It took me over three decades to finish reading The Phantom of the Opera by Gaston Leroux, and honestly, it feels like an accomplishment worth celebrating. For years, I struggled to disconnect my familiarity with Andrew Lloyd Webber’s musical version—which you guys know I adore—from the original book. The characters, the songs and the drama of the stage production are so deeply ingrained that trying to dive into Leroux's story felt like stepping into unfamiliar, murky waters. But in 2024, after starting (and stopping) as far back as in 1992 when I was just 16, I finally turned the last page.
To say I was left conflicted would be an understatement. Is this a love story? A horror story? A mystery? After finishing, I’m still not entirely sure—and that ambiguity is part of what makes it so intriguing. Leroux’s novel doesn’t fit neatly into one genre, instead weaving elements of romance, gothic horror and suspense into an atmospheric tale that feels unlike anything else.
If you’re familiar with the Lloyd Webber musical, you’ll recognize many of the central characters and plot points: the mysterious Phantom (Erik), the young soprano Christine Daaé and the dashing Raoul. But Leroux’s Phantom is far more complex—and far darker—than the romanticized antihero of the musical. His obsession with Christine veers into sinister territory and the gothic horror elements of the novel amplify the sense of dread surrounding his actions.
One thing that struck me was how much more detail and backstory Leroux provides. The Opera House itself feels like a character—its hidden passages, underground lake and haunting presence create a vivid setting that’s rich with mystery. There’s a deeper exploration of the Phantom’s past and his genius as an architect and musician, which adds layers to his character while still leaving plenty of questions unanswered. While Lloyd Webber’s musical streamlines the story for dramatic effect, Leroux’s novel gives you the full picture, including the grittier, more unsettling aspects that don’t always make it to the stage.
At the same time, there are elements of Leroux’s novel that I couldn’t help wishing were incorporated into the musical. Certain details—like the exploration of Erik’s inventive traps and the intense rivalry between him and Raoul—could have added even more tension and complexity to the stage production. But I understand why they weren’t—it would’ve made an already elaborate musical even more complicated and long.
Reading the book also deepened my appreciation for the musical. While Leroux’s story is rooted in darker themes, Lloyd Webber’s adaptation captures the essence of the Phantom’s longing and Christine’s confusion in a way that feels timeless. It’s fascinating to see how the same story can evolve through different mediums, each with its own focus and interpretation.
Looking back, I’m glad I finally gave Leroux’s novel the chance it deserved. It challenged my preconceptions and left me grappling with its layers, which I’d say is the mark of a truly impactful read. Was it worth the decades-long wait? Absolutely. I have owned the Harper Collins mass market with the musical tie in cover for years, since I worked at Borders Books in the 1990's and held onto it for all these years because I hold onto anything related to The Phantom of the Opera because that's my thing.
Have you read The Phantom of the Opera or seen its musical adaptation? How do you feel about the differences between the two—and which version resonates more with you? I’d love to hear your thoughts in the comments. Let’s swap stories about our experiences with this gothic classic and dive into the mysteries of the Phantom together. And if this post gave you a new perspective or rekindled your love for Leroux’s tale, consider supporting the blog. Every contribution helps keep these reviews coming and fuels more literary deep dives. No pressure—your presence and insights mean the world to me. Here’s to stories that keep us wondering, dreaming, and maybe just a little haunted.
Welcome to a nostalgic dive into the enchanting world of musical theatre with another review of Andrew Lloyd Webber’s hit musical CATS, but this time I’m highlighting the 1982 Original Broadway Cast Recording. This album, a true cornerstone of the genre, offers a unique peek into the beginnings of Andrew Lloyd Webber's iconic mega musical. I recently revisited this classic recording and found myself captivated all over again and decided to rewrite and update my thoughts on the album. Whether you're a seasoned fan or just curious, join me on this journey through the raw energy and early brilliance of CATS. There's something magical waiting for you in this album.
I've been a longtime fan (and one-time performer) of Andrew Lloyd Webber's music, including his mega musical, CATS, which I was NOT involved in. I first encountered it with my friend Tom when I was 16, back in 1992. Mesmerized by the fantastical story, the captivating music, massive set that stretched beyond the stage and into the audience and the iconic costumes, it was a spectacle unlike anything I'd ever seen. Revisiting the classic 1982 Original Broadway Cast Recording recently, I realized something: this album is less of what I remember from what the Broadway production evolved into by the time I saw it, and more a fascinating glimpse into the concept of CATS, a snapshot of its initial form. And I love it all the more for that. While this recording isn't my personal favorite (that honor goes to the 1985 Australian cast album and the original 1986 Berlin cast recording), it holds a special place as a cornerstone of musical theatre history, especially here in the US where it, along with the original London cast recording, are among the most readily available versions.
The recording of the Original Broadway Cast was released by Geffen Records on January 26, 1983. Two versions were released: a two-disc "complete" edition and a single-disc "highlights" edition. It was recorded by the entire cast, including the swings, in October 1982, and certified Platinum by the Recording Industry Association of America on December 5, 1988, having sold over 2 million copies. This recording also won Best Cast Show Album at the 26th Annual Grammy Awards.
The iconic original Broadway cast delivers unforgettable performances. Listening to this recording now, I'm struck by the power and vulnerability of Betty Buckley's Grizabella. I was a hardcore fan of my first Grizabella, Laurie Beechman, was it was hard not to compare their performances. As I got older, I have grown to love what Betty Buckley brought to the role. Her rendition of "Memory" is legendary for good reason, a truly show-stopping moment. It's clear she channeled something deeply human in her portrayal, capturing the desperation and heartbreak of a character at the end of her rope. It’s as if she studied real people struggling with life's hardships, bringing incredible authenticity to the role. From Ken Page's booming Old Deuteronomy to Terrence Mann's charismatic Rum Tum Tugger, each actor brings their unique personality and vocal talents to their role, creating a truly memorable ensemble.
Andrew Lloyd Webber's score is a masterpiece, though aside from "Memory" and "The Jellicle Ball," I wouldn’t say any of the other numbers would be suited for airplay on the radio, definitely not for top 40 radio stations. The catchy melodies, soaring orchestrations and emotional depth make this album an enduring classic. "Jellicle Songs for Jellicle Cats," "The Rum Tum Tugger," and, of course, "Memory" are just a few of the many highlights.
Listening to this recording is a different kind of nostalgic journey. It’s not just about my memories of seeing the show; it's about connecting with the origins of a theatrical phenomenon. It's a chance to hear the show in its initial form soon after it was mounted on Broadway a year after its London debut, before it became the polished production I witnessed in person.
The album has been remastered in recent years, bringing the sound quality to astonishingly sharp and pristine, enabling a full appreciation of the music and vocals' subtleties. Every orchestral instrument and vocal nuance is distinctly audible.
This recording captures the majority of the original Broadway score, allowing you to experience the show as it was initially presented. Note: While known as the complete definitive recording, it's worth noting that "The Aweful Battle of the Pekes and the Pollicles" as well as some of the extended dance sections and incidental and transitional numbers were not recorded.
While I resonate more deeply with other recordings, the 1982 Broadway cast recording holds significant weight as one of the most widely available versions in the US. It serves as a crucial introduction to CATS for countless fans and remains an important part of the show's legacy.
CATS continues to captivate audiences worldwide, in spite of the unpopular film version, and this recording is a testament to its timeless appeal. It's a piece of musical theatre history that continues to resonate with listeners, offering a glimpse into the genesis of a theatrical icon.
Whether you're a long-time fan of CATS, exploring different versions or discovering it for the first time, the 1982 Original Broadway Cast Recording is an essential addition to your collection. It's a piece of musical history that will continue to delight and inspire for generations to come, and a fascinating look at the evolution of a beloved musical.
Notable Cast Members include Betty Buckley (Grizabella), Known for her powerful rendition of "Memory," Betty has gone on to a distinguished career in theatre and television, including roles in the 1988 musical version of Carrie, having starred in the original film, Sunset Boulevard in London and New York as well as the television series Oz. Ken Page (Old Deuteronomy) lent his voice to Oogie Boogie in The Nightmare Before Christmas and appeared in the 2006 film adaption of Dreamgirls. Terrence Mann (Rum Tum Tugger) continued to shine on Broadway with notable roles in Les Misérables, Beauty and the Beast and Scarlet Pimpernel.
Sadly, we've lost some of these incredible talents over the years: Mr. Mistoffelees,Timothy Scott will be remembered fondly for his enchanting performances. And René Ceballos, the original Cassandra left an indelible mark on the original cast.
And there you have it! My thoughts on the 1982 Original Broadway Cast Recording of CATS. I hope my reflections have sparked your interest in revisiting this musical gem or maybe experiencing it for the first time. I'd love to hear your own memories and impressions of this iconic recording, so feel free to drop a comment. If you enjoyed this review and found it helpful, your support in any way would be much appreciated—it means a lot and helps keep the magic alive. Let's continue celebrating the wonder of musical theatre together and cherish its lasting impact on our lives.
Sometimes, life gives us moments so vivid, so exhilarating, they feel like they’re etched into the fabric of our very being. Today, I’m taking a trip back to one of those unforgettable moments: my very first time seeing The Phantom of the Opera on Broadway. It’s a story I’ve touched on before, but as I revisit old memories, I’m breathing new life into them, adding details that time has graciously revealed and reflecting on the experience from both the lens of wide-eyed youth and the perspective I’ve gained in the years since.
But first, let me give you a little insight into my journey with this spectacular show. Since that day in September 1992, I've seen The Phantom of the Opera over 100 times—a milestone I still can't quite believe myself! The enchanting music, the hauntingly beautiful set and the raw emotion of the performances kept drawing me back, like a moth to a flame. Over the years, I’ve had the honor of watching 26 or 27 incredible women bring Christine to life on stage. Each one brought something unique to the role and I’ll be sharing my thoughts on every one of them in future posts. But today, it’s all about the beginning—the memory that started it all.
When I stepped into New York City in 1992, I was already a devoted fan of the show’s music, thanks to the Original London Cast recording, which had practically been on repeat for months. Back then, in my mind, I couldn’t separate the voices on the cast album from the show itself. I’d envisioned seeing Michael Crawford and Sarah Brightman on stage, as if their performances were an eternal part of the show’s essence. Of course, reality quickly reminded me that casts change and the Broadway stage is a living, breathing force that evolves with time. By the time I arrived, Michael Crawford had already left the Broadway company and Mark Jacoby—the sixth full time Phantom to grace Broadway—had taken up the iconic mask. Karen Culliver, whose voice I’d soon fall in love with, was captivating audiences as Christine. Even Hugh Panaro, a future Phantom in his own right, was playing the role of Raoul.
The excitement was palpable. My friend Al, an amazing and thoughtful companion, had secured tickets for a matinee performance—a day I’d been eagerly counting down to. But, as fate would have it, my other friend Sergio kept me out all night at an after-hours club, leaving me thoroughly sleep-deprived. Still, there was no way I was missing this show. Bleary-eyed but thrilled, I made my way to the theater, ready to soak in the magic.
Looking back now, that day is a kaleidoscope of emotions—my first taste of Broadway grandeur, the melodies that tugged at my soul and the sheer joy of witnessing such talent live on stage. It’s a memory I hold close to my heart, not just for what it was, but for what it ignited: a lifelong love affair with musical theater.
Stay tuned, because this is just the beginning. I’ll be sharing more stories, diving into the performances that stood out, the casts that amazed and even my experiences with other iconic Broadway productions. But for now, I hope this glimpse into the August 1992 performance will paint a picture of the magic that began it all for me.
Prologue The auction scene began with a resounding strike of the gavel, immediately commanding attention as the auctioneer declared, “Sold!” The lights rose to reveal an eager crowd bidding on relics from the opera house’s storied past. Among them was an elderly man in a wheelchair, who quietly sang to a mesmerizing Monkey in Persian Robes music box. The intricate creation came to life, rhythmically clashing its tiny cymbals, adding an eerie charm to the moment. When Lot 666 was unveiled—a majestic chandelier that burst to life with flashes of light—the theater seemed to pulsate with energy. Tears welled in my eyes, and a shiver ran down my spine. I was completely overwhelmed by the realization: I was finally here, witnessing in person the spectacle I had dreamed about for so long.
Overture The overture swept through the theater, rich and full, just as I had heard it countless times on the cast album. It was every bit as magnificent as I had imagined, and yet the live experience made it feel even more powerful. As the iconic chandelier began its ascent, the stage scenery also began to come to life. Drop cloths were dramatically pulled away, unveiling the breathtaking proscenium adorned with shimmering golden figures. The sight was so stunning it almost felt like stepping into another world. When the chandelier reached its full height, casting its glow over the audience, the overture reached its dramatic climax before tapering off. And then, there she was—Carlotta, portrayed by the brilliant Marilyn Caskey—standing center stage, poised and ready to dazzle us with her commanding presence.
Marilyn Caskey & Gary Rideout
Hannibal/Think of Me Marilyn Caskey’s portrayal of Carlotta was a refreshing departure from the bold and brassy soprano stylings of Rosemary Ashe on the London Cast recording. While Caskey’s interpretation had a different quality, she was far from lacking; in fact, she was absolutely incredible, effortlessly tackling the high notes in the opening. I dare say her performance was even more intriguing to my ears than that of the actress on the cast album. Her comedic timing in the Hannibal scene was flawless, particularly during her interactions with Piangi, played by the brilliant Gary Rideout. Together, their chemistry was nothing short of magical, enhancing every moment they shared on stage.
Karen Culliver
Carlotta’s rendition of Think of Me caught me slightly off guard—not only were the lyrics different from what I knew from the cast album, but the song itself was a bit longer. Still, it was a delightful surprise. Later in the scene, when the backdrop narrowly missed Carlotta, Caskey delivered a show-stopping "meltdown" that had the entire audience in stitches, myself included, until her dramatic exit from the stage.
Then there was Karen Culliver as Christine—an absolute revelation. Her voice carried a youthful strength that I found even more compelling than Sarah Brightman’s. Her rendition of Think of Me was nothing short of perfection and those rewritten lyrics? I actually preferred them to the original. Throughout the scene, I was completely transfixed; not only was Culliver's voice stunning, but her stage presence radiated such beauty and charisma, it was impossible to look away.
Hugh Panaro as Raoul
Hugh Panaro as Raoul also stood out as a highlight of the performance. His voice, though higher in tone than Steve Barton’s from the original cast recording, was beautifully clear and felt perfectly suited to the role. It brought a fresh take to the character without ever being jarring. Many years later when he rejoined the cast as The Phantom, I had reservations regarding his voice but he's got a voice of gold that can fit into many roles.
Angel of Music Leila Martin’s Madame Giry exuded a subtle air of foreboding, her presence tinged with the authority of an older elementary school teacher—one who didn’t just expect respect but commanded it. Whether she spoke or sang, her performance demanded and held your undivided attention. The role seemed almost tailor-made for her, though perhaps her nearly five years of experience in the part had honed her portrayal to perfection.
Christine’s dressing room was charmingly minimalist—just a small space adorned with a mirrored vanity and a large mirror facing the audience, positioned next to the door. There was undeniable chemistry between Karen Culliver as Christine and Catherine Ulissey as Meg, they felt like lifelong friends, their bond effortlessly believable. Catherine’s vocals were perfectly suitable for the role, but it was clear her real strength lay in her dancing—a skill well-suited to Meg, whose character is, after all, primarily a dancer rather than a singer.
As the scene unfolded, I began to truly appreciate Karen’s immense talent. Her acting ability was every bit as impressive as her singing, perhaps even surpassing it. She didn’t just confide in Meg about the Angel of Music; she confided in every single member of the audience, drawing us into her world with remarkable authenticity and grace.
Little Lotte/The Mirror Hugh Panaro's portrayal of Raoul in the Little Lotte scene was nothing short of captivating. His effortless charm could make anyone swoon, leaving you to wonder why Christine didn’t simply run off with him and call it a day. But, of course, had she done that, the story’s hauntingly beautiful unraveling would cease to exist.
And then came the moment that truly defined the Phantom’s presence—the moment when Mark Jacoby’s voice filled the theater. Though we’d been offered a taste of his haunting vocals earlier, this was the moment where his talent truly shined and Jacoby made his mark. He wasn’t a Michael Crawford replica—far from it. He brought his own powerful essence to the role, wielding his voice with mesmerizing control. Every syllable and note carried a dramatic intensity, simultaneously startling and enchanting the audience.
The scene climaxed with the iconic mirror opening, revealing the path Christine was destined to take. As she stepped through, beginning her journey with the Phantom, there was an undeniable finality to the moment. You knew there was no turning back—for Christine or for yourself. From then on, you were locked into the story until the very last note.
The Phantom of the Opera This iconic scene, the very heartbeat of the show, was nothing short of mesmerizing. Although the vocals were pre-recorded, it didn’t matter in the slightest—the magic was all-encompassing. The haunting melody, driven by the deep, resonant sound of the bass guitar, synthesizer and drums, created a soundscape that was utterly entrancing. Mark Jacoby and Karen Culliver’s stellar vocals soared through the theater, perfectly synchronized with the stunning visuals unfolding on stage. The boat gliding across the misty lake, illuminated by an ethereal blue glow, swirling smoke that curled like whispers of mystery and candles rising gracefully from beneath the stage—all of this transformed the space into an almost dreamlike dimension. As the scenery moved seamlessly into place, the audience was swept away, fully immersed in the captivating world being created before their eyes. It was, quite simply, an unforgettable theatrical experience. This was also still at a time when the audiences applauded when the boat came into view. Somewhere along the way, this stopped, except during special milestone performances.
Mark Jacoby
The Music of the Night Though undeniably a classic in musical theater and a staple in any collection of Andrew Lloyd Webber’s work, The Music of the Night has always been my least favorite song from the show. It’s hard to pinpoint why; perhaps its familiarity overshadows its intrigue. Nevertheless, Mark Jacoby's commanding voice breathed new life into the tune, cutting through the melody with effortless precision and carrying the audience along with him. His performance was magnetic and left everyone wanting more, even from a song that wasn’t as personally thrilling to me.
I Remember/Stranger Than You Dreamt It This scene was undoubtedly an emotional turning point in the show—a moment of raw vulnerability and intense drama. Christine’s curiosity led her to the brink as she removed the Phantom’s mask, an act of wonder and fascination that unleashed a whirlwind of tension. In that instant, it was clear she had picked the wrong man to provoke. Mark Jacoby's commanding voice and Karen Culliver’s emotionally charged acting reached their peak, creating an electrifying interplay that held the audience spellbound. The Phantom’s mood swung with a startling ferocity, dragging himself across the stage in a storm of emotion. And yet, as Christine returned his mask, a quiet shift took place. The rage dissolved almost as quickly as it had erupted and in its place, a rare glimpse of humanity emerged. Christine’s expression of pity and the Phantom’s realization that she might be the one person willing to see him as more than a monster offered a poignant moment of connection. It wasn’t just about an overprotective, tortured genius anymore—it was about something deeper. For a fleeting moment, the audience glimpsed the delicate thread of hope beneath the Phantom’s anguish.
Magical Lasso/Notes/Prima Donna In later years of my Phantom fandom, these scenes sometimes became my go-to restroom break moments. However, during those early days, I wouldn’t dare miss a single second. The Magical Lasso scene, though brief, packed a punch thanks to Leila Martin’s captivating Madame Giry. Her ominous warning to Buquet and the ballet girls about The Phantom was chilling and commanding, delivered with a perfect balance of fear and authority. The scene transitioned swiftly into the manager’s office, where Andre, portrayed by Jeff Keller, and Firmin, played by George Lee Andrews, grappled with The Phantom’s ominous notes. Each ensemble member made their entrance with their own letter, weaving together a narrative of The Phantom’s obsession with Christine, his disdain for both Raoul and Carlotta and his fury at the managers’ decision to cut off his monthly allowance.
The comedic timing in this scene was nothing short of brilliant. George Lee Andrews, Jeff Keller and Marilyn Caskey led the charge, their performances brimming with humor while still preserving the underlying tension. Their vocal chemistry, along with the talents of Gary Rideout, Hugh Panaro, Catherine Ullissey and Leila Martin, added richness to this ensemble number. Marilyn Caskey stood out once again, delivering a breathtaking final note at the end of Prima Donna. Her commanding presence and vocal prowess were a powerful reminder of why she was the diva of the opera house—at least, until The Phantom decided Christine would take her place.
Poor Fool, He Makes Me Laugh Marilyn Caskey and the ensemble delivered an impeccable performance in this scene, bringing every detail to life with perfect precision. Caskey’s portrayal of Carlotta shone brilliantly and her hilarious croaks after the Phantom confronted her for calling Christine a "Little Toad" were nothing short of unforgettable. The timing, the delivery and the sheer absurdity of it all made her croaks possibly the best I’ve ever witnessed.
Why Have You Brought Me Here?/Raoul, I’ve Been There/All I Ask of You This scene unfolded like a dream, a moment delicately balanced between reality and fantasy. The rooftop setting was so immersive that it felt as though you were truly perched high above the city at night—complete with the stillness of the evening, though thankfully without the gusty winds that would have accompanied such heights. The combination of Hugh Panaro and Karen Culliver’s performances brought an air of authenticity to the grandeur and romance of the moment. Their chemistry really did feel real and their incredible acting made the emotions between Raoul and Christine feel completely genuine, as if you were witnessing an intimate exchange rather than a staged performance.
Hugh Panaro & Karen Culliver
While I’d love to recount more details, I must admit that my exhaustion from the night before caught up with me during this scene. In those moments of dreamlike storytelling, my sleep-deprived self may have drifted off slightly, but the impression left behind was one of beauty and enchantment.
All I Ask of You (I Gave You My Music) While I might have drifted off for a moment earlier, the instant the angel statue began to descend, revealing The Phantom within it, I was jolted wide awake. Mark Jacoby’s beautiful and commanding voice, delivered with a quiet but powerful intensity, captivated me completely. Despite his restrained vocal approach in this scene, every note seemed to carry weight and emotion. Having studied the libretto from my copy of the London Cast Recording, I knew exactly what was coming next and anticipation built within me. As the angel statue rose back into place, the moment arrived—the iconic chandelier didn’t just lower; it plummeted with dramatic force over the audience, swinging toward Christine on stage with breathtaking precision. The spectacle exceeded every expectation I had, leaving me awestruck.
In that instant, a bittersweet realization washed over me. I was halfway through the performance I had dreamed of experiencing for so long. While I was eager to see the rest unfold, part of me longed for a rewind button—to relive every magical moment of the first act before continuing. The beauty and grandeur of the scene lingered in my mind, setting the stage for the unforgettable second half.
At intermission, my friend Al surprised me with a souvenir program—the original white one with the elegant red tassel—and a margarita from the bar in the lobby. In hindsight, indulging in a margarita might not have been the best idea given how tired I was, but who could resist such a treat in the theater of my favorite musical? The margarita was delicious and the entire ambiance added to the magic of the experience.
When we returned to our seats, I found myself captivated by the conversations unfolding around us. Members of the audience were enthusiastically comparing the actors on stage to their counterparts from the cast recording, as well as other productions and cast lineups they had seen in the past. I couldn’t help but feel a twinge of envy as some mentioned having witnessed the original cast in London or on Broadway. That was a dream I would never fulfill without a time machine, but despite my quiet jealousy, gratitude won out. I was here, in this theater, witnessing the incredible talent of the current cast. It felt like a privilege to experience their unique interpretations and bring my long-held dream to life.
Entr’acte And so, act two began. After what felt like the longest 15 minutes ever—otherwise known as intermission—I was more than ready to dive back into the magic of the show.
Masquerade/Why So Silent George Lee Andrews and Jeff Keller opened the act before the iconic staircase was revealed as the curtains rose, along with the most colorful set of costumes on a massive ensemble of actors, and also some mannequins that many of us didn't realize weren't actual people. There was also the whimsical monkey girl with cymbals, just like the music box from the prologue and it was even more magical than I thought it could ever get. As the party in the scene was at full force, The Phantom made his entrance, in his dramatic “Red Death” costume with the score of the "Opera" he had just completed. When Mark threw the score to the managers, I actually wondered how many times did one of the actors not catch the book since the show had debuted on Broadway, to this day I wonder though I not once witnessed it not being caught in any of the performances I'd witnessed. The moment The Phantom snatches Christine’s necklace and declares, “Your chains are still mine, you will sing for me” I must have blinked, slowly, because I didn't understand how he disappeared and reappeared in another part of the stage as quickly as he did.
Notes/Twisted Every Way Back in the manager’s office, we were treated to another round of The Phantom’s infamous notes. This time, the messages revolved around his demands for the upcoming performance of his new opera, along with yet another reminder of his fixation on Christine. The tension in the room was palpable as the managers, performers, Giry and Raoul reacted to his unrelenting control. When Marilyn Caskey, in her role as Carlotta, delivered the line, “Christine Daaé, she doesn’t have the voice,” I couldn’t help but chuckle—Karen Culliver as Christine had been nothing short of spectacular, her voice soaring with strength throughout the performance so she definitely did have the voice. It was a delightful moment that highlighted both the tension and humor skillfully interwoven into the scene.
A Rehearsal for Don Juan Triumphant This scene truly hit the mark, capturing the chaotic energy of a rehearsal with remarkable authenticity. The disarray among the performers and the palpable tension in the air made the moment feel vividly alive. Seeing it live, I gained new insights into the dynamics of the characters—most notably Christine’s unexpected attempt to assist Piangi. Watching her try to help Gary Rideout’s Piangi as he struggled with his lines added a touch of humanity, and Christine's possible insight to the written material, to the scene, a detail I’d never fully appreciated until witnessing it in person. Rideout’s portrayal of Piangi was exceptional, delivering both humor and frustration in equal measure and Christine’s small act of support offered a glimpse of compassion amidst the turmoil.
Wishing You Were Somehow Here Again / Wandering Child / Bravo, Bravo This scene is exactly why I sometimes wish I had access to a time machine—or at the very least, hadn’t indulged in that intermission margarita. As Karen Culliver began to sing the opening verses of Wishing You Were Somehow Here Again in the graveyard scene, I blanked out entirely. Or, to put it bluntly, I nodded off. I missed the entire sequence, stirring only slightly when the heat of the flames at the end of the scene jolted me back into semi-consciousness, only to drift off again.
I have no doubt that Karen delivered a remarkable performance—I’ve seen her perform this piece many times since and she always brought incredible emotion to it. But in that moment, during my first time seeing the show I had built up so much anticipation for, I completely missed an iconic scene. Looking back, I can’t help but feel a mix of embarrassment and regret. Falling asleep, even from sheer exhaustion, feels like such a disservice to the experience I’d dreamed about for so long but hey, I got one hell of a unique story attached to my first time seeing the show.
Before the Premiere/Seal My Fate During these moments, I was fast asleep, and my friend Al didn’t have the heart to wake me. I imagine he saw me peacefully dozing, perhaps even looking adorable in my exhaustion and decided to let me rest.
The Point of No Return Sadly, I don’t remember this scene either—I was still deeply asleep.
Karen Culliver & Mark Jacoby
Down Once More/Track Down This Murderer/Beyond the Lake When I finally woke up, Christine was in her wedding dress. The realization that I had missed two major numbers of the show hit me, but I wasn’t yet fully alert enough to absorb what was unfolding on stage. Then, Christine kissed the Phantom, setting off a pivotal and deeply emotional sequence. As Mark Jacoby’s Phantom made the heartbreaking decision to release Raoul from the Punjab lasso—an incredibly dramatic moment I regrettably missed—I was struck by the raw emotion of the scene. Watching Hugh Panaro’s Raoul, vulnerable and ensnared in the noose, added to the gravity of the Phantom’s sacrifice.
The Phantom’s choice to let Christine leave with Raoul was both devastating and beautiful. It was in those final moments that the weight of the story truly hit me. Tears streamed down my face—not because I had missed so much of the action but because Mark Jacoby’s portrayal of the Phantom was utterly soul-crushing in its vulnerability. As he clutched Christine’s wedding veil, now alone once more, the sorrow in his final moments on stage was almost unbearable. When he sang the haunting last line of the show, “It’s over now, the music of the night!”, the reality sank in—the performance had ended. Yet, even as the curtain fell, I already felt the pull to return to the box office for another chance to experience the magic.
As the actors took their bows, I was on my feet instantly, giving them the applause they deserved after the most breathtaking 2 hours and 45 minutes I’d ever spent anywhere. I was completely enamored with every actor and actress on stage, but my admiration for Mark Jacoby burned brightest. His performance inspired me and for a fleeting moment, I dreamed of becoming the youngest Phantom of the Opera of all time—perhaps before I turned 19. Of course, fate had other plans; by 19, my voice hadn’t aged or matured in the way I’d hoped and even now, 30 years later, aside from improved stamina and range, my voice hasn’t changed much since my teens. Fortunately, my voice did fit a couple of other roles in some Lloyd Webber penned shows and for the short time I found myself in musical theatre, I made the most of what I had to work with.
While I didn’t attend the evening performance, Al and I ended the day with an early dinner at the Caliente Cab Company before heading back to his apartment. I crashed almost immediately, brushing my teeth and collapsing into bed for a much-needed rest. Over the next several months—from September 1992 until I left New York City in March 1993—I saw The Phantom of the Opera 34 more times at the Majestic Theatre. Each performance felt more exhilarating than the last and Karen Culliver as Christine was consistently outstanding, delivering breathtaking performances every time she took the stage. Over time, I also had the pleasure of seeing LuAnn Aronson and Raissa Katona in the role, each of whom brought their own unique strengths to Christine. Both were absolutely delightful to watch and in certain moments, offered interpretations that rivaled or even surpassed what I’d come to expect. Their distinct approaches added even more depth and variety to my experience of the show.
Since that unforgettable first show, my Phantom journey has expanded well beyond Broadway. I’ve had the privilege of experiencing productions by the Christine Company in Los Angeles and San Francisco, the Raoul Company and the Music Box Company (respectively the 2nd and 3rd National Tours) across various locations in the United States and even the North American Tour during its Atlanta stop in 2013. Each performance was unique in its own way, yet the brilliance of the original Hal Prince-directed production remains unparalleled in my heart. It holds an eternal place in my soul, a shining beacon of artistic excellence that continues to inspire me—and I know it always will.
Thank you for joining me as I relived my first and many subsequent experiences with The Phantom of the Opera. Every performance has enriched my life and I love sharing these memories with fellow fans and theater enthusiasts. What are your favorite Phantom moments? Have you seen the Broadway production, touring companies or perhaps another version altogether? I’d love to hear your thoughts, so feel free to share them in the comments below! If you enjoyed this post and feel inspired, consider showing your appreciation in a way that helps me continue writing and sharing my stories. Whether it’s a thoughtful comment, a kind word or another gesture of support, it means the world to me. Thank you for being a part of my journey!
If you know me even a little, you know how deeply The Phantom of the Opera has woven itself into the fabric of my life. It’s not just a musical for me; it’s a constant companion, a source of inspiration and a gateway to some of my most cherished memories. My real love for Phantom came full circle in 1992, the first time I saw the musical on Broadway. I can still picture that evening: Karen Culliver as Christine, Hugh Panaro as Raoul and the unforgettable Mark Jacoby as the Phantom. Though I did fall asleep for a few minutes in the second act, not because I was bored but because I was super sleepy. I will share that story soon.
I’ll admit, I left the Majestic Theatre that night wishing there was a cast album featuring them—but back in the day, options were limited. Unless you wanted to hear Phantom in German, Swedish, Japanese or the Canadian cast highlights, all of which I love, you were left with the iconic Original London Cast recording as the definitive version available in the U.S. And to be honest? That wasn’t such a bad thing. The main tunes on this recording is also available in a 14 track highlighted release, though Music of the Night is presented in the form of the "single" version rather than what's heard on the complete cast recording.
Throughout the years, this recording has remained a cornerstone of my Phantom obsession. In 1992, it wasn’t unusual to catch me wandering the streets of New York City, Walkman in hand, with Michael Crawford’s Phantom accompanying my every step. Fast forward to today and it’s still on rotation. I’ve got it on CD, vinyl and digitally loaded on my phone. Sure, I’ve since collected other international cast albums (because, of course I have), but this one holds a special place in my heart. So let’s dive into why this recording is such a classic.
Andrew Lloyd Webber’s score is nothing short of a powerhouse. Romantic, haunting and undeniably grand, it made dramatic organ chords cool again and gave us melodies that are impossible to forget. Sure, sharp-eared critics have pointed out a few nods to classical composers like Puccini and Debussy, but the result is uniquely Phantom.
Listening to the Original London Cast recording feels like opening a time capsule. From the moment the overture hits, you’re transported into the sweeping drama that defined a whole generation of theatre-goers. Michael Crawford as the Phantom is absolutely mesmerizing. His voice captures every layer of the character’s heartbreak and madness. Those high notes? Chilling, in the most deliciously theatrical way.
Sarah Brightman as the original Christine Daaé is a name forever tied to the show’s legacy. Many fans regard her as the best, some have changed their minds over the years and say Sierra Boggess captured that spot for them after the 25th Anniversary performance at Royal Albert Hall was released. Let me be honest here—I’m a bigger fan of Brightman’s solo albums than her Christine. Her middle range is lovely, but when she pushes into the higher registers, it can feel a bit sharp to my ears and her vibrato is a bit, well, much. That said, I have endless respect for what she achieved as the first Christine. She paved the way for the many talented women who followed, setting a benchmark for years to come. Having seen 25 (yes, 25!) Christines since, I can’t help but draw comparisons, but Brightman’s trailblazing performance deserves its place in the Phantom hall of fame.
Steve Barton’s Raoul often gets overlooked, but his performance on this recording is stellar. His “All I Ask of You” is smooth, heartfelt and everything you’d want from the role. It’s a shame that his stint as the Phantom, alongside Rebecca Luker as Christine, never got an official release—it’s the stuff of sought-after bootleg legend.
The music on this recording is a rollercoaster of emotion. “Music of the Night” is rich and hypnotic, pulling you into the Phantom’s world, while lighter moments like “Notes”/“Prima Donna” inject wit and charm into the drama. And let’s not forget the title song—it’s practically a love letter to the 1980s, with a distinct disco undertone. Honestly? That’s part of its charm. It’s a unique product of its time, and I wouldn’t have it any other way.
Ah, the quirks of the original CD release! If you bought it back in the day, you’ll remember the lack of individual track divisions. Lloyd Webber wanted listeners to experience it as one continuous piece. Admirable in theory, but not the easiest thing to navigate on a discman or the typical CD player at the time. Luckily, later editions fixed this, but there’s a certain nostalgia in remembering those fast-forward-and-rewind days.
Despite its dated elements and quirks, the Original London Cast recording of The Phantom of the Opera remains a classic. Michael Crawford’s Phantom is iconic, Sarah Brightman’s Christine set the stage for generations of performers and Steve Barton’s Raoul is effortlessly charming. Together, they created a recording that captures the magic of a phenomenon that’s stood the test of time.
What’s your favorite Phantom memory? Are you team Original London Cast or is there another recording that holds a special place in your heart? I’d love to hear your thoughts in the comments below! And hey, if you enjoyed this little walk down Phantom memory lane, feel free to share it, pass it along, or drop a little support to help keep these musical musings alive. Every little bit makes a difference—and it’s always appreciated. 🎭
It’s no secret that I’m a Phantom of the Opera superfan. Over the years, I’ve had the privilege of watching the show over a hundred times across six different productions. Excessive? Perhaps to some. But for me, this musical never loses its magic—it’s a world I can escape into again and again. Since moving to Atlanta in 1997, locally, I’ve been lucky to see both the Raoul Company (2nd National Tour) and the Music Box Company (3rd National Tour), the latter during its 2001, 2005 and 2010 stops. I'd seen both companies in other cities as well as the Broadway, Los Angeles and San Francisco productions many times prior to settling down in Atlanta. Even though I didn’t love the 2004 film adaptation, I’ll admit the soundtrack had its charm for what it was.
Fast forward to 2013, when I heard the new North American tour was heading to Atlanta. Naturally, I was intrigued. My friend Ernie even decided to visit and catch the show with me, people always seem to enjoy watching Phantom by my side. I guess knowing all the details—blocking, costumes, sets even sound cues—makes me a handy guide. From the advertisements, the production seemed like a modernized take on the original. So, with tickets secured, we set out for a night at the Fox Theatre.
Spoiler alert: it wasn’t what I’d hoped for.
Let’s rewind to the evening itself. Terry, Ernie and I arrived at the Fox Theatre, clutching our $100+ tickets. Our dress circle seats were tight—not quite what I remembered from previous shows. Was the view worth the price tag? Honestly, not really. Going in, I didn’t know much about the cast, other than Linda Balgord (whom I’d seen in Sunset Boulevard and Cats) and Ben Jacoby, son of Mark Jacoby—my very first Phantom and later on the Wizard in Wicked when Ernie and I snuck into the Fox. That connection was fun, at least.
As the Mighty Mo organ began to fill the theater prior to the show starting and as the audience filled their seats, I noticed something was off. Maria Bjornson’s breathtaking designs? Gone. The iconic proscenium? Nowhere in sight. Even the chandelier wasn’t the imposing centerpiece I was used to—it just hung there with a drop cloth. It became clear this production would be… different. Rather than a typical review of the show as a whole, I'm going to walk you through scene by scene from my memory of over 10 years ago.
Prologue
The auction scene didn’t kick off with the iconic gavel strike and dramatic “Sold!” Instead, it opened with actors casually entering the stage. A younger-looking Raoul, sans wheelchair, sang to the Monkey in Persian Robes music box, which came to life with a small, modernized design. When Lot 666 was revealed, the chandelier—already halfway lowered—was barely illuminated. I couldn’t help but feel let down.
Overture
The overture sounded rich and full, with updated orchestral elements that retained the melody we all know and love. If you're unaware it's mostly pre-recorded and the orchestra just plays along. But as the chandelier’s cloth was pulled away, the reveal of a scaled-down version with minimal effects was underwhelming. Gone was the dramatic magic of the chandelier rising as the curtains lifted. Instead, the stage was already filled with performers rehearsing Hannibal. This was the moment I realized the production might fall short of all of my expectations.
Hannibal/Think of Me
Jacquelynne Fontaine’s Carlotta handled the high notes with ease, in fact, she transitioned briefly into some whistle notes. Her her voice seemed more suited to Christine’s role. She lacked the commanding, brassy sound of an opera diva and her comedic moments felt muted. Carlotta’s Think of Me lacked flair, with sandbags falling far from her—a stark contrast to the Hal Prince production, where the backdrop narrowly misses Carlotta, sparking a more dramatic reaction. Julia Udine as Christine was a vocal standout. Her rendition of Think of Me was flawless, showcasing incredible vocal control as she delivered the Claire Moore/Rebecca Caine cadenza, typically heard in UK productions. I looked at both Terry and Ernie and said "she WILL be a Christine on Broadway one day soon." Yet the staging lacked luster; the scarf wasn’t prominently featured and a costume malfunction added some unintended humor. Thankfully, Hannah Florence (as Meg) cleverly recovered, turning the flub into a prop during the choreography. Ben Jacoby’s Raoul was another highlight, his voice uncannily reminiscent of his father’s. It was a lovely connection for me, considering Mark Jacoby was my very first Phantom.
Angel of Music
Linda Balgord’s Madame Giry felt more prominent in this version, stepping into the spotlight rather than lurking in the shadows. Christine’s dressing room—oddly spacious enough for ballet practice—added an unconventional dynamic. Julia and Hannah’s chemistry as Christine and Meg was a joy to watch. Hannah’s perfectly in-tune vocals stood out—a refreshing change from some past Megs who struggled vocally. Up to this point, aside from Ben and Julia knocking it out of the park during Think of Me, I am beyond underwhelmed. This is the section of the show where things begin to really take shape in the more familiar Hal Prince directed productions. Do you think it will for this one? Let's continue.
Little Lotte/The Mirror
Ben Jacoby was, without question, a standout as Raoul. His voice was pure perfection—flawless in tone and delivery, reminiscent of his father. I would LOVE to one day see Ben step into the role of Phantom. Julia Udine gave a solid performance as Christine, though her acting felt restrained. It seemed as though she’d been directed with a “less is more” approach, which left certain moments in this scene feeling muted. Now, let’s talk about that dressing room set. Something about it just didn’t sit right with me. It had an odd, mobile home vibe that felt entirely out of place for a glamorous opera house. The trailer-like door Raoul exited through didn’t help matters—it looked flimsy and cheap, which only added to the disconnect.
When the Phantom’s voice cut through the speakers with the opening lines of the Angel of Music reprise, my heart sank. Cooper Grodin’s voice wasn’t theatrical; it leaned more toward a pop or rock style that felt out of place in such a dramatic role. It reminded me of Dee Snider’s Broadway album, though Snider at least sang entirely in tune. The mirror scene, a moment steeped in eerie mystery in other productions, was a letdown here. The mirror itself was a massive, square-shaped object that looked out of place in Christine’s dressing room. When Christine entered the mirror, the transition felt rushed and clunky. Instead of the Phantom guiding her in with a patient, hypnotic allure, Grodin physically snatched her in, which robbed the scene of its usual nuance.
The Phantom of the Opera
Ah, the most iconic scene in the show—or at least, it’s supposed to be. This moment usually defines the production, with its candelabras, candles rising from the floor, ethereal blue lighting, swirling smoke and the unforgettable boat gliding across a misty lake. Unfortunately, this production stripped away much of that magic. This was the one scene where Cooper Grodin’s vocals were in tune, though, as in the original staging, his lines were pre-recorded. Instead of the travelator, the production featured a rotating “tower” with the Phantom and Christine descending down from the top as stairs extended from the tower walls, which I thought was actually a bit more cool than the original. Though I thought it was a nice touch but couldn’t make up for the absence of the iconic candles and candelabras. And the boat? Well, it was narrow, boxy and completely devoid of elegance. The breathtaking imagery of the Phantom and Christine crossing the lake, surrounded by glowing candles, was reduced to a cheap-looking boat moving over LED-lit fog.
The Phantom’s lair was equally disappointing. Gone were the throne, the Mirror Bride and the dual-purpose boat-bed. What remained was a sparse space with an organ, some real candles and a bed. It felt amateurish and underwhelming for such a pivotal scene. Grodin’s delivery of “Sing for Me…” at the song’s climax was loud and emotionless—more reminiscent of high school acting than the tortured brilliance we associate with the Phantom. Julia’s high notes were stunning, but her response to them felt disconnected, which lessened the impact of the moment, though that could have been attributed to the distance I was from the stage.
The Music of the Night
The lackluster portrayal of the Phantom continued here. Grodin stood stiffly in front of Christine, staring at her as though he were trying to impress a date at karaoke night. The performance was devoid of movement or charisma. There was no “floating, falling” pose, no ethereal energy. At one point, he even covered Christine’s eyes with a blindfold, which was awkward and uncomfortable to watch. And I hate to compare actors, but Grodin’s voice, for me, was less impressive than Gerard Butler’s in the 2004 film. At least Butler had some emotional resonance in his performance and I didn't mind that he didn't possess a legitimate voice.
I Remember/Stranger Than You Dreamt It
This scene is supposed to be an emotional turning point, where Christine’s curiosity leads her to uncover the Phantom’s vulnerability. In this production, however, the scene fell completely flat. Rather than pulling off the Phantom’s mask in a moment of fear and fascination, Christine simply picked it up off the organ while he applied makeup. Seriously? The dramatic tension was nonexistent. To make matters worse, the Phantom shoved Christine down and even pulled her hair—behavior that felt childish and entirely out of character. There was no suspense, no reason to feel sympathy for the Phantom. Instead of a tortured genius, he came across as a toddler throwing a tantrum. This pivotal moment lost all of its emotional weight.
Magical Lasso
Surprisingly, this scene was a highlight. Linda Balgord’s Madame Giry had a commanding presence that added depth to the character. Her portrayal even had a touch of Norma Desmond’s dramatic flair, which made the scene feel more impactful. I have seen several actresses as Giry, Leila Martin being my absolute favorite because she had a bit of a creepy vibe in her portrayal. Linda Balgord tapped into the creepiness of the role also, at least a little bit and she was a happy medium for me. Fun fact: Linda and I share the same birthday, though not the same year. Unfortunately, Linda passed away a few years ago, leaving a legacy of love and appreciation for her contributions to the productions she starred in, in her wake.
Notes/Prima Donna
The managers’ office was one of the more inventive sets, unfolding like a storybook. However, the bright red decor gave off “hooker hotel in New Jersey that I once stayed in” vibes—not quite the sophisticated atmosphere you’d expect from an opera house. Though I guess it's a bit of an upgrade to just a black background with a desk and a rolling chair as seen in the Brilliant Original. Mark Emerson and Brad Oscar, as the managers, had solid comedic timing, though their humor didn’t quite reach the heights of seasoned performers like DC Anderson or George Lee Andrews. Vocally, the ensemble delivered, but Jacquelynne Fontaine’s Carlotta still didn’t outshine Christine—an imbalance that felt odd for this scene.
This version seemed to also borrow elements from the 2004 film, with Carlotta being dressed on stage in her Il Muto costume. It was an interesting nod but didn’t add much to the overall impact.
Poor Fool, He Makes Me Laugh
This scene stuck fairly close to the original but included some odd choices that felt out of place. Don Attilio hiding in a wardrobe and gyrating along to Carlotta’s “ha ha’s” gave the scene a juvenile, “high school musical” feel. Carlotta’s infamous “FROG” moment lacked its usual humor and punch. Buquet’s death, staged onstage in this version, was another questionable choice. The audience saw the Phantom step out, use the punjab lasso and hang Buquet in full view. It came across as cheesy and lacked the chilling suspense that makes this moment so effective.
Why Have You Brought Me Here?/Raoul, I’ve Been There/All I Ask of You
This scene has always felt like stepping into a dream—a moment suspended between reality and fantasy. While the production retained some of that ethereal quality, the scenery was less impressive than in previous versions. The grandeur and romance that should define this moment were missing. With that said, Ben and Julia are EVERYTHING and their All I Ask of You felt authentic and left everyone wishing they could have a moment with one or the other.
All I Ask of You (I Gave You My Music)
The Phantom perched atop a statue on the opera house roof should have been a dramatic visual, but the lackluster staging let it down. The iconic chandelier moment was equally disappointing. Instead of the dramatic, high-speed descent and swing toward the stage, the chandelier lowered slowly and without impact, leaving the scene devoid of tension.
ENTR’ACTE
As in all productions, this section is pre-recorded and a perfect transition from intermission to one of the most grand scenes written for the show.
Masquerade/Why So Silent
I think I spoke too soon, did I say grand? Gone was the iconic staircase, the whimsical monkey girl and the dazzling costumes. Christine’s outfit was a watered-down version of her Broadway costume and the flat, mirrored backdrop gave me A Chorus Line vibes. Even Carlotta’s dress was plain and unremarkable. The Phantom’s entrance, typically a highlight, was a letdown. Instead of the dramatic “Red Death” costume, he wore his standard half mask. The moment where he usually snatches Christine’s necklace and declares, “Your chains are still mine,” was altered to, “Your voice is still mine,” with no physical interaction between the characters. The scene lacked intensity and impact.
Raoul and Giry
This scene was one of the rare moments that exceeded expectations. As Madame Giry recounted the Phantom’s origins, shadow projections illustrated her tale on the walls of the set. This added a layer of visual storytelling that made the scene more compelling than in the original production.
Notes/Twisted Every Way
Ah yes, another visit to what I lovingly call the New Jersey Hooker Motel (aka the manager’s office). Still decked out in garish red, this setting continued to be an eyesore. Carlotta’s line, “Christine Daae, she doesn’t have the voice,” always gives me a chuckle—mainly because in this production, Christine’s voice is leagues stronger than Carlotta’s. The irony was hard to ignore.
A Rehearsal for Don Juan Triumphant
This scene actually hit the mark. The chaotic energy of the rehearsal was captured well and Piangi’s struggle with his lines was more noticeable than in prior productions. While it may not have added much to the overall narrative, it did inject a bit of humor and personality into the moment.
Wishing You Were Somehow Here Again / Wandering Child / Bravo, Bravo
The sparse scenery continued in this sequence, with Christine’s father’s grave being shockingly small and the Phantom awkwardly hidden behind a nearby statue. The setup lacked the drama and gravitas this scene demands. That said, Julia’s performance of Wishing You Were Somehow Here Again was an absolute triumph. Her voice soared with emotional depth and she brought an aching vulnerability to the piece. Wandering Child was also a highlight. This production used the original London trio version, as heard on the Original London Cast Recording. Experiencing it live for the first time was a real treat. Cooper’s voice blended surprisingly well with Julia’s and Ben’s, creating a hauntingly beautiful harmony. Hey, I can't say I am all negative here, perhaps he was just not having the greatest of nights but I did like Cooper in this scene. The staging, however, was hit or miss. The Phantom’s flaring staff was replaced by flames erupting from the stage floor—a visually striking effect at first. But when the Phantom delivered his climactic “Now let it be war upon you both,” only five small flames shot up. It was anticlimactic and underwhelming, falling short of the tension this moment deserved.
Before the Premiere/Seal My Fate
This scene didn’t stray far from the usual staging of Seal My Fate. While it was solidly executed, there wasn’t much to distinguish it from previous productions. It was serviceable but otherwise unremarkable.
The Point of No Return
Despite Cooper Grodin’s less-than-stellar voice, this scene was executed fairly well overall. However, one glaring issue stood out: the pivotal moment when Christine realizes she’s singing with the Phantom instead of Piangi was entirely absent. That moment of recognition is crucial for building tension and drama and its omission left a noticeable void. Things took an odd turn after Piangi’s death was revealed. Raoul grabs a gun from the Fireman and fires at the spot where the Phantom had been moments before. Unfortunately, by that point, the Phantom had moved about 15 steps forward, making it look like Raoul unintentionally shot someone else. The staging here felt sloppy and unpolished, undermining the emotional weight of the scene.
Down Once More/Track Down This Murderer/Beyond the Lake
As Madame Giry led Raoul to the staircase, I couldn’t help but wonder how Raoul seemed to magically know exactly where to go once he descended. Upon reaching the lair, there was no boat to be found and Raoul emerged looking perfectly dry and composed—a detail that felt unrealistic but consistent with the original production’s similar oversight. When Christine appeared in the wedding dress, it became clear that the Phantom had dressed her himself—an unsettling yet intriguing detail. Most of this scene unfolded as expected, until the moment where the Phantom releases Christine and Raoul. In the original production, Christine kisses the Phantom, hugs him, kisses him again and then he lets Raoul lose from the grip of the lasso in an emotional moment before letting them both go. Here, she kissed him, hugged him twice and then he released them with very little hesitation, the emotional beats felt rushed and less impactful.
What followed was a significant departure from the original. Christine briefly returned after leaving, standing silently behind the Phantom as he picked up his music. She overheard him confess his love, placed his ring on the organ and left without him noticing until just before the mob arrived. In the original staging, Christine returns to hand him the ring directly and they hold hands during his confession—a deeply touching moment that can leave even the most stoic audience member in tears.
The mob’s arrival was yet another misstep. Despite being within arm’s reach of the Phantom, they inexplicably allowed him to put on his cloak and wander the room. When Meg grabbed him from behind, she dropped the cloak to reveal his mask inside and that was the end. In the original production, the Phantom disappears through the throne in a mysterious, dramatic exit. Here, he visibly crawled under the bed. I couldn’t stop myself from blurting out, “Are you kidding me? He disappeared by crawling under the bed?” It was an anticlimactic and almost laughable end to an otherwise pivotal moment.
Looking back, this production had a handful of good moments but was plagued by far too many missed opportunities. The magical and mysterious elements that make Phantom so captivating were almost entirely absent. Honestly, if this had been the production that opened in London and New York in the 1980s, I doubt it would have lasted past the 1990s. Ernie seemed to enjoy the show well enough, but Terry left at intermission—unimpressed and not feeling great. I stayed, mainly because I didn’t want to leave Ernie alone in the theater. As we left, I noticed only a handful of people waiting at the stage door. In the past, I’ve seen lines stretching down the block, full of fans eager to meet the cast.
On the drive home, I couldn’t shake the feeling that I’d been ripped off. Terry later admitted he knew from the start that I wouldn’t enjoy it. We both tried to convince ourselves otherwise, but ultimately, we couldn’t ignore the production’s amateurish feel and miscast Phantom. That said, remember when I mentioned that Julia Udine will be a Christine on Broadway one day? She joined the Broadway production not long after leaving this production and she remained with the show, on and off, until the production closed. She is incredibly talented and deserved a platform that allowed her performances to shine and it came to pass. But as for this tour? Once was more than enough, when it returned to Atlanta I politely declined comp tickets. Unfortunately, this was the last time I saw Phantom live, though I’m already itching to head to New York for the new Phantom of the Opera experience as well as the new North American Tour that will be opening this year with most of its original glory in tact.
What about you? Have you seen this production or another version of The Phantom of the Opera? I’d love to hear your thoughts and experiences in the comments below. If you’ve enjoyed reading this review and feel inspired to support my ongoing love of theater, your thoughtful engagement or sharing of this post means the world to me. Every little bit helps keep this passion alive and I’m grateful for your time and kindness.
Ever since I first saw the Broadway production of CATS with my friend Tom back in 1992, I've been hooked. The sheer spectacle of the show, the elaborate costumes, dynamic choreography, and unforgettable music left a lasting impression on me. Over the years, I’ve collected various recordings, but none have quite captured the magic I remember from that night at the Winter Garden Theatre.
In 1996, while shopping at Footlight Records in New York, I stumbled upon the Australian cast recording of CATS. Until then, I hadn't known it even existed. This recording is, simply put, superb. Unlike the original Broadway and London cast recordings, which feel more like concept albums, this version brings me back to that 1992 performance. Despite being recorded 40 years ago, it offers a fresh yet nostalgic take on the beloved score. The sound quality is top-notch, crisp, and clear, allowing every little nuance of the performances to shine through. And let's talk about the inclusion of "The Pekes and the Pollicles" and the operatic section of "Growltiger's Last Stand"—these numbers are often omitted from other recordings, so it's a real treat for any CATS fan.
I adore both Betty Buckley and Elaine Paige as Grizabella on the Broadway and London recordings, and Debbie Byrne's interpretation adds a new dimension to their already iconic versions. The cast is outstanding, from Debbie Byrne's emotionally resonant Grizabella to Grant Smith's triple threat as Bustopher Jones, Gus, and Growltiger. Each performer brings their feline character to life with distinct personality and vocal prowess. Debbie’s take reminds me a bit of the long-time Broadway Grizabella, Laurie Beechman. Oh, and Marina Prior, who played the original Christine in the Australian premiere of The Phantom of the Opera, lends her incredible vocals to this cast as well. Some may find certain interpretations, like Mungojerrie's "vaudeville" style, a bit unconventional, but I found these choices refreshing and engaging. The orchestrations are lively and dynamic, capturing the playful and mischievous spirit of the Jellicle cats.
Let's not forget other notable cast members who went on to shine in the world of musical theatre. Anita Louise Combe later starred as Cosette in the original Australian production of Les Miserables, Betty Schaefer in both the London and Toronto productions of Sunset Blvd can be heard as Sillabub on this recording, David Atkins, who played Mistoffelees, later became a renowned choreographer and director, known for his work on the Sydney 2000 Olympic Games opening and closing ceremonies. Jeff Phillips, who portrayed Rum Tum Tugger, continued to have a successful career in Australian television and theatre. Pat Piney, who played Jennyanydots, also had a distinguished career in musical theatre, performing in various productions across Australia.
This recording isn't just a nostalgic trip; it's a fantastic preservation of the evolution of CATS. It's a must-have for any fan of the musical, whether you're a seasoned theatre-goer like me or a newcomer eager to experience the magic for the first time. It’s a treasure I’ll cherish for years to come, and I highly recommend adding this gem to your collection.
Thanks for joining me on this trip down memory lane! Do you have any favorite CATS memories or thoughts on this Australian cast recording? I'd love to hear about them in the comments below. Your insights are greatly appreciated! If you enjoyed this review and would like to support my creative endeavors, any contributions would be greatly appreciated. Just know that your support means the world to me. 😊
The original Broadway production of "Evita" debuted 20 years earlier, directed by the legendary Hal Prince. The musical, with lyrics by Tim Rice and music by Andrew Lloyd Webber, celebrates the life of Argentina's iconic Eva Perón. The first three U.S. touring companies brought this spectacular show to audiences across the country, and in 1999, a new production billed as "The NEW Evita" was making waves.
I told Terry I was heading out to shop for his Valentine's Day gift, but little did he know, I already had a ticket for the matinee show and couldn't get him one. He was supposed to be visiting his mom out of town, but his plans got canceled. After the show, I hopped on the MARTA train to Perimeter Mall to buy Terry some cologne and didn't tell him until many years later that I saw "Evita" that day.
I was super excited to see the show because I had seen Natalie Toro, who played Evita, in "CATS" as Grizabella and absolutely loved her voice. To my surprise, Natalie Toro wasn't scheduled for this performance, but Ana Maria Andricain, the alternate Evita, was amazing. Raymond Jaramillo McLeod somehow made Juan Perón kind of sexy—something I never thought I'd say! The role of Perón's mistress was played by a young lady named Angela Covington, who was only 16 at the time. Her rendition of "Another Suitcase in Another Hall" was the best I've ever heard. The fact that Angela was so young added a sleazy vibe to the role of Juan Perón.
Ana Maria Andricain as Evita
As much as everyone was there to see "EVITA" and whoever was playing the iconic role created by Julie Covington on record, Elaine Paige in London, and Patti LuPone on Broadway, the real star of this production was a relatively unknown actor playing Che named Raúl Esparza. His performance was incredible and truly moved the plot along.
The production was based on the original Hal Prince production as seen on Broadway and the first three U.S. touring companies. It was billed as faithfully directed and choreographed by the original Broadway choreographer, Larry Fuller.
This production of "Evita" opened almost 20 years to the day after its American debut at the Dorothy Chandler Pavilion. This tour was supposed to open on Broadway after the tour ended, but it never made it, and the production was canceled despite the touring production's tickets selling well.
Some reviews mentioned that the production's set seemed dated. However, I loved it because I knew it was the closest to the original Broadway production and the original tours, which I was too young to have seen. It gave me a chance to see what the spectacle might have been like. Perhaps the reviews a bout the set contributed to the fact it didn't make it to Broadway.
The reorchestrated score didn't sound like the original Broadway cast album and sounded a bit more like the original Spanish cast recording, which I've owned since the mid-1990s and have loved. Though the show's ads were built around its star Natalie Toro, Ana Maria Andricain delivered a dynamic, dramatic, and heart-wrenching performance. You completely forgot that she was not the main performer in the role of Evita. If you have read any of my thoughts on seeing "The Phantom of the Opera," you will know that I love to see the understudies and alternates. As much as I would have loved to see Natalie, Ana was an absolute jewel. If it hadn't been the last performance before moving to the next city, I would have bought tickets to see Natalie in the role.
With all the positive things I can say about this production, the only thing that bothered me was the way certain words were pronounced in an attempt to give it a more authentic Latin feel. "Don't Cry For Me Argentina" is such an iconic number, and hearing the word "Argentina" pronounced ahr-hen-TEE-nah was off-putting. Something I found interesting at the show's merchandise stand was that they had typical show merchandise featuring the show logo and programs. However, instead of selling the original Broadway cast recording, they were selling the original concept album from 1976 featuring Julie Covington and Colm Wilkinson. This seemed odd to me since the show had changed quite a bit by the time it made it to the stage in 1978 and most definitely by the time the original Broadway production opened. I'm assuming that choice may have been due to the fact that Lloyd Webber was still feeling the burn from Patti LuPone's settlement after he fired her from Sunset Blvd.
If I could turn back time and take this cast with me, I would have loved to see them alternating alongside the original Broadway cast. After the show ended, I hightailed it to Perimeter Mall on the MARTA train and bought some cologne from a kiosk before heading back home to give it to Terry. As I said, I didn't tell him until years later, and he was still not happy that I saw it without him. His only exposure to "Evita" has been the movie with Madonna, and he's still holding a grudge!
I hope you enjoyed reading about my Valentine's Day memory of seeing "Evita" at the Fox Theatre. Do you have any memorable theatre experiences or personal stories you'd like to share? I'd love to hear about them in the comments. If you enjoyed this post and would like to support my storytelling journey, any small token of appreciation is always welcome. Let's keep the joy of theatre and storytelling alive together!
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