Interview: Actor Anna Zavelson On MASQUERADE, Transformation And Making Her West End Debut As Christine in THE PHANTOM OF THE OPERA
'I can't believe that I'm up here doing this. It's crazy!'
After performing as Christine Daaé in Masquerade in New York City, Anna Zavelson has begun playing the same role - this time in the London production of Phantom of the Opera!
Recently, we had the chance to speak with Zavelson about her West End debut. We discussed what it has been like going from Masquerade to Phantom, how she has made the character of Christine her own and her favourite part of the show.
How did you first get started in the world of theatre?
It's funny! It does feel very full circle right now, because my introduction to musical theatre was a production of Phantom of the Opera when I was six. It was a US tour and they were playing in Austin, Texas. My parents are not theatre people, but my mom does love Phantom, so my dad took me and my other six-year-old friend. My friend hated it because she was terrified! In hindsight, maybe not the best to bring a six-year-old to, but I loved it. I was immediately hooked, so I started, started studying musical theatre more seriously after that.
So you've been a Phantom of the Opera “phan” since you were six!
Yes!
Is that what made you want to be a part of the show?
The deep-rooted love that I have for this show has made it a dream role - I've grown up listening to the music! But also, the story, specifically Christine's role is just such a rewarding part for any soprano, for any young woman. It's the most fun I'm having on stage ever! So I had the emotional connection to Phantom, which is what made me really want to do this show one day, but also objectively, it's been such a great challenge, and I always wanted to try it.
You recently played Christine in Masquerade. What was it like being a part of that immersive production versus the one on the West End?
Really cool! I feel like I got so lucky to be able to do two very different versions of Phantom. Masquerade is essentially telling the same story, but it's from a different point of view, so the order of the show is different, some of the songs are different, and the manner of connecting with people is a whole different ballpark. We would have set stories that we would tell to the audience, but there are different audience members every night that can actually talk to you, that can actually be in character in the moment. It was a completely different experience every night, depending on who we interacted with. It was so fun, and it was exhausting in a different way than this version of Phantom is, but it was the best time ever.
Photo credit: Andy Henderson, Matthew Murphy, Evan Zimmerman, Luis Suarez
What is it like to go from the version of Christine in Masquerade to this version on the West End? Because even though it's the same character, the way you're interacting with the audience is quite different!
It's been really exciting and interesting, because the more that I've worked on this production, I've realised that they really are two different Christines. I feel so lucky that I got to really dive into her backstory, and the things that make up my version of Christine with Masquerade. But, without spoiling too much, that version of Christine is somewhat shaped by what the Phantom envisions of her, so in a way, we see completely different sides of her in the traditional Phantom of the Opera than what we see in Masquerade.
I'd like to think that it's the same Christine at her core, but it's been interesting! This show, there are a lot of light moments, a lot of comedy and the idea of an opera within an opera is happening in this show, so I get to play other characters as Christine, which is really fun. And also, in Masquerade, I played Meg as well as Christine, so it's been interesting to like just focus on Christine this time.
What has the rehearsal process been like for Phantom of the Opera on the West End?
I had four weeks of rehearsal, which is such a luxury compared to other replacement processes that I've been in. But, for this role, four weeks is absolutely necessary, because it's just such a technical show - there are costume changes, and she never leaves the stage! So I'm grateful to have had some time to wrap my brain around that, even though I still don't feel like I know what I'm doing a week in the performances! [Laughs]
But the company here has just been so generous in giving me so much time and energy to really learn the show. I'm the only one being put in, which can be daunting, because I don't want to waste people's time! But it's been such a positive experience. I've had so much room to play and get to bring my own ideas into Christine and have them be received, which has been really fun.
Photo Credit: Johan Perrson
What has that been like, making your West End debut?
It’s been so exciting! As I've said, this whole first week was just making sure that my feet were under me and that I wasn't tripping up and downstairs or on costumes, but the audiences here have been so wonderful. The cast has been so wonderful, and I have felt very supported and embraced this week, which I'm so grateful for. I've also gotten to go on with a couple different Raouls and Phantoms already, so it's been an awesome rollercoaster of doing a lot of different things!
Do you find that your favourite parts of the show have changed, whether it's Phantom or Masquerade?
Yes, because there are things that we spend more time on, or things that we do in Masquerade that we don't do in traditional Phantom, and vice versa. “Point of No Return” in Phantom is an opera within the musical, so we're really diving into the characters. It’s this whole new story of Christine realising that it's the Phantom on stage, and then having to shift her tactics and decide how she's going to remain in character for the audience, but also mess with the Phantom and take back her power in the moment. That's just been such fun storytelling, and it's played completely different in Masquerade, so that's one thing that I wasn't expecting to feel so different, but I've been really enjoying it. It's been really fun!
Would you say that's your favourite number in the show?
I think it changes every other day, but I've always loved “The Final Lair.” Just the last twenty minutes leading up to the end. I can't choose one!
What has it been like to see the audience reactions to the show?
I's been so cool! My mom got to come and see my opening of this version of the show, and she's also seen Masquerade. That was really cool, to see her be completely shocked having seen both versions. There also been some “phans” that have seen Masquerade and come to see me in this, which is wild!
The community of “phans” here is so beautiful, and that's why the show has been running for forty years - it's because they resonate so deeply with the show. And, as somebody who is such a huge fan of Phantom, it's fun because I feel like I'm still a big fan, so when people want to talk about the show, I'm like, “Oh, I'll geek out with you!” I can't believe that I'm up here doing this. It's crazy!
With playing such an iconic character like Christine, how do you make it your own while still keeping to the character's essence?
I think the special thing about Phantom is that all of the characters in this show have been able to go through so many different interpretations and so many different actors, and that's what keeps it so interesting. Christine has grown throughout the years in her blocking and direction to be different things. I went in from the start being told by the team that my ideas were welcomed, that I should bring something in, so I felt like I've had the space with my analysis.
Luckily, I've had nine months building Christine with the five other women of Masquerade, so I had done so much analysis of what I thought Christine grew up like and what her personality is. It was cool to take that version and bring it here. In my mind, Christine is so multifaceted, and she grows into such a strong woman. It's exciting that my point of view and ideas on that were immediately encouraged and not shut down.
What do you hope audiences take away from The Phantom of the Opera?
It's an amazing piece of theatre that can be an escape for audiences, and if that's what people take away from that, then that is so wonderful. I'm happy that people get to be in this magical, musical theatre bubble for a little bit. But ultimately, at its core, it’s a story about love and what people do when they are faced with somebody who is othered - what happens when they decide to embrace them and not to be afraid of the thing that makes them different.
That’s what I've learned through doing Masquerade, and through doing this production of Phantom, and that message is so beautiful and resonates so deeply with people - that's why people keep coming back. So I hope that that's what audiences continue to take away,
And finally, how would you describe The Phantom of the Opera in one word?
Transformational. For both Christine's journey and the audience's journey in the show itself, it's all about transformation and growth.
The Phantom of the Opera is currently running at His Majesty’s Theatre. Anna Zavelson performs as Christine until 1 August
|
Powered by
|
Videos
