The Phantom Project Forum

This has fast become my favourite recording of the Lloyd-Webber show, though I must admit, it did take a while to grow on me.

What's really fascinating about this one, though, is the way in which it divides the fanbase. I have talked with people who trumpet it as the definitive recording of the show and the worst ever recording.

I must admit, that this is a very flawed recording, but in an odd way, it's the flaws and imperfections in this recording, as much as all the things it does right, that make it so endearing to me.

I guess the most divisive aspect of this production is Colm Wilkinson's idiosyncratic interpretation of The Phantom.

Initially, I found it somewhat disconcerting to hear a Phantom with such a thick Irish accent and high pitched voice
(though really, if Lloyd-Webber had ever cared about authenticity he'd have had the cast sing in French with French accents)
But his interpretation REALLY grew on me upon repeated listening...

What I like most about Wilkinson's Phantom is the vulnerability he lends to the character. His version of "Music Of The Night" is not as confident and commanding as it is usually performed... Wilkinson's version sounds as though the Phantom is earnestly pleading with Christine rather than seducing her as such, you feel the desperation of the character.... and the scenes where Wilkinson is called upon to express the depths of sorrow in the character, I don't think I've ever heard "I Gave You My Music" delivered with more depths of pathos, or the passage in the final lair scene:
"This face, the infection which poisons our love. This face, which earnt a mother's fear and loathing. A mask, my first unfeeling scrap of clothing...."

And the bits where Wilkinson is called upon to convey the Phantom's rage, he does come across as totally batshit insane - and admittedly, he sometimes so over the top it's comical (most obviously the "Bravo Monsieur" sequence)... but it's a kind of ham acting I find fun to listen to nonetheless.

I think the thing that's most striking about Wilkinson's Phantom is that he's the only one I've ever heard in this show who actually sounds OLD and who isn't straining to make the Phantom come across as sexy.

One of the things that has irritated me most about this musical over the years has been it's attempts to prettify the Phantom, the most grievous offender being Joel Schumacher's film version.

Wilkinson does sound like he is old enough to be Christine's father, and I like the tired world weariness to his voice - and I like the fact that the sensual aspects of the Phantom are not as overplayed on this recording as they are on the London/Movie recordings and the Australian revival I saw live.

Rebecca Caine's Christine also took a bit of getting used to - my first reaction was that she sounded a bit old for Christine (Sarah Brightman and Emmy Rossum do just sound so incredibly "girly" don't they?), but then I saw pictures of her from this production and realised she wasn't really... as with Wilkinson, the idiosyncracies of her performance that I found so disconcerting on a first lesson grew to be the very things I loved most about her performance.

The disparity between Caine's looks and the sheer awesome power of her voice really brings home the fact that Christine is talented far beyond her years.

Technically speaking, Caine's renditions of these songs are the most accomplished I've ever heard and when it comes to acting she is no slouch either... like Wilkinson, she has a tendency to ham up the more melodramatic scenes, but it is a special kind of theatrical ham that I find I really get a kick out of listening to.

But I can understand why people don't care for this recording, it has two major things going against it.

First of all, it is only a highlights recording. Oh lord, what I wouldn't give for a recording of this cast that was as complete as the London recording, how I would love to hear Caine and WIlkinson sink their teeth into "I Remember/Stranger Than You Dreamt It". But alas, tis not to be.

In condensing the show down to a single disc worth of highlights, the powers that be made some really bizarre decisions with regards to what to cut and what to include... for instance, a character building song like "Angel Of Music" is MIA, whereas the grandiloquent opera pastiche, "Hannibal", is presented in full.

The other big thing that drags this recording down is Byron Neese's portrayal of Raoul. I have yet to hear a more campy, effeminate and foppish interpretation of these songs on record.

All of Raoul's spoken word lines reminded me of Terence & Philip from "South Park" because of Neese's campy line delivery... especially in the graveyard scene where he is informing the Phantom "You can't win her love by making her your prisoner! CHRISTINE! CHRISTINE!" in the most laughably wet manner imaginable... it doesn't help that Wilkinson has turned the ham up to 11 in this scene either though ("Come on mon-sieur! DON'T STOP! DON'T STOP!")

Oh god, and then there's his laughably effeminate ad-libbing in "Think Of Me" ("BRAVA! BRAVA!")

Phans go on about how wet, effeminate and uncharismatic Patrick Wilson's acting was in the movie
(it's as if Schumacher, to compensate for casting two leads who could act the emotions of the characters but whose vocals left something to be desired, decided to cast someone who could sing the part fine but whose acting left A LOT to be desired)

But compared to Byron Neese, Patrick Wilson is dynamite in the role of Raoul. That's how phenomenally awful Byron Neese is in this role.

I've probably not done a very good job of selling this recording to people who haven't heard it, since I've talked so much about it's flaws.

I guess I like this one so much because it is so very quirky and so very different from the usual rote interpretations of these songs. So often, I've seen performers do these songs as simple impersonations of the London cast rather than putting their own spin on it. I like this one because it doesn't just sound like a routine regurgitation of the London version.

Also, I feel there is more verve, energy and passion to these performances, even when they are bad. And I think that really comes through on this recording.

Anyone else here heard this version?

If soo, what did you think of it?

I haven't heard it, actually, but I should definitely pick it up. I adore Colm Wilkinson, especially in his older-sounding roles (he's sooo fantastic as Don Quixote, I can't get enough of it), so it'd be interesting for me to check it out, though, as you mention, the cuts of several songs will probably make me a bit sad.