most, however, was the way this production conveyed the humanity of its characters, particularly the eponymous Phantom.
Portrayed by Isaiah Bailey, a Black actor, the Phantom’s character held nuance, both from the embedded racial implications and Bailey’s acting choices. In the tension between murderous monster and pitiful pariah, Bailey emphasized the latter in building his characterization. In his interactions with Christine, the Phantom’s performance was more painfully raw, rather than bitter and anger-fueled, revealing the vulnerability behind the character. In this way, the marginalization that the Phantom experiences becomes grounded in social realities, offering the audience a substantial reason to empathize. In the last Phantom show I watched, the actor was the traditional Michael Crawford-esque archetype. While his vocal power was impressive, the performance only elicited a modicum of sympathy out of me, and the Phantom’s character felt one-dimensional. As a product of my generation and preliminary knowledge of the manosphere, I cannot help but draw parallels between the Phantom and incel culture. When the Phantom is played by a white man, and comes from a place of white, male privilege, he lashes out at Christine and the Opera House because of his conviction in his own revulsion. However, in Bailey’s performance, although he did display visible self-loathing, I felt more compassion toward him as a structurally disenfranchised subject, especially within historically white elite spaces. Moreover, Bailey’s shorter stature seemed to disrupt the image of an enigmatic, supernatural force, lending to the further humanization of the Phantom behind his sphere of power.
While Isaiah Bailey’s vocals were a personal favorite of mine, Jordan Lee Gilbert’s Christine was a close second, demonstrating both the range and power this character demands. Gilbert’s body language also expressed Christine’s conflict and resistant attraction to the Phantom. It was thoughtful how she subdued her moments of fear toward the Phantom with curious and open physical cues, steering the audience away from harmful racialized gender tropes.
On the other hand, Daniel Lopez’s depiction of Raoul was less resonant. While “All I Ask of You” was a highly anticipated song, it fell flat due to Lopez’s lack of vocal strength and strangely exaggerated, almost comedic gestures of love. Perhaps it was the actor’s choice, but the effect withered the romantic chemistry and accentuated his performativity.
Much of the production’s intentional humor, however, came from the supporting cast, particularly the opera’s managers, whose awkward attempts to maintain appearances, juxtaposed with the Phantom’s violence, allowed the audience comic relief. The scene with Carrington Vilmont’s Monsieur André getting caught between the dancing ballerinas on the stage was especially memorable, granting a temporary reprieve before the Phantom’s first murder.
The set design and costuming were standard, yet well-executed, and the Cadillac Palace utilized its limited space resourcefully. In the Phantom’s catacombs, for instance, the automated boat carried him and Christine through the water, then turned sideways and doubled as a pillowy couch in his living quarters. The lighting projected on the stage floor that transformed the ground into cobblestones or grass, as needed, also added to the setting of the musical. The surround sound contributed to the Phantom’s sense of being everywhere at once, but the excessive reverb also detracted from the quality, not being entirely convincing in the Phantom’s powers.
Overall, Chicago’s production of “The Phantom of the Opera” reframed the original story through its casting and deliberate acting choices that heightened the vulnerability and themes of marginalization underlying the show. Combined with the production’s entertaining humor and, on the whole, talented cast, the performance was enjoyable and still resonates long after we left the theater.
The Student Movement is the official student newspaper of Andrews University. Opinions expressed in the Student Movement are those of the authors and do not necessarily reflect the opinions of the editors, Andrews University or the Seventh-day Adventist church.