I want to preface this review with the following statement:  I have seen "Phantom" five times now and have experienced four different actors in the title role.  Of these four, my most favorite was Sir Thomas James O'Leary.  I think that to have seen him was a privilege.  But I also think that to have seen James Romick, who I saw last night, was a treat that I will not forget too soon.  So I will place him at Number Two on my list of "All-Time Favorite Phantoms."

Now, on to the review!  Much of this is my own dementia :) but some comments are Rachel's, which she gave me as I read her my notes on the train back home.

The cast this evening was as follows:
the Phantom - James Romick (typically Howard's understudy)
Christine - Adrienne McEwan
Raoul - Gary Mauer
Mme. Giry - Leila Martin
Meg - Joelle Gates (a recent addition to the NYC cast)
Firmin - George Lee Andrews
Andre - Jeff Keller
Carlotta - Liz McCartney
Piangi - Larry Wayne Morbitt

Prologue
The Auctioneer was apathetic tonight.  His voice usually grates on my nerves, but tonight he just made me want to throw something.  Completely robotic tone, nasty way to open up the show.

The explosion from the chandelier made my seat shake, which was really cool considering I was in Row J of Rear Mezz (ie, two rows from the tippy top).  In fact, all the pyrotechnics were really on tonight.  However, on the topic of seats - I think that our location in the theatre was directly responsible for a weird echo-acoustic thing that was going on all through the performance.  It was really terrible.

Hannibal
Carlotta was a little bit weak on "trophy," but made up for it on "Rome!"

I always loved the irony of the grand chorus buildup, which culminates in "Hannibal COMES!" and then little fat Piangi strutting out onto the stage.  The audience got a big kick out of Piangi tonight.

I loved Reyer's performance tonight.  He was really hamming it up.  I could almost hear his face turning red as he flew across the stage to correct Piangi - "NO NO NO!!!!!!!"

I loved the way that the ballet girls flop down on the stage with their palms down, so they slap the stage and make a big loud PLOP! sound just before Piangi starts singing.

Piangi's "ROME" was very strong and funny, again got a great reaction out of the audience.

Mme. Giry's expression as Andre kissed her hand was priceless - she was unimpressed and it showed.

Piangi did the most exaggerated fall off the elephant I've ever seen tonight - he hung there with legs dangling, nearly to the end of the high note, then seemed to get his footing, started to scramble up, then seemed to lose his balance and start to topple off the back of the elephant, finally got up and seated on the next-to-last orchestra note, looked down at the conductor with a big grin, and then yanked out his sword for a big finish.  The audience was in stiches.  It was fabulous.

Reyer visibly rolled his eyes at Andre's flirting with Carlotta - great antic.

The actor playing Buquet tonight was interesting.  More on that later in "Magical Lasso" - but one tidbit here I had to mention.  Just after "it must be a ghost!" he leaned right into Carlotta's face and waved his hands around as if to say "booga-booga!" to scare her.  Priceless.

Carlotta sobbed much more tonight as she stalked off stage - her "Andiamo" sounded so perfectly injured.  Piangi's strut had the audience laughing from the second step, but "Amateurs" was lost in the hubbub.

Has anyone ever noticed that Mme. Giry seems to almost be conducting Christine as she sings "Think of Me" at the rehearsal?

Think of Me
I need to get it off my chest now - I HATE ADRIENNE McEWAN.  Not only does she play Christine in a way I despise, she also takes inexcusable liberty with the music.  In "Think of Me" she was rushing audibly.  Her finish was good though, and Andre's reaction to her high note was great - clenched fists as if he was nervous about her hitting it, then hands in the air when she did.

Reyer's approval of Christine was audible - when she faces backstage as if looking over the audience and he's there in the prompting box, we could hear him going on and on, "Marvelous, Christine, absolutely wonderful!"

James's "Bravi's" were superb - and his "Christine..." gave me goosebumps.

Angel of Music
I like this new girl who's playing Meg much better than her predecessor.  Not only is her voice much mellower, but she has a very sweet face and she wears the blond wig well.  The former actress had very sharp features and you could totally tell she was wearing a wig.  This actress did a very nice job throughout the night of being loving towards Christine.

Another point against Adrienne - the way she says "music" sounds more like "mYuzik" - and since that word appears over and over again in this song, the effect was disastrous.

Little Lotte
Firmin's line "They appear to have met before" was not delivered raunchily tonight.  I'm not sure how I feel about that.

Christine was sharp all through the whole "Little Lotte" exchange between her and Raoul.

Raoul is just insufferable - once again, Gary Mauer plays him just how I like him.  I love how he reached over and shut the dressing room door when Christine wasn't looking, as if to say "heh heh, I have her alone now."

James's "Insolent boy" phrases were wonderful - firm but not harsh as often happens, very rich and commanding but not at all threatening.  In fact, through the whole show James seemed very conscious of NOT making Erik look mean.

The "Flattering child, you shall know me" phrase was masterfully done - his tone was suddenly light and tender, and I almost fell right out of my seat leaning towards the stage to get more of it.

WHY WHY WHY does Christine turn away from the mirror as she jubulantly sings, "Angel of Music, hide no longer"?  I always wanted her to go to the mirror and touch it.  I think that would be more effective.  Already she's sending mixed signals - asking Erik to come for her, yet turning away.

The only word I can think of for James's "I am your Angel of Music" is _carnal_.  It made me feel very, very naughty :)  And I loved the way he drew her through the mirror - his touch seemed so gentle (in fact it was, but I'll get to that later too :) )

The Phantom of the Opera
The orchestra really had a hard time keeping with Adrienne tonight, even on the recording.  But maybe it's just because all that fog is falling on them and it's distracting.

Adrienne destroyed "I am the mask you wear" with her nasty flat A.  I wonder if she's from New Jersey originally.  She needs to see a diction coach - because that letter gave her problems all night.

On "My spirit and your voice," James reached out and nearly cupped Adrienne's cheek.  It was very tender and moving.  James's Erik is obviously in love and/or awe of Christine.  His "Sing!" was very, very sensual, and when he turned her towards the audience he did so very gently, almost as if he weren't moving her at all, but *suggesting* she turn.

James' cloak swirl left something to be desired; but the way he smoothed his tuxedo jacket was very reminiscent of Michael Crawford.  He also embraced himself as Christine sang - but he did not GROPE himself like Ted Keegan used to, which was an amazing improvement.

Music of the Night
"I have brought you" was filled with emotion and a very positive, motivating kind of tension.

I was so entranced by James's "Music of the Night" that all I did was scribble down words he delivered well: "softens", "stirs", "imagination"; "slowly", "unfurls", "tremulous."

He came so close to Christine on "cold, unfeeling light" that I thought he might be going to kiss her.  I think she thought so too, because she was leaning in with her chin tipped up, inviting him.

His "soar" was exquisite - no other word for it - beautifully clear with just a slight tremulous quality.  And "before" was also very well-delivered, not harsh as some actors tend to do it (perhaps in exhaustion after that "soar" note).

More words that were well-delivered: "feel it", "possess"; "strange new world."

"Be!" was *GREAT* - again, a note that sometimes tends to be sung harshly, but James hung on to the clarity and softness he'd begun the song with and stuck it out until the very end.

"Touch me" was SO sensual, and he actually did embrace Christine here, instead of sheepishly creeping his arm around her.  I loved that.

He seemed bewildered when she fainted - stood there for a moment in complete helplessness, then hurried for the cloak.  He crouched way down near her face and put extra emphasis on "Help me" with his voice and also a supplicating gesture with upturned palms - a great effect.  And "night" brought tears to my eyes.

I Remember/Stranger than You Dreamt It
Again, with Adrienne's flat A's: "Whose is the face in the mAAAsk" - nasty, very, very nasty.

"Damn you" was shrieked - I'm not sure how I felt about that.

James interjected a bit of sarcasm on "Stranger than you dreamt it," which I thought was very good, very reminiscent of something I read once where Erik refers to himself as "very homely."  He also gave the "Fear can turn to love" phrases with such a tremulous tone of hope in his voice, heartbreaking.

The tenderness in the mask exchange was delayed - after he took and replaced the mask, he reached for her again, and she leaned in as if she would come to him.  But then the grabbed her, a little too harshly for my taste, and spat out, "Come, we must return."

Magical Lasso
As I said before, a different actor was playing Buquet tonight.  He was younger and slimmer than the regular, and seemed less scared-out-of-his-mind-by-Erik, and more hey-I-think-I'll-use-this-Phantom-stuff-to-scare-the-pants-off-the-cast.  He was very energetic, and I think I liked him more because of it; because he was young, he seemed less like a pedophile hitting on young, impressionable girls and more realistically like a younger guy looking to get some attention from the ballet rats.

Mme. Giry's warning was perfect, as always.  I love Lelia Martin.

Notes/Prima Donna
I also love the managers, which I went on and on about in my previous review :)  I love the way Firmin tosses the newspapers around, and he has perfect eyebrows which he raises and lowers sarcastically throughout the number.

Andre whines perfectly on "We have no cast."  And his tone as he read his note was perfect, as if to say, "Huh?"

Raoul is so *schmaltzy* on his entrance.  For those of you who are into other musicals: I can totally see Gary Mauer as Freddy Einsford-Hill or Sir Lancelot.  That's how he plays Raoul.

I love how the managers compare the notes, and then creep downstage to whisper to the audience, "Far too many notes for my taste ..."

"LET ME SEE IT" was perfect, as was Firmin's delivery of Erik's note.  "MY theatre" got a little extra sarcastic weight, which was great.

The blocking for the Phantom's note voice-over always made me think of those clocks where little dolls pop out and dance on the hour.

Firmin leaned in on Carlotta as he emphasized "the silent role," which was great and condescending.

Carlotta was in very good voice tonight; it just took her a minute to get started.  Her high note on "Madre Mio" was perfectly stellar.

I have a love/hate relationship with "Prima Donna."  It's a brilliant composition, but I just can't read all the parts because the song is so busy!

Carlotta's sobs on "ingenue" and Firmin's robotic "We need you too" were perfect.

Another reference for you _My Fair Lady_ fans: the managers made me think of Zoltan Carpathy, "oozing charm from every pore, oiling their way around the floor." :)

Piangi was so cute all through this number, being good-natured and supportive, glowing at the praise for Carlotta.  I hate ALW for killing him.

Carlotta really milked "Prima Donna" for all the melodrama it was worth.  Her little smug giggles as she sat in the manager's chair were great and her hight note at the end stood out in glory.

Il Muto
Raoul's voiceover on the crossover was so petulant; he sounds like such a spoiled little boy.

The fops were *hysterical*.  I LOVE 'IL MUTO.'  Don Atillo bobbed up and down on "affairs of state" and pointed with his cane as Christine wiggled her rear end while dusting.  He really hammed up the low note, making gestures to the audience like, "Yes, yes, another low note ... no, no, don't be concerned, I have it all under control."  There was a smattering of applause after he finished his note, and he made the cutest little curtsy.  I loved all his antics, especially when he was hiding behind the pillar and realized what was going on; he leaned up against it as if he was going to faint.

James added the most delightful chuckle after, "A toad, madame?" <chuckle>  "Perhaps it is you..."  His laugh after her croak was great too, and followed by a wonderful cloak swirl on "She is singing to bring down the chandelier."

Carlotta's nervous giggle as she speaks to the conductor was great.  And her croaks were also very well done, although they sound more like burps than anything else.

I loved Andre's demeanor as he addresses the audience.  He fumbles with his program and his voice even cracks from nervousness.  And as he's scurrying off stage, he bumps into a ballet girl and screams.

Throughout 'Il Muto' and the ballet, the audience was really perfect - responsive, giggling in all the right places.

There was one OOPS! in tonight's performance: as the traveller opened, I saw the actor who was casting the Phantom's shadow running away from the flood light.  I'm not sure if the curtain was early in opening, but I think it might have been, since the actor seemed surprised and fled without picking up the light box, and there was a long pause between the curtain opening and the body falling from the rafters.

All I Ask of You
WHAT is Christine's problem in this scene?  Erik has done nothing to make her think he's going to hurt her, let alone kill her.  Silly girl.

Adrienne's note on "soar" was good, very reminiscent of James's in MOTN.  I like how that section of her song is the melody from MOTN - shows how she's giving herself over to Erik.  In fact, her tone at this point sounded almost joyous, especially on "heard as I never heard before."  But of course, Raoul comes along and shakes her, snaps her out of it.

I noted at this point that Adrienne didn't seem to be in good voice tonight.  She had a few high points, but for the most part her performance lacked pinasch.

Something I noticed here: Raoul's first few bars of "All I Ask" don't seem to be sung to Christine.  He's holding her to him with her back to the audience, and his face is lifted up.  I think he's singing to Erik, sort of like: "I know you're listening, you fiend - so how do you like THIS?"

Another interesting tidbit that made me laugh: Raoul delivers "You know I do," and "Love me, that's all I ask" in once breath, so they can be construed to run together - ie, "You know I do love me." <giggle>

The kiss at the end was too much for me tonight.  Raoul grabbed Christine with a little too much familiarity and stopped her voice with his mouth.  Eeew.

If I had to boil down the problem with Adrienne's Christine, it would turn out to be this: she's in love with Raoul.  Obviously.  Gross.

James's reprise from the angel statue was so sad I became concerned that he was just going to jump to his death in the orchestra pit.  He kept saying "no" and hanging his head ... so heartwrenching!  The last "No" was a screech, though, and I don't know how well I liked that.  But his "Go!" and his laughter were great, maniacal and hanging over after the blackout, fading as the house lights came up for intermission.

Act II: Masquerade
The managers gave a funny little nervous chuckle and then glanced around after "Such a shame that Phantom fellow can't be here," as if they realized how silly that assumption was.

I like that Mme. Giry doesn't wear a costume in this scene.  She's above such foolishness.  And one thing I wrote down that I have to share with you all - it's just a fun thought: "Carlotta as the Spider Woman" :)

I wonder if it's intentional, or if Gary Mauer just really can't dance well - but his steps are very stiff and clumsy, which I think is just great for Raoul.

I loved how the Money Girl busted in on the little argument between Christine and Raoul by stealing Christine's mask.  Very telling and symbolic - because in those few moments Christine's mask is literally torn away, and we become aware that she's probably just playing with Raoul.

At this point I noted that the orchestra seemed to be having an off night.  They too lacked pinasch.

James's entrace was great, and "Why So Silent" was very clear.  I could hear and understand every word, which is not always the case.  But Rachel raised an interesting point:  the lyric is "Why so silent, good messieurs?"  But he was singing "good messieur."  Hmmm.

Notes/Twisted Every Way
Andre gave the cutest little sigh as he received his note, and on "some chorus members must be sacked" he threw his hands up in exasperation, a nice touch.

I want to see where Mme. Giry hides the notes!  I always watch so closely in the hopes of catching from where she pulls them, but I'm never quick enough.

Another thought I had, more in relation to my recent fanfic adventure than anything else, but: "Don't put me through this ordeal by fire.  He'll take me, I know; we'll be parted forever; he won't let me go."  Dear, confused Christine.  Who is it that won't let you go?  Is it Erik, who loves you so deeply?  Or is it Raoul, who wants to make you a pawn in a dangerous plot?

I had to chuckle at Raoul's "This time the disaster will be yours."  Oh yeah, Raoul.  I'm so scared of you.

Rehearsal/Crossover
Christine is just awful at the rehearsal.  It's obvious she needs Erik's teaching.

Reyer's "If you please" to Piangi was pleading and frustrated, sort of like "Please get it right so we can all go home?"

Sarcasm took control of me during the crossover.  My notes read: "Oh please please PLEASE could Adrienne whine a little more?"  As you can guess, "In sleep he sang to me..." left something to be desired.

Wishing You Were Somehow Here Again
Another thought: This song as Christine's goodbye to Erik, because she knows she's too deep in the clutches of Raoul and the managers to ever be free enough to make the choice to go to Erik.  If we think about it this way, then the symbolism in Erik's coming out of the cross is even more striking - he is her savior.  What a stupid girl that she doesn't realize it.

"Wandering Child" was so powerful - it gave me goosebumps.

Another verbatim from my notes: "Such macho BS on "Bravo Monsieur," from BOTH of them."

Something I never noticed before:  it seems that a falling fireball from Erik's staff is what ignites the big explosion at the end of this scene.  Rachel also added that she liked the pyro stuff here:  one of the fireballs came awfully close to Raoul :)

Don Juan Triumphant
Passarino looked very interested in Meg as she was leaving Don Juan's room ... in fact he even went to follow her offstage until Piangi called him back.

James sang "Point of No Return" with a tone that was just too sexy for words.  I loved the way that he laid back on the bench with Christine in front of him, and the way that she leaned with him and gave herself over to all his caresses.  I must note, however, that Rachel expressed extreme dislike for the smug sluttiness that Adrienne plays into this scene.  Her attitude is something like, "Of course you want me.  I'm just such hot stuff."  I didn't like it either, but I do think it really added to certain things, like "bodies entwining."  I always watch Erik's reaction to that line, and it was really well-done by James tonight.

But I will say this: Adrienne's Christine is deliberately teasing and tormenting Erik in this scene, and for that I despise her.

James's "All I Ask" reprise was such a tearjerker, and I LOVED how he did the ring.  He reached out and took her hand, placed the ring into her palm, and closed her fingers around it.  It was PERFECT.  Then she took it and put it on her finger, then placed her hands on his chest and leaned in as if she was going to kiss him.  I was on the edge of my seat, loving it with every fiber of my being - and then she snatched away his mask, and she's darn lucky I didn't just leap down onto that stage and pummel her within an inch of her life.

Down Once More/Final Lair
James's Erik is fearful and miserable on "Why, Christine?" which is a great improvement on the psychopathic ravings of Howard McGillin and Ted Keegan.

Rachel expressed dislike of how some actors throw Christine to the floor upon entering the lair, and noted how Michael Crawford never did anything like that.  I'm inclined to agree - I think it's unnecessarily violent.

James's Erik is very sarcastic and darkly humourous, perfect.  His tone on "You have truly made my night" was great.  But why, oh why, doesn't Erik just drop the protcullis as Raoul is climbing under and impale the little upperclass twit?

Again, on "Monsieur, I bid you welcome" and "Order your fine horses now!" the sarcasm was just dripping.  I loved it.

However, James did do one thing in this scene that I hated.  On "This is the choice," he went to Christine and pressed her to the floor with his own body.  I found that unnecessary and rather threatening.  Not an Erik-like behavior.  But James did redeem himself on "Make your choice."   He didn't scream it, as many actors do.

One more verbatim from my notes: "Someday an Erik will embrace a Christine on the second kiss, and I'll be perfectly happy."  I am of the opinion that while some degree of surprise in Erik is believable, he should also participate in the kiss once he realizes what's going on.  Maybe not reacting to the first kiss is ok, but once she kisses him the second time, he shouldn't just stand there with his hands shaking.  He can tremble for a minute, but then he should wrap his arms around her and hold her to him like this might be his last chance to do so.  After all, it probably is.

NB: some actors overdo the hand shaking thing.  James did not, so I was glad about that.  But I hated how he slunk away from the kisses like an animal.  It perpetuates the whole "creature of darkness" thing.

As he sang to the music box, James mimicked the motion of the cymbals with his hands and reached in to the little monkey.  On "Hide your face," he covered its face lovingly while changing his tone to one you would use when telling a small child, "Now, hold my hand as we cross the street."  It was so poignant, it made me cry.

I loved the second ring exchange as much as the first.  When Christine held out the ring, Erik took her hand, not the ring itself, and held it as he sang (while standing upright this time, which I liked) "I love you."  His "I love you's" were very well done, but he didn't say it enough times.  I like Erik to say it just before pulling in a deep breath to sing "You alone..."  But James didn't do it that way and I felt like it left a hole on the scene.

I loved how he handled the veil - he snatched it up and embraced it with all his might, breathing it in deeply to catch some scent of Christine's hair that might be lingering.  But why why WHY doesn't he take it with him as he disappears into the chair?  I think he should do that.

Curtain Call
The house didn't get to its feet tonight, because overall I don't suppose the performance was spectacular.  As I said before, the orchestra seemed off and Adrienne wasn't having a greag night.  But I stood for James and I noticed many others doing the same.  What I loved about the curtain call was that as he came out, James stopped to shake the Marksman's hand.  Apparently that is James's typical role when Howard McGillin is there to play Erik, and I thought it was cute.

So there you have it!  I would advise all of you to go see James play if you get the chance.  If you're interested, I'm sure I will be getting info about his schedule, since I have contact with friends of his.

~Heather