BWW Interviews: THE PHANTOM OF THE OPERA's Brad Oscar

One of Broadway's most beloved musicals, THE PHANTOM OF THE OPERA, opened last night at the Saenger Theater. The musical written by Andrew Lloyd Webber originally opened on the Great White Way in the late 1980s, and starred the likes of Michael Crawford and Sarah Brightman. The story begins when the Paris Opera House is taken over by a new management team. The disfigured man who lives beneath the theatre, the phantom, lets them know who is really in charge by terrorizing them until his love, Christine, is put into the spotlight.

Now touring across North America, audiences can enjoy a brand new interpretation of this haunting classic. I recently spoke with National Tour cast member Brad Oscar (Monsieur Firmin) who discussed with me his career in theatre, his Tony Award nomination, his first exposure to PHANTOM OF THE OPERA, and his opinions on what makes this musical so popular.

How did you get started in theatre?
It's just something I always loved doing as a kid, and my parents were theatergoers. They had done some community theatre as well when I was growing up so I was exposed to it at a relatively early age. I took a liking to it and started taking classes and doing shows in school and community theatre. It was just sort of a natural progression, and then when it was time to really decide what I wanted to do it really was not a decision. I went to Boston University for four years and got my BFA in acting there, worked in the city, started waiting tables, and I've been very fortunate since as far as being able to keep working. It was the only thing I ever really wanted to do.

Do you remember the first show you ever did?
Well other than school plays and stuff like that, the first time I thought I was really doing something was... I don't know how to put it into the right words, but I did a production of FIDDLER ON THE ROOF when I was 12-years-old at the Jewish community center outside of D.C. where I grew up. It was amazing because it was a summer program so I was with a group of like-minded kids who loved theatre, and it was a fabulous program that I did for several summers. That was, again other than the school plays or stuff like that, which is what it is, but that was the first time I came together with a whole group of people who also were like-minded in that respect. That's the first time I remember really inhabiting the stage and feeling like ok I'm playing a role and going through the whole process.

You've got quite a resume, and you've done a lot of shows that a lot of people I think have heard of... BIG FISH, THE PRODUCERS, JEKYLL & HYDE... Do you have a favorite show or favorite experience that you can share?
Well there's no question that being a part of the original cast of THE PRODUCERS was so far a big highlight of my career. It was sort of a once in a lifetime thing the way the show took off, and to be a part of that, to get a Tony nomination, to then eventually a year after take over the role of Max, and be able to play that role for several years on Broadway and on tour and in London... You know that experience just kept on... It was the gift that kept on giving, and was everything that I ever sort of dreamed of. I mean it was a great role for a character man. I couldn't ask for anything more as far as playing Max Bialystock. So that really was a very, very special time in my life, and it sort of set the stage for the rest of my career, at least being able to have made a mark in that way... to have gotten some recognition. I had been working, I was in ensembles, ASPECTS OF LOVE, JEKYLL & HYDE, I had done FORBIDDEN BROADWAY in New York, so I've been able to work, but you know when you do get a role that shows you off a little more, and of course the Tony nomination didn't suck either, it sort of helped to propel me a bit and just put me in the pool when it comes to casting directors and people being aware of who you are. That was really a very special experience, and to this day I still treasure it and I really went along for the ride, and was old enough at the time to know how rare that is that everything comes together and you're in a show that takes the public's imagination by storm the way it did. Really special.

Let's talk about that Tony nomination. For me nomination day is an exciting one as a theatre fan, but what is that day like on the other end... for someone who is in the running?
Yeah, I mean it was surreal of course, because you can't help but think and wonder if it'll happen. What I do remember about that day is that it was just a rollercoaster ride. It was nonstop as far as once the nominations were announced that morning and just being so overjoyed, and of course calling my parents right away. And this was before we had as many of the lines of communication that we do today as far as the Internet and all that stuff. But yeah, and the phone didn't stop ringing, and my answering machine was full, and it as just a whole day of celebration, if you will, because what an honor, what a special thing. Growing up and loving the theatre, the Tony Awards night in my household as a kid was a sacred night, one of the high holidays. It was always such a big deal and I always did enjoy it so much, so just to be a part of it, to go on that ride, to be there that evening, to share in the whole THE PRODUCERS experience was just so joyous. It was special. No question.

Was that the first time you had attended the Tony Awards?
No, I had been to the Tony's. I had been before as a guest with friends. So yes, I had been to the awards before, but never sitting that close and on the aisle.

Probably the most recent show that I noticed on your resume was BIG FISH, and I actually came to see that show in New York last December.
Oh, you did?

I did, and I was completely blown away. I had heard a lot about it when you guys were still in Chicago. It was visually so beautiful, the cast recording is now one of my favorites, and it's a super inspiring story. What was it like to be a part of that show?
It was, again, very special to be a part of something like that from the ground up in many ways because I had done some readings and workshops prior to the actual production, prior to going to Chicago. It was a beautiful story, and we were all... I think all of us were very privileged to be involved in the telling of that story and the way the show developed. It's still sort of heartbreaking to me that it didn't turn out the way we all dreamed it would, but I maintain, as you said, it was inspiring to everyone who saw it, and thank God we made a cast recording because I think the score is beautiful. I thought that it's one of those shows that will be... that it will get a little more recognition and acclaim perhaps as years go by. People may re-discover it or take a step back or whatever. For whatever reason, the critics seemed rather vindictive. I think you tell an emotional story like this and it's hard for the critics sometimes to let themselves become emotionally involved or connected to a piece because they have to stay objective. In doing so I think a lot of them missed the whole point of what our story was about, and missed letting themselves take that ride, take that journey, and find out what it meant to them personally. I think most people who saw that show were able to do that. I'm not saying it's perfect, and I know there were flaws, and I get that. But, I still feel like there's such a better show there than it was given credit for. And that's very upsetting because what we do is very personal, and very subjective, so any one person can say that's the best show I've ever seen and the person next to them that's the worst show I've ever seen. So who's right and who's wrong? You know? No one. You can't... it's totally subjective, and I get that. But still when you work and deliver your baby and you think you have a beautiful baby and everyone says, "Oh God that baby's so ugly!" you're like, "No you don't understand, the baby's not ugly. What are you seeing?" You just can't do it. You can't also start to tailor things for a certain audience or for critics or whatever because then you lose the base of where it all began. So it was definitely heartbreaking in that respect, but I'm still so very proud of it and to have been involved with it, with that group of people. To work again with Susan Stroman like that was, you know, is always a joy, and I'm so proud to be in the room, so thrilled to be in the room with her. It's something I will always hold in my heart. I say we go through this career collecting badges for everything we do basically. You just accrue another badge and you move on because everything's so transitory, and one job leads to the next. A show closes, and you've got to move on, and it is a badge that I wear very proudly. Of all the things I've done, it's one of the things I am most proud of.

Well you should be proud of it. I kept hearing from people, "You gotta go, and you're gonna cry, you're gonna cry, you're gonna cry!" And of course I did because it's a very emotional show, it's a very inspiring show, and I was very sad to see it go and that more people didn't get on board with it because I think it's one of the best shows I've seen. It was amazing.
Well thank you. But you know it also points to how hard it is today to run a big musical. It is so all or nothing. It's so expensive. Years ago shows used to be able to run... it was easier I think to run on discounted tickets, whether it was from TKTS or whatever it was. But now it's so much harder because now they're so much more, they're so much higher. And, if you're in a big theatre like we were, and you're doing a big musical, which obviously can be rather expensive to run every week, you've got to be bringing in that money. If you're not selling tickets at a regular price, and selling more tickets on discount or whatever, it becomes much harder to make it work. That's another thing that I find so disappointing is that it has become so sort of all or nothing. It's hard for a big show, at least. It's hard to keep a show running, to gain momentum, to have the time to let audiences catch on or tell their friends or whatever it might be. I think it's much harder that way for big shows, and it's sad because it's going to happen. Look at all the big shows that just sadly failed on Broadway last season because, even though they were popular with certain audiences, they just couldn't get a foot in. I mean whoever thought that ROCKY or BULLETS OVER BROADWAY would not necessarily be able to have a run based on the kind of shows and the audience appeal they have? It just seems odd to me. It's sad, but it's the way of the world. God knows people love PHANTOM OF THE OPERA. They keep coming to see PHANTOM, and that's a wonderful thing to be touring with a show that has such a built in fan base. It's become part of our public consciousness, theatrically, in that respect, and bringing around a beautiful new production of the show, which is really cool.

What do you think it is about PHANTOM that keeps audiences crazy about it? It's been around for so long, and the craze around it is not fading.
You know, that's a very interesting question. I don't know. I mean of course it's a love story, it's about unrequited love, which, again, I think it's just things that maybe people can point to or identify with. It's a beautiful score, and I think because, again, of when it did hit, the generation of theatergoers who love the show now are sharing it with the next generation as well, which I think is what also keeps it going. Visually it was something to see back in the day, and it still is to an extent, of course, now with our production and it being a whole new design, and technically being able to do things they couldn't do 30 years ago when it was originally designed. I think that also is keeping it going, re-inventing it again, if you will, and allowing audiences to see it in a new way. I think it must be very exciting if you love PHANTOM OF THE OPERA and you've seen it once or twice, and you know what that original production looked like. How wonderful to come and get to see an entirely new physical production with new direction, and you still at the end of the evening had your PHANTOM OF THE OPERA experience.

What is different about the new production from the old production? What are some of the new elements that we will see?
Well I mean basically, as I said, the design and the direction. So basically they went back in the room and they re-explored it from a character standpoint, so that rehearsal process was very organic, and in some way they came back to the starting point as opposed to bringing someone into the existing production and just going on what was already established. So this production started from scratch in a way, as if they were taking the book and the score and putting on stage for the first time. That's what's so cool about it. The visual is entirely different from the original. I mean, yes, there's a chandelier, and yes, there's a boat, of course. But there's a whole new design, and a design that's a big show. You know, shows don't tour like this anymore. There's a couple big shows out there like this, maybe WICKED, maybe THE LION KING, but this physical production is Broadway ready. This show could move into New York tomorrow, and no one would say, "Oh, it looks like a tour." A lot of shows are designed down, if you will, for the road. They have to be. It's too expensive, and again we're talking about money. Shows need to move in and out. They close on a Sunday in one city and open on Tuesday in the next. We don't do that. We close on a Sunday and we don't open until Wednesday because our show is that big. It needs time to move. But how joyous that we are giving audiences all over this country what I consider to be a real, full Broadway experience of the highest caliber. I think that's important. I think it's important for audience especially on the road, because there's such a proliferation of non-equity tours. It's not that they're not worthy in their own way, but they're not professional actors. I think as an actor, and as a very proud actor to have been in this profession as long as I have been, the older I get I don't understand why everybody else has to be union in these houses... union crew, union musicians, union front of house, union this... but the actors don't have to be, and I don't understand that. I think audiences need to be made aware in every city when they have a season coming and they're seeing six shows that three of those shows might not have equity professional actors. Audiences start to know that they can discern the difference in the physical production, in the manner in which... you know it's just what it is. It's the nature of any business. Again, I'm not disparaging talent, I'm not disparaging these productions, but I do have an issue with the fact that there should be professional actors. If everybody else has to be union, everybody should be union. We work very hard to get to where we are, and to get these jobs. These jobs are harder and harder to come by. So I think that's another thing, you're getting top of the shop... this cast, this company is top of the shop.

What was your first exposure to PHANTOM?
Oh, standing in line all day, I think it might have been in previews, I'm not sure if it was in previews or if it had already opened in New York. But I had moved to the city in the fall of '86, and PHANTOM started previews I believe in January of '87. So my first experience was, literally was, I had a day off of work and I literally got to the box office and I stood in line for most of the day for a cancellation, and literally at 8:00 when they will release any seats that had not been sold yet, they always hold some stuff, and yeah I got a seat at 8:00... an amazing seat, like what we would consider a house seat, which are prime seats. So I had an amazing seat, and that was the first time I saw it, and it was gorgeous and wonderful and very exciting. I do remember it well.

Do you remember the cast?
The original cast, it was Michael Crawford, Sarah Brightman. Yeah. I mean it had just opened on Broadway. I'm not even sure if it had opened, it might have been in previews. But it was the original cast.

So this seems to be a show that is on a lot of actors' bucket lists. Is this a show that you have always wanted to be a part of?
You know, not necessarily. Once, four years ago, I had gone in to audition for one of the two managers, I'm currently playing one of the two, and thought, "Oh, sure, what a fun gig it would be. What a fun show to do." But, no, I can't say it was like at the top of my "Oh, my God I've got to do PHANTOM" list. That being said, I'm having the time of my life. It's such a fun show to do. I love the atmosphere of it all. I love the mangers' scenes in the office. It's really fun to sing. I'm blessed with playing opposite of a dear friend of mine, who I've known for over 20 years, so that's been fun... Edward Staudenmayer who plays Monsieur Andre. We did FORBIDDEN BROADWAY together in Los Angeles 20 years ago. That's always fun when you come back and work with people that you like and respect. So really I've had an absolute ball with it, it's really fun to do.

Tell us how your character, Monsieur Firmin, fits into the story.
Well I'm one of the managers, I'm Monsieur Firmin, and we basically, at the top of the show, we have taken over the Opera Populaire, and come in because this guy sold it to us. We are not aware as to why he is leaving so quickly, but of course we become aware that obviously there are some spooky goings on at the opera house. So basically we're just trying, throughout the course of the play, just trying to manage what is going on... to keep the opera going, to keep performances going, but at the same time deal with this Phantom who is sending us letters and telling us what to do and trying to push Christine into the forefront. We're just trying to juggle and keep everybody happy because you know with Carlotta, the diva, who is very upset by this... so throughout the course of show we're just trying to keep things in check and deal with what's going on.

I think a lot of times when audiences see this show we get swept away with the love story, but there's this very strong plotline about the process of running a theater. It showcases that really well.
I think that's another thing about this production, too. Because it's a little more grounded scenically, visually... we have an office. We're in an office, whereas in the original production there's no office per say. A lot on stage is defined by the breaks and lighting and stuff like that, which is gorgeous, but here it's a much more literal design. I think that helps, perhaps, solidify our characters a little bit as well because we are seen in our environment doing our thing. I think that adds to the color, if you will, of the piece and of our roles in the piece.

To wrap things up, do you have anything you'd like to say to audiences as far as why they should come see this particular production of PHANTOM OF THE OPERA?
It is pretty spectacular. I think for anyone who loves to go to the theater and appreciates a really good theatrical experience this... and certainly I know the show hasn't been through New Orleans in a while as far as the last tour that was there. So to see this gorgeous production at one of the most beautiful theaters in the country if you ask me... I played the Saenger with JEKYLL & HYDE pre-Broadway in like 1996, but I remember it being one of the most beautiful theaters, and I'm so thrilled that it has finally been restored and re-opened after Katrina. So I think to see this show in that theater would be just a marvelous experience, and I can pretty much promise audiences that this is not the kind of show that you get to see a lot in their hometown. It's the kind of show that you would need to come to New York to see, and we're bringing it to also one of the greatest cities in the country. I'm so excited. I almost feel like I'm going on a vacation for two weeks because I'm so excited to get back to New Orleans and experience all that is so special and unique about that city. But I really think... you know, you talk about getting bang for your buck. This is it.

Take Brad's word for it. This show is something special to see. THE PHANTOM OF THE OPERA will be in New Orleans through November 16. For tickets and more information, visit www.saengernola.com.

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