The Phantom of the Opera on Broadway Reviews
The Phantom of the Opera - Score: 9
From: Variety By: Richard Hummler Publication Date: 01/27/1988
The London audiences aren't wrong. "The Phantom Of The Opera" is romantic musical theater hokum in the grand manner - hokum cordon blue - and it justifies the feverish buildup that has given it a $16,500,000 advance. It's good for a Broadway run of several years. Andrew Lloyd Webber has taken the Gaston Leroux potboiler about the love-crazed disfigured genius who lives in the catacombs of the Paris Opera and fashioned it into a thrilling and musically rich mass legit entertainment. The 19th century period spectacle, scenic legerdemain, soaring melodies and exceptional singing are at the service of an involving and piquantly offbeat love story, all of it staged with brilliantly organized flair by Harold Prince, back in top form.
Link no longer active - Score: 9
From: New York Post By: Clive Barnes Publication Date: 01/27/1988
Technically it is a piece of impeccably crafted musical theater, with theme, music and staging in perfect accord. They combine as a total statement that depends for its potency more on the sum of its parts than on the strength of any individual component.
A grand 'Opera' - Score: 9
From: New York Daily News By: Howard Kissel Publication Date: 01/27/1988
It is a spectacular entertainment, visually the most impressive of the British musicals. Perhaps the most old-fashioned thing about it is it's a love story, something Broadway has not seen for quite a while. To say the score is Lloyd Webber's best is not saying a great deal. His music always has a synthetic, borrowed quality to it. As you listen you find yourself wondering where you've heard it before. In this case you've heard a lot of it in Puccini, in the work of other Broadway composers and even the Beatles. Nevertheless he seems to be borrowing from better sources, and he has much greater sophistication about putting it all together. There are some droll opera parodies, several beautiful songs, an impressive septet and a grand choral number, all richly orchestrated.
Stage: Phantom of the Opera - Score: 7
From: New York Times By: Frank Rich Publication Date: 01/27/1988
It may be possible to have a terrible time at 'The Phantom of the Opera,' but you'll have to work at it. Only a terminal prig would let the avalanche of pre-opening publicity poison his enjoyment of this show, which usually wants nothing more than to shower the audience with fantasy and fun, and which often succeeds, at any price. It would be equally ludicrous, however - and an invitation to severe disappointment - to let the hype kindle the hope that 'Phantom' is a credible heir to the Rodgers and Hammerstein musicals that haunt both Andrew Lloyd Webber's creative aspirations and the Majestic Theater as persistently as the evening's title character does. What one finds instead is a characteristic Lloyd Webber project - long on pop professionalism and melody, impoverished of artistic personality and passion - that the director Harold Prince, the designer Maria Bjornson and the mesmerizing actor Michael Crawford have elevated quite literally to the roof. 'The Phantom of the Opera' is as much a victory of dynamic stagecraft over musical kitsch as it is a triumph of merchandising uber alles.
The Phantom of the Opera - Score: 4
From: New York By: John Simon Publication Date: 01/28/1988
To look on the bright side first, The Phantom of the Opera is a terrific technical achievement. If you want scenery and costumes, sight gags and sight thrills, they're all there—$8.5 million worth of them—on the aptly named Majestic stage. And who doesn't want to see candles sprout all around an underground lake (even if it does not make technological sense) and a giant chandelier almost crash into the audience below (even if it looks more like a giant balloon changing courses in midair)? It is good, mindless fun, and costs less than a trip to Disney World... The only areas in which The Phantom of the Opera is deficient are book, music, and lyrics.
STAGE VIEW; Now, About That Chandelier That Goes Crashing - Score: 3
From: New York Times By: Walter Kerr Publication Date: 02/14/1988
In the end, The Phantom of the Opera can be no more than the sum of its pictorial effects. It's no opera (not with those bland melodies, not with lyric phrases like "Be My Guest" and "Make My Night"), it's not a display case of serious acting, it's not humor (not even self-mockery). It's pyschologically lightweight, long on melodramatic grotesquerie, and it can only on its visual chills. Will three chills, plus candles that swarm like fireflies, do you?
STAGE TUBE: Good Friday Flashback- Lin-Manuel Miranda Sings JESUS CHRIST SUPERSTARSTAGE TUBE: MATILDA Stars Get Crafty with Easter EggsIt's Here! Watch the First Full Trailer for the JERSEY BOYS Film!VIDEO: BEHIND THE LID Film Launches Kickstarter; Looks at Lee Nagrin and Basil Twist's 2007 ProductionBWW TV: Chatting with James Franco, Chris O'Dowd and the OF MICE AND MEN Cast on Opening Night!STAGE TUBE: Audra McDonald Talks the Joys of Playing LADY DAY on MSNBCVIDEO: MOTHERS AND SONS Tyne Daly: 'You Get to Learn Your Job on Broadway'BWW TV Exclusive: Highlights of Roslyn Kind at 54 BelowBWW TV: Allison Case, Adam Chanler-Berat, Patti Murin & More Preview Playwrights Horizons' FLY BY NIGHTBWW TV: On the Red Carpet for OF MICE AND MEN's Opening Night!VIDEO: Neil Patrick Harris Chats Lead Role in 'HEDWIG' on GMAVIDEO: Watch All the Performances from Last Night's AMERICAN IDOL!STAGE TUBE: Ex-Broadway Boy Makes Good; Michael Hartman Talks Amy's Ice CreamVIDEO: Watch Teaser for First Official JERSEY BOYS Film Trailer!STAGE TUBE: CINDERELLA's Todd Buonopane Sings 'Everybody's Girl' at BROADWAY SESSIONSSTAGE TUBE: Mack is Back! Promo for Signature Theatre's THE THREEPENNY OPERA
🔀NEW JERSEY SHOWS