The Phantom of the Opera. One of my favorite musicals. Also the longest I've ever waited to see a show - 20 years. Finally, I saw the touring company perform during its stop in the Twin Cities.
Why so long? Well, until I moved to the Twin Cities area, I didn't see any professionally interpreted touring Broadway shows., let alone Phantom. I grew up hearing the stories of Phantom and how my parents saw the show when it was in Chicago and fell in love with it (they’d give me a play-by-play of the chandelier’s pivotal role in the show). Me? I was too young the first time - but I do recall my neighbor playing the cast recording (on tapes, not CD, mind you) and settling me on the base speakers to feel the vibrations. That was my first exposure to the world of musical theater - feeling the haunting chords through my fingers as I'd watch my neighbors painstakingly trying to deliver the lyrics with the gusto of Michael Crawford and Sarah Brightman as if they knew sign language.
“DUNNNN! DundundunDUNNN!” (That is a play-by-play of how the organ sounds). My father even devised a homemade sign to use for the well-known chords to the organ sections, matching the tempo and pitch duration exactly. (If nothing else, he’ll do the organ parts while Mom interpreted everything else).
Phantom - the only musical (other than the video-based The Blues Brothers) that my Dad saw and actually enjoyed. Both parents hated CATS and Les Miserables was just too long for Mom. But Phantom - they both found a show that they both could enjoy (and for Dad to be able to tolerate it as dinner music… only Phantom made the cut. No Wicked. Especially NOT Rent. No sappy syrupy songs from The Sound of Music. Only Phantom (and the Blues Brothers) were allowed under the musical classification.
So, armed with the libretto partially memorized and read the book as well as the many versions of the films (with the 1925 one starring Lon Chaney, a CODA as my favorite), I set out to see Phantom with high expectations (who wouldn't? ) I was especially looking forward to the much-fabled chandelier (as I'm a sucker for the spectacles designed for the latest Broadway megamusical - like Phantom).
Especially looking forward to the translations for the following songs: "Angel of Music", "Prima Donna', "The Phantom of the Opera" (with the trademark organ refrain listed above), "Music of the Night", "Masquerade" (how would the interpreters do that one? Could they even understand ALL the lyrics?) and "Point of No Return", I contemplated ways the interpreters could have signed specific lines from those songs.
So I saw the show - twice. Once with the interpreters, and again with just the libretto and a flashlight in hand. (Why twice? I missed out on half of the spectacles - the fire, the candelabras, the chandelier on its point of triumph, etc since I was busy watching the interpreters and mentally reviewing their sign choices). With this show, it's even impossible to catch every last lyric or see all the details in the scenery, so multiple viewings is required - not only for the Deaf patron, but for everyone else, including the hearing population. (Mom confessed to me that the first time she saw it, she couldn't understand half of the lyrics, especially during "Masquerade!").
Phantom A - Sunday matinee performance with interpreters.
What really tipped me off that the show was going to be excellent was the way the interpreters decided to break away from 'funeral/interpreter black' and go in the direction of 'acting interpreters' and don costumes. (Note to interpreters: Do it - it really does enhance the performance and makes you fit in more with the company instead of being singled out as 'unique' - not that there's anything wrong with being unique... but sometimes, you just want to look the part. )
Terp Guy had on an old-time tux (with the coattails to prove it), looking like a cross of Raoul and the Phantom. Terp Lady had on an old-time dress (borrowed from Go Vintage in Saint Paul) of a flowy purpley shiney material (it did not reflect the light, much to my surprise). Together, they looked like cast members who wandered into the interpreting area - cast members who happened to sign. (Of course, I took a picture...)
I was glad that they used the trademark sign for 'Phantom' (mask covering the right side of the face - important to convey the right (right) side of the face - adopting from the age-old name sign for the character. (I've seen interpreters mistakenly use "pirate", covering only the eye whereas they should be covering the right side of the face as if the white mask was there instead of their hand).
Would they use the sign for the organ refrain, "DUNNNN!dundundunDUNNNN!? Yes - though it didn't match the tempo correctly or pitch longevity (it ended up being DUNdundundundun).
Loved the translation for "you alone can make my song take flight..." (organ music, insert voice, crossed-arms as organ top blow off/separate, hands flutter away into the darkness... can't remember the exact gloss of the line).
There were some questionable translations - like I'd rather see an established sign for Prima Donna rather than fingerspelling it (I do understand it was done for emphasis on the line 'prima donna' but I felt that they could switch back and forth between fingerspelling once and establishing a sign phrase for it before the show).
I felt that "The Phantom of the Opera", "Music of the Night" and "Masquerade" translated well (the latter being easy since it was a list of characters and reasons to hide yourself, but at the same time, one needs to memorize that list and the speed it is delivered at).
The character development and chemistry between the two interpreters was wonderful (and it was evident as they became the characters, especially during those two well-known songs and the finale in the dungeon.) I do wonder if the performance would have been enhanced with three interpreters? It would make the character roles division better - one for Christine, one for Phantom, one for Raoul - would have made it less confusing for the non-Phantom-savvy audience members.
(I would have appreciated captioning as well... seeing the ASL translation and trying to mentally match them to the original text was exhausting - I wanted to see the signs for "help me make the music of the night..." and it was difficult to figure out the ASL equivalent since the interpreters didn't mouth much.
(That's a sticky thought - should 'terps mouth some or all of the lyrics while signing or not? Especially when the audience is a mix of both ASL and SEE users, it would have helped those who wanted to see the original lyrics as well as the interpretation).
With all that said, I felt that the 'terps for Phantom belonged in the top class of well-interpreted performances (including Rent (the tour with Anthony and Adam), My Fair Lady, The Lion King and Spring Awakening - judging from shows I have seen interpreted - those were done during the Minneapolis-St Paul stops of the touring productions).
One last thought, I still think the interpreters need to be hoisted up a bit - the block isn't high enough for those not sitting in the triangle of good view (the first row and the aisle seaters see them great, those behind have to duck around heads or strain their necks to see over heads). Instead of six inches, make it twelve inches - it could help?
I will post pictures of the 'terp crew once I get their permission to do so - stay tuned!
Phantom B - Thursday evening student rush with libretto
Knowing it would not be reasonable to find and acquire an interpreter an hour before curtain, I asked the theater for permission to use a libretto and a flashlight. Knowing from past experience (Aida), I didn't want to be mistaken for someone recording an illegal bootleg. Given permission, I still felt uneasy about wielding a flashlight - even though the ushers had been forewarned of it in advance, the audience has not. (I was told that the company was aware and said that there shouldn't be any problems - but still).
Sitting in row A, craning up my neck to see up on the stage as the deck was elevated, I could see the musicians in the pit very well (and it came in handy when I was trying to figure out which song was playing, I could easily see the sheet music and figure out which song lyrics I should be reading along with). This time, i sat on the other side of the house - which came with its perks (being able to see Phantom's reflection the mirror, better sound for "Music of the Night", close-up profiles of the actors which aided lipreading, etc).
Feeling very sneaky, I switched on the light (booklight, barely big enough to shine on two lines of text at a time) and held the libretto (small version that came with the CD) in one hand, poised and ready. I could feel someone breathing down my neck and I resisted toe temptation to look at my fellow audience members, (once I did and they sent me disapproving glances... but hey, what can I do?).
Seeing it the second time did help make sense of the lyrics and the relationships between the characters though I did wish I had taken the time to re-learn the lyrics that I'd once memorized as it would have required less flipping of pages... I could do this with Rent, but not with Phantom. (Partly because before my cochlear implants were upgraded, I couldn't bear to hear Christine's high pitches as they sounded like a fire alarm - but now they're quite manageable and coherent enough.)
What really helped was having the blocking notes in the libretto to foreshadow events about to occur - as I was forewarned about appearances of characters, movements, and any special effects about to astound the audience. Having that advantage gave me a few precious seconds to look in the right direction for the right effect at the right time.
I did notice the cast giving me curious glances from time to time and it made me feel like a theatre critique... (in ways I am one, but still...)
My favorite scene remains unchanged - it looks spectacular both ways. Which one? Well, many people have complained about it but I found "Masquerade!" very appealing, mainly for the spectacular level with the multitude of colors spinning around from the eccentric costumes the cast wore. That, and the hand-movements during the stair-dance captivated my attention as this scene was all about 'action' and less kissy-fest or crying about things one does not have.
Secondly, "Music of the Night" remains the easiest song for me to hear and recognize/decipher (and the only one where I have ALL the lyrics memorized as opposed to bits and pieces of other songs).
It remains one of my favorite shows but I still prefer the original cast as I was already accustomed to hearing them - and with the new cast, I had to break in the new voices in a short time... and that I found the CD sounding more "full" - felt the tour was lacking in orchestrations and vocals - they weren't as strong or full (or "showy"). But - the chandelier remains my favorite character of the production.
Phantom was my first 'modern' musical. I was still hearing when I got my first tape of it and learned it all by heart. My dad complained that I spent enough on tapes and books and stuff that I could have bought a bus ticket to NY and actually seen the show (could have, but I was only 11 at the time).
ReplyDeleteI know what you mean about the blocking. I've seen the show two or three times and for the final scene I always remember it says "MEG crosses to the throne and picks up his mask in her small hand."
If I had known the 2004 movie was the same music I'd have seen it on the big screen. Not the same as live theater, but something to see.
I'd love to see more ASL / glosses for shows. My ASL isn't good enough to follow an interpreter easiy, I'd definitely have to watch the show more than once to fully enjoy it.
That was the same for me with Wicked (though not the first, but the most-desired one). Had the book, the Grimmerie, the CD, three shirts, the hat, and the souvenir program all before I even saw the show! The next show I'll be seeing will be "A Chorus Line" in June - so keep an eye out for it!
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