The Phantom of the Opera is here, and fans cannot wait! A theatrical phenomenon, Andrew Lloyd Webber’s majestic musical has arrived in Mumbai at the Nita Mukesh Ambani Cultural Centre (NMACC), making its debut in India. Based on Gaston Leroux’s 1910 novel ‘Le Fantome de L’Opera’, the musical follows a disfigured composer who haunts an opera house and becomes obsessed with a young soprano, Christine Daae. Blending the visual grandeur of gothic horror with the elegance of operatic music, The Phantom of the Opera explores themes of romance, isolation, beauty and obsession which have resonated with audiences across generations.
From the West End to Broadway, The Phantom of the Opera captivated global audiences for nearly 40 years before reaching India. The popular story was also adapted to the silver screen multiple times and has become a cultural touchstone with devoted fans speculating about the future and past of the adored characters. The legacy of this musical continues to evolve with the numerous international productions (in 21 languages). We speak to fans, and theatre makers in Mumbai who delve into the spectacle, and characters they resonate most with, and trace the enduring legacy of The Phantom of the Opera.
The power of first impressions
Actor, singer, and theatre maker, Shimlli Basu dons many hats and is the founder of a theatre company, The Swapnatara Collective. Her stage presence is marked by musical performances like Chandni Ratein, where she seamlessly blends acting with her trained vocals. “It was a deeply immersive experience. As a theatre professional, I could not help but notice the smartness of production: the seamless movement of sets without a visible backstage crew. The boat ride scene is a masterclass in a theatrical setting and will forever remain etched in my memory,” reveals Basu of her first-ever viewing of the musical in Mumbai.
Trained in Hindustani Classical, Eastern Folk, Western Classical, Jazz and Rabindra Sangeet, she tells us that Webber’s music carries the story forward, and helps the audience tune into the feelings of the characters. When asked which song is her favourite? She responds, “Sung by Grace Roberts as Christine, and Raquel Suarez Groen as Carlotta Giudicelli in very distinct styles, Think of Me left me spellbound. I was amazed at how in character were the actors, even when singing very different parts with nuance. While most people are impressed by the high notes struck by performers, what I loved was Jonathan Roxmouth as the Phantom singing in whispers. It created a sense of intimacy and vulnerability by drawing the audience in. It almost felt as if we were encroaching upon a private moment.”
Basu credits the writing of the musical for its universal appeal and believes we all need a Phantom in our lives. “The story is deeply human. Like the characters acting to serve their objectives, none of us exist without faults. We are all shades of grey which evokes sympathy for the unconventional protagonist. I connected with Christine`s journey on two levels: When you are not at fault but are targeted because of being younger or bringing in fresh perspective by people who prefer to stick to old norms, and the vulnerable uncertainty of a performer regarding their talent. We all need Phantoms–mentors to teach and train us but without stifling personal freedom.”
The bonds of fandom
What makes The Phantom of the Opera a timeless classic? “I have seen the show 12 times, including four times in Mumbai, and it`s a theatrical marvel,” reveals Kaustubh Joshi, author of Bombay Unmapped. He animatedly shares, “My initial encounter at Her Majesty’s Theatre in London, back in 2010, sparked an enduring fascination. The Phantom of the Opera’s power lies in its seamless integration of various artistic elements. The operatic score, the elaborate sets, the stunning costumes, and the illusionary magic tricks all come together to create a flawless production which has become a benchmark.”
Kaustubh Joshi
The author believes that with each viewing, the emotional resonance and impact of individual scenes shift for him. “When I saw it for the first time, the narrative drove my curiosity. Two of my favourite moments (because I cannot pick one) are when Phantom asks Christine to sing, and his eventual release of Christine. There is something magical about the first one. It’s not only the mesmerising voices of Christine and Phantom but also the orchestra that accompanies these voices. This is the point at which I look at every corner of the stage, even the orchestra’s conductor. This moment gives me goosebumps no matter how many times I watch it. Later viewings got me to appreciate ‘Masquerade.’ Never have I seen so many people perform flawless choreography on stage,” the Mumbai resident recalls.
A legacy of emotion across mediums and borders
The show’s impact is not only felt by those who create theatre, but by those who view it all over the world. Performed across 195 cities in 21 languages, The Phantom of the Opera has charmed audiences well beyond the West End. From Tokyo to Toronto, the musical has become a cultural phenomenon due to its exploration of themes of love, obsession and beauty.
“I have been lucky enough to see the Canadian and West End productions and I felt that the Mumbai production retained the emotional essence. What has stayed with me over the years has been the yearning of the characters, and the sheer tragedy of the Phantom’s solitary existence and his desire for beauty and affection. The reason for its global popularity is that many people resonate with the universal experience of impermanence of love, loss and the struggle to release past attachments,” observes lawyer Jayantika Khanna who has seen multiple productions.
The tale of the Phantom might have started off in a book and earned acclaim through the musical, but it has also been adapted for the silver screen over six times. These adaptations, most recently, the 2004 Oscar-nominated film, directed by Joel Schumacher, have been instrumental in introducing the music of Andrew Lloyd Webber and the story to a wider cinematic audience regardless of their proximity to a live stage production. “At 14, I came across the feature film (2004) and became slightly obsessed with the music. I wanted to know more, so I read the book which gave me a perspective about the lives of the characters,” says copywriter and poet Sukriti Bansal.
Sukriti Bansal cosplaying as Christine Daae, the protagonist of The Phantom of the Opera (Photo Courtesy: Sukriti Bansal)
From the hidden identity of the Phantom to the undisclosed motives of Madam Giri, the inherent mystery has led to speculation among fans which manifests as fanfiction. These stories run in thousands across countless languages and reflect the emotional investment of the global audience in the beloved characters. “The book piqued my curiosity, so I turned to Wattpad (a social storytelling platform), and discovered a whole new world. Countless fanfictions explored alternative scenarios, possible prequels and sequels, and even justified the Phantom’s obsession. As a writer, I find it exciting to see such an outpouring of creative expression, which in most cases stems from forging personal bonds with the characters. The story of a tragic romance seemed to unite the world,” muses Bansal.
The Pune resident made her way to Mumbai to watch a story she has held close to her heart. “To witness this theatrical magic in India has been a pipedream for years. Hearing the orchestra play ‘Think of Me’ and ‘Angel of Music’ made me teary-eyed,” she confesses.
Global standards, local aspirations
“The music was dark, the organ was oppressive, it had a very physical impact on me. To see this level of production, what I’ve associated with Broadway and the West End, in our backyard is surreal. I spent the entire night singing musical songs with my theatre friends. It’s a privilege to stay in that world and have a common reference to talk about because there are things that all of us have seen and listened to. I can talk about The Phantom of the Opera to a friend in Mumbai, London and NYC,” shares Tanvi Shah, an independent multilingual theatre maker based in Mumbai.
She practises as a director, dramaturg, producer, writer and adaptor, documenter of oral narratives and archivist of theatre history, curator of arts experiences, and conductor of literary encounters. Shah proposes a refreshing perspective, “As an eco-system, we must think about what value we get from experiencing these works of art and what that means for us. Does it spark a sense of possibility? Does it give us permission to imagine on a grander scale?”
Basu believes that when artists witness the unprecedented global success of a musical, it demonstrates the potential of what can be. She notes, “Ever since I can remember, I have heard that there is no money to be made in theatre. In my career, I have seen and been a part of shows where the producers have spent money out of their pockets to keep it going. There are concerns surrounding the future of theatre, but contemporary theatre makers stand committed. Seeing the success of shows like The Phantom of the Opera fuels my will and makes me wonder: if they can achieve such heights, so can we.”
When you witness a world-class musical mounted on the grand scale that Phantom is, the glaring disparity between the infrastructure available to independent theatre artists in Mumbai becomes evident. Shah asks, “When have we ever seen a show run for 1 to 2 months at a single venue? It’s not a privilege that independent theatre makers have right now. The more a show performs, the more a show evolves, and if a venue like NMACC can offer longevity, the performers, and audiences benefit greatly.” She sees the Mumbai production as a potential catalyst of change. “The Phantom of the Opera is a household name, and audiences in Mumbai across all age groups have been heading to the theatre. I’m interested in understanding the takeaways of the audience, as well as art spaces and venues. We are talking about a demographic that has had exposure, and access to global theatre during their travels, but are these people interested in developing Mumbai as a venue for this? For committing resources to not only existing work but developing new stories.”
A sentiment shared by Basu who admits to adopting a strategy that is ‘undying delusional optimism.’ She concludes by sharing her hopes, “I remain optimistic that our generation will attain the same level of respect, resources, expertise and technical proficiency. I hope that one day, a young, aspiring artist can confidently declare in an interview that they are a professional, financially secure theatre artist.”