New version of PHANTOM OF THE OPERA Is A Triumph

Last evening, while walking through the lobby of the Cadillac Palace theatre to see Cameron Macintosh's new production of The Phantom of The Opera, there was a sense of excitement among the patrons that was palpable. The crowd huddled into little circles, discussing their personal relationship with this unique theatrical blockbuster. We (as I include myself in this pre-theatre gathering) debated our favorite Phantoms, in what different countries and continents we have seen a production and why this show became 'the' benchmark in which all other are compared. From these conversations and the passion in which they are told, one thing became clear; any new production that deviates from director Hal Prince's original is going to be microscopically dissected with reverence to what came before. So I was pleasantly surprised at the curtain call, when the entire audience rose to there feet before the first chorus girl took her bow. It was then settled that this Phantom under the direction of Laurence Connor (who helmed the new Broadway bound Les Miserables and Phantoms' 25^th Anniversary Concert at Royal Albert Gall) holds the iconic integrity ofAndrew Lloyd Webber's work intact and also furthers the arch of these characters, still allowing them to remain faithful their predecessor.

At Sir Andrew's command, nothing in his score has been touched. Rather, the changes are visual and character driven. Original designer Maria Bjornson 's opulent yet largely implied vision of the Paris Opera House has been replaced with a more imposing drum that twists, turns, raises and opens into sets that are grittier and more realistic. This realism carries through to the performances, allowing the cast to create more intimate on-stage relationships with each other.

Where Prince's original was conceived as a stand-alone production, Mr. Connor's version is developed to work on its own as well as setting up Webber's 2009 sequel, Love Never Dies, which should be viewed to better appreciate the enormous challenged this posed to the director but to also understand the choices the actors makes in the re-imagining.

[Briefly, Love Never Dies takes place ten years later in Coney Island, New York, which is whereMadame Giry and her daughter Meg helped the Phantom escape to after we last see his disappearance, surrounded at the Paris Opera. Christine and Raul are caught up in a tumultuous marriage and have a ten year old son, who coincidentally, is found to be musically gifted. So when the patriarchal Phantom re-enters, the triad of characters once again must make life altering choices, but his time it does prove deadly for one of them.]

This is where change in age, making the Phantom about 20 years younger, becomes an issue. In the original, one never questioned that the self-professed 'Angel of Music' could indeed be Christine's father reincarnate. Mr. Grodin, and all other subsequent Phantoms who play the role in this version must find a way to overcome this hurdle since it is central to Christine's compliance with the Phantom's orders.

That aside, Mr. Grodin, who only stepped into this role last week, is edgy, sexy and vocally domineering. Grodin defines his Phantom in the "Final Lair" scene, where his lifetime of isolation and torture are forced to give way to the one emotion he has never allowed himself to feel, compassion for others. Not since Michael Crawford has the last scene been played so authentically.

But, the most interesting character portrayal lies in the performance of our own Linda Balgord as Madame Giry. Ms. Balgord drives this production precisily where it needs to go. There are no new lines or scenes for her character, which makes Balgord's performance even more amazing. Instead, it is through Madame Giry that all things relating to the Phantom are put into motion. Balgord's retelling of the Phantom's childhood backstory, where he is caged and continually beaten because of his deformity, will leave you with a greater understanding how deep their relationship goes.

Now, to answer the most asked question that I have gotten. Yes, the chandelier drop is still in the show, and it is better then ever. In fact I have a piece of it next to me as a write this review.

It has been almost thirty years since Michael Crawford and Sarah Brightman made history creating these roles and surely contributed to the show's longevity. Their definitive portrayals have made it difficult of could make when taking on the roles. With this new version, Cameron Macintosh and Laurence Conners proudly pass The Phantom of the Opera down to a new generation of actors and artists whose newfound creative freedom will allow the Opera Ghost to haunt the stage for decades to come.

The Phantom of the Opera runs through March 2, 2014 at the Cadillac Palace Theatre, 151 W. Randolph St, Chicago, IL. For more information visit www.BroadwayInChicago.com or www.ThePhantomOfTheOpera.com/ustour For calendar information, visit www.TheatreInChicago.com