Interludes

VIEWPOINTS – Reassessed and rejuvenated: Checking up on Broadway’s post-lockdown THE PHANTOM OF THE OPERA & THE LION KING

• By drediman
• December 3, 2021
• No Comments

Over the past few weeks, I’ve had the opportunity to check up on Broadway’s two longest running shows – The Phantom of the Opera at the Majestic Theatre (where the production has been playing for 33 years and counting) and The Lion King at the Minskoff Theatre (collectively, the Disney smash has been playing for 24 years to date). The long hiatus has given these musicals’ respective creative teams the chance to reassess and dust the cobwebs off of these warhorses. Here are my thoughts on these rejuvenated productions.

THE PHANTOM OF THE OPERA
Majestic Theatre
Open run

The Phantom of the Opera (RECOMMENDED) – Broadway’s longest running show – continues to pack them in at the Majestic, where it’s been playing for an astonishing 33 years. Directed with cinematic flair and romantic flourish by the late Harold Prince and featuring the largest orchestra on Broadway, the lavish production itself is the star of the show, which may well explain its longevity. Although I feared that the production wouldn’t be as sharp as when I last entered the Phantom’s lair (Mr. Prince was known to regularly touch up the production), I needn’t have worried – Phantom remains in fantastic shape. Since pre-pandemic times, the sets and costumes look to have been spruced up, the orchestra sounds lusher and more committed than I remember, and a number of subtle adjustments have been introduced into the staging. As for the current cast, they’re terrific and give the show a palpable pulse. I’ve seen Ben Crawford a number of times now in the title role, but I found his current performance to be even more vocally and dramatically urgent than before. The pandemic also brought forth Broadway’s first Black Christine, Emilie Kouatchou, who is the alternate in the role. Unfortunately, Ms. Kouatchou was indisposed the evening I attended; filling in beautifully, however, was Julia Udine, an utterly lovely, longstanding Christine. Also particularly strong were John Riddle and Raquel Suarez Groen as a dashing and strong-voiced Raoul and a vividly-etched Carlotta, respectively.

THE LION KING
Minskoff Theater
Open run

Within weeks of its re-opening, I also revisited Broadway’s second longest running show, The Lion King (RECOMMENDED), which is currently parked at the Minskoff Theatre. Similar to Phantom, the production itself is the main draw, starting with director Julie Taymor’s rightfully lauded and celebrated staging. Drawing from theatrical traditions from around the globe, the production is a breathtaking display of artistry, bringing striking theatrical sophistication to an otherwise obviously commercial Disney endeavor. In preparation for the show’s post-lockdown re-opening, Ms. Taymor decided to tweak her iconic staging, most notably completely re-blocking the musical’s final scene (which used to culminate with the same stage picture that concludes the show’s legendary opening number “The Circle of Life”). The last few times I saw the musical, the cast sadly seemed to be phoning in their performances. Not so now – the current cast was present and alive, easily resulting in one of the most exciting performance of The Lion King I’ve experienced in a very, very long time. Especially wonderful were Brandon A. McCall as Simba and L. Steven Taylor as Mufasa, who brought a less artificial, more natural ease to their portrayals than many of their predecessors. Like Phantom‘s continued foray into race-blind casting, the hiatus has also brought about some welcome changes to recalibrate the musical to our current times, particularly its more racially sensitive depiction of Rafiki (who is played by a Black woman).