VIEWPOINTS – PHANTOM & CHICAGO: Broadway’s two longest-running shows are currently in prime condition

This summer, I had the opportunity to revisit Broadway’s two longest-running shows, The Phantom of the Opera and Chicago. Both are currently in prime condition, living up to their storied reputation as two of the Great White Way’s can’t-miss attractions. If you’ve taken these classic productions for granted as tourist traps — which is not entirely an untrue statement — I would also like to highlight that they remain wicked good entertainment.

Kaley Ann Voorhees and Ben Crawford in Andrew Lloyd Webber's "The Phantom of the Opera" at the Majestic Theatre. Photo by Matthew Murphy.

Kaley Ann Voorhees and Ben Crawford in Andrew Lloyd Webber’s “The Phantom of the Opera” at the Majestic Theatre. Photo by Matthew Murphy.

The main impetus for my returning to Andrew Lloyd Webber’s The Phantom of the Opera (HIGHLY RECOMMENDED) – Broadway’s longest running show (30-plus years and counting!) – was to pay tribute to the legendary producer and director Hal Prince, who recently passed away. I’m happy to report that his original production at the Majestic, where it has been running continuously since 1988, is currently in tip-top shape. Indeed, the late Mr. Prince’s opulent, cinematic staging remains a masterwork and a singular experience to be had on the Great White Way. It’s an unabashedly romantic production that sweeps you along with its inentive, ravishing theatrical storytelling, which is made all the more voluptuous by being accompanied by the largest orchestra on Broadway (27 musicians-strong). That being said, it’ll be interesting to see how the show holds up from here on out; Mr. Prince was known to have kept the show fresh by regularly revisiting and providing his input on the production. At the performance I attended, the title role was played by understudy Jeremy Stolle and the leading role of Christine was played by alternate Eryn LeCroy. Both were quite exceptional, elevating the show with their inspired, passionate, and beautifully-sung portrayals (regular principals Ben Crawford and Kaley Ann Voorhees are excellent, too). Luckily, the rest of the company (which includes a fascinating, intentionally dispassionate performance by Jay Armstrong Johnson as Raoul) also followed suite.

Desi Oakley in Kander and Ebb's "Chicago" at the Ambassador Theatre. Photo by Jeremy Daniel.

Desi Oakley in Kander and Ebb’s “Chicago” at the Ambassador Theatre. Photo by Jeremy Daniel.

It’s interesting that Broadway’s second longest running show – the production has been smartly marketed as the longest running American musical in Broadway history – should be the long-running revival (has it already been 23 years?) of John Kander and Fred Ebb’s Chicago (HIGHLY RECOMMENDED), a work that’s pretty much the antithesis of The Phantom of the Opera. Whereas the decidedly old-fashioned Phantom emphasizes romance and spectacle, the dance-heavy Chicago capitalizes on modern-day cynicism and minimalist couture. The original 1975 production was stamped with iconic director/choreographer Bob Fosse’s unmistakably slinky, sexy aesthetic, which Walter Bobbie and Ann Reinking (the revival’s director and choreographer, respectively) have stylishly distilled to its essence. What remains is a timeless, razor sharp staging that I suspect will continue to, to borrow the lyric, shine bright like a diamond for many, many years to come. And then there’s Kander and Ebb’s indestructible self-topping score, one of the greatest in Broadway history, which many fans of the show (including myself) can’t get enough of. On my recent visit to the Ambassador Theatre (the revival’s third home, after having originally played the Richard Rodgers, then subsequently playing the Shubert), it was nice to see relatively new faces in the delicious roles of Roxie Hart and Velma Kelly — Desi Oakley and Lana Gordon. Ms. Oakley and Ms. Gordon are each giving delectably complimentary, detailed performances that have put the emphasis back on musical storytelling (it’s also been a while since I’ve heard the score sung so well) over the usual bluntly vaudevillian antics. The cast also now includes Haley Swindal and Jeff McCarthy in the roles of Mama Morton and Billy Flynn; both are happily on the same wavelength as the merry murderesses.

 

THE PHANTOM OF THE OPERA
Broadway, Musical
Majestic Theatre
2 hours, 30 minutes (with one intermission)
Open run

CHICAGO
Broadway, Musical
Ambassador Theatre
2 hours, 30 minutes (with one intermission)
Open run

Categories: Broadway, Theater

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