Here is my review of the Thursday, January 6th performance of the Broadway production of Phantom.  The performace was quite good overall, and I now have a new second-favorite Phantom!

There were several replacements; here is the cast we saw.
Erik - David Gaschen
Christine - Sarah Pfisterer
Raoul - Gary Mauer
Andre - Jeff Keller
Firmin - George Lee Andrews
Mme. Giry - Leila Martin
Meg - Joelle Gates
Carlotta - Liz McCartney
Piangi - Torrance Blaisdell

James Romick, who I was hoping might be the Phantom again, played the Jeweller.  I was sad at first; but I came to love David Gaschen even more than James Romick - which comes later in the story.
 

*Prologue*
Before the show even began, I was checking out the stage with my binoculars.  The set is covered with dropcloths which have words in French written on them.  The chest which contains the monkey music box says (forgive me if I mangle this, I took 7 years of Spanish) "Boite a Musique"; the chandelier, appropriately, says "Chandelier."  But the chair where Raoul sits says "Cygne" - "swan."  I wondered what that could mean.

Something I noticed for the first time tonight - it sounded as though there was recorded background noise in this scene: coughing, rustling etc.  It was an interesting touch, made the auction feel alive instead of a few people scraggling across the stage.

Raoul was very good on his monologue tonight.  And something else I noticed for the first time: it seems that Raoul is in a wheelchair because he is missing his right leg from the knee down!  I thought I might be seeing things, but my companion verified it; I tugged on her sleeve and had her look to be sure.
 

*Hannibal*
I grow more and more impressed with Liz McCartney's Carlotta.  She was in fabulous voice tonight and really played up to the audience.  In fact, this whole rehearsal scene was really hammed up, and it was great.

I was a little nervous when I saw that the usual Piangi (Larry Wayne Morbitt) would not be appearing tonight; but I must say, his replacement was excellent.  From his very entrance, Torrance Blaisdell had my attention.  He hurried on a bit late, adjusting his helmet as if to show that Ubaldo was a slight bit tardy to rehearsal today.  And when he began to sing, I was really impressed.  His tone was very clear and rich, his enunciation wonderful and readable. And finally, his fall from the elephant was hilarious.  He clambered up and as he lost his footing, he yelped!  Then he seemed to right himself, continue up - and then almost toppled right over the other side, yelping once again.  He managed to plunk down as the orchestra hit its final note, and pulled out his sword just as the audience erupted into laughter and applause.  The crowd was very responsive tonight, too, which I think helped the cast get off on the right foot.

A few other tidbits about this scene: Andre ventured a bit too far towards center stage during the ballet, and was almost whipped by the slave master!  It was so realistic, I wonder whether it might have been an "oops."  Firmin actually paused and restarted his line, as if surprised.  Reyer and Mme. Giry were excellent, and the replacement for Buquet played him as a complete nutcase - very humourous.  Finally, Ubaldo made such a big deal about his strut and "Amateurs" line that I thought the whole house would come down in laughter.
 

*Think of Me*
Sarah Pfisterer's "Think of Me" was *perfectly* what I imagine for Christine.  She was so timid at the beginning that I could barely hear her, but by the time the phrase was over she had everyone in the theatre holding their breath.  I noticed weird shadows on the traveller at this point; although I eventually found that Mme. Giry's waving hands were their source, this was an excellent indication of Erik's (non)presence in the scene.

At first, I didn't realize that Sarah was playing Christine; I assumed it was Adrienne McEwan.  So I was very impressed, and even murmured to my companion, "She must have seen a diction coach!"  At intermission I discovered it was Sarah, and everything became clear.  I really do prefer Sarah - in addition to playing a Christine who is more believably attracted to Erik, her voice and stage presence are much better, in my opinion.

At the end of the song, I noticed Andre rubbing his palms together as Christine built up to her high note.  I like him so much - he is clearly the heart of this operation, while crotchety-yet-still-loveable Firmin is the brains.
 

*Angel of Music*
I was so heartbroken by the fact that Howard was being replaced by someone other than James Romick, I was all set up to hate David Gaschen.  But then he sang. :)  His "Bravi's" gave me literal goosebumps; I felt like I'd been lost in the desert for months and someone had suddenly dribbled a tiny bit of water in front of my face.

Reyer pulled Christine aside after the curtain closed for the final time, and seemed to be giving her a few tips or constructive criticisms; Christine nodded enthusiastically as if to say, "Yes, I *could* be better if I did that," and then allowed the funny little man to kiss her hand.  It was sweet.  Reyer is lately becoming a real object of my affection - I have to feel for him, dealing with actors all day :)

Meg was a little bit sour on her duet with Christine, and it was disappointing.  I liked Joelle Gates so much the last time I saw her, but this time she just rubbed me the wrong way.

Another perhaps miniscule detail that caught my attention: as Mme. Giry hands Christine the note from Raoul, she looks offstage right (over her shoulder) and seems to nod a bit.  This is interesting, because Raoul and the managers enter from offstage right.  Wonder what she's implying with this significant glance.

My companion expressed disgust with Raoul as he schmaltzes into Christine's dressing room, champagne in hand, and locks the door behind him.  This is, of course, one of the things that makes me love Gary Mauer's interpretation of Raoul so much - he plays him as a pig, which sounds just about right to me.

Erik's "Insolent boy" phrase was a little bit harsh, and disappointing after the shimmering beauty of his bravi's.  But worse still was that Christine seemed intimidated, perhaps even frightened by this.  I hate to see Christine scared of Erik, even when she still thinks he's the Angel of Music.
 

*The Phantom of the Opera*
I have to admit that at first I didn't like David Gaschen's Erik.  My notes read, "Uh-oh ... distaste forming for this Phantom.  He BELTS; too much vibratto and not enough *tone*.  Erik should sing effortlessly.  This guy is trying too hard, PUSHING almost."  But as this scene ended, my opinion changed - so in the end I chalked it all up to nerves or just needed a minute to get started or something.

The chorus was much louder on their background vocals, which was interesting.  I could actually hear them for a change.

I was a little unhappy with David's "Sing" ... the first one was good, but the rest got progressively shriller.  His cloak swirl kind of made up for it, though.  It was quite nice.

Christine's note was amazing - I can't imagine how such a big note comes out of such a little woman (Sarah Pfisterer is quite petite).
 

*Music of the Night*
Since I didn't like David's Erik in "The Phantom of the Opera," I was sure he would disappoint me on the Music of the Night.  But once he reached "Since the moment I first heard you sing," when he deliberately softened his tone, I fell completely under his spell.
Suddenly there were no harsh or sharp edges to his voice; it was all just one great, smooth river of clear, intoxicating sound.  He began singing with a sense of tension and a reigned power that was *very* Erik.  And he moved like a cat - I felt like I blinked and he slipped away from the organ.

"Turn your face away" was tender and sweet, very appropriate.

He paused a little bit before "soar," but I didn't mind the buildup; the note was clear, clean and beautiful, and he held onto it for what seemed like forever.  And I didn't mind a bit - I could have drowned happily in his voice at that moment.  My notes read, "Ok, so maybe I like him now :)"

"Be" had just the right amount of strength without sacrificing tone.  If only he had used this kind of control on "Insolent boy," I would have loved him sooner.

His embrace on "Only then can you belong to me" was a little more agressive than I've ever seen before, but Christine didn't seem to mind.  David's Erik is a little more body-oriented; he came so close to Christine on several occasions that, even though I knew he wasn't going to touch her, I almost thought he might.

The way that he went for his cloak after Christine fainted was a little too studied; he didn't convey the surprise of it well enough, and it was almost mechanical.  But the way he reached out to her and fanned his fingers over her face and hair was genuine - perfect.  I could feel him aching to just touch a fingertip to her cheek, but not daring to be so bold.
 

*Stranger Than You Dreamt It*
As Erik composed, he would pause and hold a hand to his ear - perhaps to listen to invisible violins?  I thought this was a charming touch.

The way he fell to the boards with a sob made me wonder whether David has seen much of Michael Crawford's work.  I've never seen anyone do it quite as well as Michael, but David was a pretty close second.

By the time Christine handed him back his mask, Erik was so close to her that when he sat up again, he was mere inches from her.  He replaced the mask and turned back to her, and they were so close together that it looked like the smallest movement by either of them would bring them collapsing into each other's arms.  She tipped her head ever so slightly, and he leaned in so very faintly that it took my breath away.  I *know* with all my heart that nothing happens here, but I still couldn't help the feeling that they were going to kiss.
 

*Magical Lasso*
The actor who was playing Buquet tonight clearly felt that the character is insane.  His laughter was positively demonic.

Erik clearly had his arm around Christine's waist as they emerged from the trapdoor.  Hmm, what were they talking about on the walk up? :)

Leila Martin punctuated the word "eyes" with a severe pointing gesture, which I'm sure would have sent even the managers slinking off into the wings!
 

*Notes/Prima Donna*
As usual, the managers were in rare form tonight.  "I love Firmin" and "I love Andre" are scribbled all over my notes.  "Who would have the GALL" and "PUERILE brain" were perfectly delivered.

"Let me see it!" was a huge, frantic shout; there was also a great general reaction to "the pageboy."  Carlotta's dropping jaw put even Don Atilo to shame, and Piangi was grinning broadly but his face fell at just the right moment.

David's singing voice can only be topped by his speaking voice.  He read the note with a silky smoothness that betrayed no anger, just a patient determination that I found really appropriate for Erik at this point.  Why should Erik be screaming at the managers in this note?  They haven't really done much to make him mad - just yet.

Firmin seemed more impatient than usual tonight, but I found it very amusing.  He looked as if he was going to give Piangi a good hearty piece of his mind after his profession, "You don't deserve her!".  But then Carlotta launched into her lamentations and Firmin decided he had bigger problems at the moment than the tenor's insolence.

Carlotta was also in rare form during this scene; her dramatic flutterings, sobbings and high notes were all perfect.  She even sniffled and stuck her nose in the air in a proud, wounded gesture as the managers began to sing.  For the first few lines she regarded them with injured skepticism, but fell for their charms in the end.
 

*Il Muto*
James Romick, as I said earlier, played the Jeweller; I got to hear his splendid voice for just one brief moment, on "His lordship sure would die of shock."  He seemed to stand out among the other Fops, his tone too clear and perfect for a chorus-member.  But by this time, I was too in love with David Gaschen to mourn the fact that James was not starring in the show tonight.

Don Atilo was great, as usual.  I love the little antics he employs to exaggerate his low note - tonight he held his hand out, palm first, and checked his nails.

Christine didn't seem at all afraid on her response to Erik's line about Box Five.  She simply wandered to center stage with an expression of wonder, and looking into the rafters murmured, "I know it, it's him ..."

Carlotta didn't call Christine "you little" anything ... she just spat out the insult - "toad!"  Erik's chuckles were fantastic, as was the little dismissive (and nervous) wave Carlotta gave to his disembodied voice as she spoke with the conductor.

Andre's announcement of the ballet was great, as usual.  His shriek as he bumped into the corps de ballet was even more exaggerated, and very funny.  During the ballet the rats *finally* reacted to Erik's shadow in a way that convinced me, and the shepherd boy gave a very Mme. Giry-esque stomp with his staff.

Erik's laughter as Buquet's body fell was perhaps a little too exaggerated; it made me think of Dr. Evil from "Austin Powers."
 

*All I Ask of You*
Sarah was definitely smiling as she sang "His voice filled my spirit with a strange sweet sound."  She was obviously inspired by even the thought of Erik; and Raoul was obviously frustrated, throwing a fist at the empty air when Christine wasn't looking.

Gary Mauer really played up on the Raoul cheesiness tonight.  He kissed Christine in a fashion that was completely indecent, which repulsed me but I think is very consistent with the character.  The only thing that I really disliked about this scene is that when Gary went down on one knee to propose, Sarah hopped onto his raised knee and hugged him impetuously. Yuk.

Erik's reprise of this song was simply heartwrenching, and he even cried out her name as he was saying, "No ..."  His final lines were sung with such passionate anger that the whole angel statue shook with it.  And his laughter reverberated in the auditorium long after the lights had gone up again.
 

*Act II: Masquerade*
The managers always nail their little duet at the beginning of the second act, complete with nervous laughter and a suspicious glance around after, "Such a pity that the Phantom can't be here."

I noticed that after Raoul and Christine's little argument, she runs off to dance as if to get away from him.  Raoul seems like he would follow, but Mme. Giry pulls him aside and talks to him for a moment.  I wonder what's going on there.

David Gaschen was in rare form by this point.  His acting as he came down the stairs was *superb* and his singing was still clear as crystal.  But again, he sang, "Why so silent, good Monsieur?" instead of 'messieurs.'  I wonder if they've changed this?  But I seem to remember Howard McGillin saying 'messieurs."
 

*Raoul and Mme. Giry's crossover*
I never paid much attention to this scene before, but tonight I noticed that there seemed to be a set for it!  Mme. Giry's lantern kept throwing faint light around, and every once in a while I would catch a garish half-shadowed glance of weird-looking props.  I assume they're somewhere backstage by this point, and there is stuff scattered around.  But the most bizzare looked like a gigantic *head* hanging from the ceiling.
 

*Notes/Twisted Every Way*
An interesting touch tonight - Firmin stepped on the score that Piangi dropped to the floor. I wonder if this was purposeful.  Anyway, it was neat - something I could really see Firmin doing.

Much good acting from all the principals on this scene, especially the stand-in Piangi.  His reaction to Erik's note was perfect.

I liked how Sarah interpreted Christine in this scene.  After Raoul sang to her, "Every hope and every prayer rests on you now," she gave him a stare of pure disillusionment and pulled her hands away from his.
 

*Wishing You Were Somehow Here Again*
On her crossover leading to the song, Christine grasped the red scarf and captured it between her palms in a prayerlike gesture.  I thought she was going to cry.  I can really read her missing Erik as well as missing her father into this scene, because of Sarah's acting.  She's really my favorite Christine.

"Wandering Child" was so beautiful; Erik's voice was as light and clear as if he were singing a lullabye.  And "I am your angel" just wound its arms around everyone in the theatre.  You could have heard a pin drop.

Erik's "Now let it be war upon you both" was delivered, if I may quote Suzy McKee Charnas, "in the very ecstacy of grief and rage."  David let us feel Erik's pain and I could have just cried.
 

*Point of No Return*
If I hadn't discovered at intermission that Adrienne McEwan wasn't playing Christine tonight, I would have realized it on this tune.  Adrienne's interpretation of Christine here is so loathesome, and Sarah's is so much better; it would have been glaringly obvious to me that it wasn't Adrienne on stage, even if I hadn't known.

There was great chemistry between Christine and Erik in this scene.  He was sensual, not overtly sexual; and she was willing, not overtly slutty.  And although Erik's tone and words are suggestive, he never acts on them; it's still the sweeping gestures that never touch her in any way, as in MOTN.

As he stood behind her on "What sweet seduction lies before us," she lifted her arms up in a gesture of surrender, as if she were giving up her body to him.  She craned her neck back, and when he sat down on the bench beside her, again I had that fleeting feeling that they might kiss.

Sarah made it very clear what it is that makes Christine realize it's Erik and not Piangi: on "When will the flames at last consume us," she lays her left cheek on his right - so she feels the mask.  But as she steps away from him, she doesn't seem angry or even afraid; she just seems indignant at being tricked.  Christine probably wants to say, "You're manipulating me too, just like all of THEM."

The managers crept on from offstage left, but Sarah actually made a gesture to stop them, to leave her with Erik.  It was interesting, because Adrienne runs all over the stage in fear and the managers wave at her as if to say, "Stay there!"

Erik's "All I Ask of You" was so touching, and he placed his ring into Christine's hand and curled her fingers around it.  I never noticed her place it on, though.  As she took off his mask, I thought about Yeston/Kopit's Christine, and how in order to love Erik she feels she needs to see his face.  Sarah's Christine made me feel like that was what she was doing - testing herself to see if she can handle his face, and therefore be able to "say she'll share with him one love, one lifetime."
 

*Down Once More*
The only time I had a serious proble with David's Erik was when they were in the boat.  On "Why you ask" he grabbed her hand and pulled her towards him, and that reminded me all too well of the scene in Leroux where Erik digs Christine's nails into his face.  Gruesome and not in keeping with his character, I think.

On the 'mother' lines, Erik stroked the veil with such tenderness and grief that I misted over.  Sarah's Christine was instantly sorry and you could see the apologies in the way she moved; it was like when two lovers argue, and one of them makes a painful admission, and suddenly the fight is over because all they want to do is console each other.  But Erik is, of course, a bit too upset for that now.

A temper tantrum from Christine!  After "Raoul, it's useless," she stalked downstage, away from the portcullis, and actually kicked the veil!  I thought it was great, showing that Christine is still a bit spoiled and childish.

On "This is the choice," Christine was on the floor, and Erik knelt before her.  He took her by the arms and leaned her over, almost to the floor, and then pulled her back up so she was very close to him.  I liked this much better than James Romick's pressing Christine flat to the stage with his body.  Yuk.

His demeanor was *perfect* on "Make your choice!"  It was not screamed, but it was emphatic. Then he turned away from Christine and folded his hands behind his back, fidgeting and waiting for her reply.  I thought it was *exactly* right.  It made me think of Erik in Kay ... "What is it that you want? ... Tell me straightaway or you shall have nothing at all ... It isn't my birthday, and I haven't been good ... "

The kiss was exquisite; he almost embraced her countless times.  His arms would come around her, then pull away, only to come around her again and pull away again.  It was so heartwrenching and it was the best I've ever seen it done.

The ring exchange was also the best I've ever seen.  She held out the ring and he took her hand; but then she took her free hand and clasped it over his.  The look that passed between them really made me wonder what was about to happen!  But then Christine seemed to realize that she would break down and run into his arms if she stayed a minute more, and she ran away.

He didn't cry, "I love you," enough for my taste, but they were beautiful.  He carried the veil with him right up to the throne, and I almost thought he was going to take it with him. And I could *feel* his heart breaking on "You alone ... "  By this time I was undone, and sobbed through the curtain call.

Which brings me to my biggest problem with the evening; there was a terribly rude woman sitting behind me.  Throughout the second act she had her coat piled up on the floor and spilling over into my seat, and she kept poking me with the toe of her shoe, which prevented me from sitting back in my chair!  I kept shoving at her coat and bumping into her foot, trying to give her the hint that she was invading my space.  But she never took it.  The final insult was during the curtain call, when I stood to give David an ovation.  He was fabulous, and he deserved it.  But this awful woman had the nerve to tap me on the shoulder! I ignored her, so she did it again and called out over the applause, "Sit down."  I brushed my hand over my shoulder dismissively.  There is nothing rude in giving a standing ovation, and it's not like I blocked her view of the whole curtain call; I waited until the very end. So THEN, her husband, who was sitting beside her and who had been *talking* all through the show, actually reached out and tugged on my sleeve!  That was it for me; I smacked his hand away and stepped as far forward as I could without pitching over the seats in front of me.  I could not believe the nerve of these people.  They both had very thick accents, so I wondered whether or not they were American; but regardless, I believe that standing ovations are socially acceptable the world over.  There was no excuse for their behavior; if they wanted to see so badly, they could have stood up too.

That bad last note to the evening did not in any way diminish my love for the performance, though.  It was *wonderful* and I am going to write David Gaschen a pathetic babbling fan letter about how incredible I think he is.