It’s been a while since I posted here, and I wish I had happier news . . . but as most Phans know by now, this weekend marks the finale for the Broadway production of Andrew Lloyd Webber’s “The Phantom of the Opera.” After 13,973 performances since it opened on January 26, 1988 (a 35-year run, the longest in Broadway history), the final curtain will close on Sunday. The final public performances are today, and tomorrow is just for invited guests.
In a somewhat amusing but now mostly sad way, although the Broadway production was the reason why I discovered the show and story, I never got to see it there. I’ve seen two touring productions, the Las Vegas Spectacular multiple times, and school/community versions, but never made the trip to New York. I’ll probably regret that for the rest of my life.
Of course, the show is bound to return to Broadway sooner or later in some form, but it’s almost certain to be fundamentally different. Director Harold Prince, choreographer Gillian Lynne, and set and costume designer Maria Björnson have all passed on; and producer Cameron Mackintosh has shown with other recent productions of this and other shows that he’s determined to change things up and go with cheaper, often less ornate and impressive versions. The original London production, for example, has had some of those changes and also had its orchestra reduced. Japan may be about the last of the truly original productions, though it also had some changes since reopening after the pandemic.
Still, I have found things to enjoy about non-replica productions in Hungary, Poland, Greece, and elsewhere when I saw videos from them; and I saw the restaged tour and two amateur productions live and loved those experiences for many reasons. So while I understand some Phans’ desire to boycott future non-replica versions, I still want to see the show live whenever I have the opportunity. And like many, I’m glad to see more people of color getting the opportunity to play leading roles in the show in recent years. The future of “Phantom” will be different, certainly . . . but hopefully, those in charge of new productions can learn from what came before and create something excellent for established and new audiences.
Your obedient servant,
I.A.E.
