The Phantom of the Opera: ‘It’s not about a man manipulating a young girl… Christine’s genuinely in love’

As a longtime fan of musical theatre, I have had the pleasure of seeing many productions over the years. Among them, The Phantom of the Opera stands out as one of my all-time favorites. This timeless story of love, obsession, and music has captured audiences for decades, and its recent revival at London’s His Majesty’s Theatre was no exception.

This year, Andrew Lloyd Webber’s The Phantom of the Opera marked its 38th anniversary in the West End and achieved an impressive milestone of 15,000 performances, becoming the third production to ever reach this number after The Mousetrap and Les Misérables. It has captivated more than 160 million people across 47 countries in 195 cities, and been presented in over 21 languages.

In and near the Paris Opera House in 1881, the story of The Phantom of the Opera unfolds, as depicted in Gaston Leroux’s novel from 1910. This tale centers around a musically gifted yet disfigured individual known as the Phantom, and his intense infatuation with Christine Daaé, a promising chorus girl on her way to becoming an opera singer whom he had mentored.

He’ll go to any length to ensure her as his own and grant her the limelight she deserves – he might undermine her fellow performers, resort to extreme measures like homicide against obstacles, or abduct her, tricking her into leaving her fiancé, Raoul, Vicomte de Chagny. [Phantom of the Opera reference]

As a captivated observer, I’m thrilled to share that Dean Chisnall, age 42, and the mesmerizing Lily Kerhoas, aged 27, are currently leading the cast of our beloved production. Every week, they grace the stage an impressive eight times as The Phantom (Dean) and Christine (Lily). Dean recently joined the team in July of this year, while Lily has been enchanting audiences since last July.

In an exceptional display, they shine in their characters within an undeniably top-tier production. At the show I witnessed, during the climactic act, when the Phantom abducts Raoul and demands that Christine choose between them, an audience member applauded upon Christine’s kiss with the Phantom, prompting him to release Raoul and Christine. Notably, many spectators wept at the conclusion as the Phantom disappeared – a common response, as it often seems audiences root for the romantic pairing of the Phantom and Christine.

According to Chisnall, before their evening performance at His Majesty’s Theatre with Kerhoas, the kiss scene in the show is a moment that leaves many people feeling conflicted. When asked about the origin of this scene, Chisnall wondered aloud, “What was the initial concept?” They found it surprising and intense due to its physical nature. The first time Chisnall witnessed the show, they recall thinking, “What on earth is she doing?” Andrew’s explanation for the kiss was simple: he wanted to kiss her because he really feels like doing so.

Kerhoas notes, “Though he may have committed dreadful acts, she perceives what he yearns for in that instant – love and recognition. In their kiss, Christine tenderly touches his scars as a way of saying, ‘Despite your appearance, someone like me can accept you.’ She’s incredibly kind-hearted, but she must depart because there are numerous reasons why it wouldn’t be suitable to remain.

Among the two “Phan” groups associated with this musical, namely Team Phantom and Team Raoul, which side are Chisnall and Kerhoas aligned with?

Chisnall suggests that certain aspects of the story’s past should be set aside, leading him to believe that Christine should ultimately end up with the Phantom. He explains that if people are moved to tears, it’s because they empathize with the Phantom. The Phantom yearns for love from her, and when we focus on this basic desire, Chisnall always feels sympathy towards the Phantom whenever he watches the show. In his opinion, Raoul is rather unexciting.

“I’m usually Team Phantom,” Kerhoas adds. “It depends who plays the Phantom.”

The Phantom is manipulative, clingy, and aggressive. He’s much older than Christine, serving as her music teacher, which gives him authority over her. Despite this, many viewers of the show tend to favor him (even I must admit that Raoul seems dull). This raises questions about Christine’s autonomy in a situation that could be classified as a controlling relationship.

According to Kerhoas, Andrew clarified that the play revolves around a girl who has feelings for two distinct individuals. Kerhoas has long believed that Christine is enamored with the Phantom, not just because he’s a ghostly figure, but also due to the deep emotional connection she feels with him. This connection, Kerhoas suggests, stems from her lingering attachment to her deceased father and the role the Phantom plays as a surrogate father figure. Through music and her budding sexuality, Christine is discovering herself in the Phantom, finding him exhilarating and awakening her sexually. It’s important to note that this doesn’t imply any physical intimacy, but rather an intense emotional connection.

The situation isn’t about a man controlling a young girl through manipulation. Instead, she voluntarily steps into the mirror. This decision is entirely hers, and she’s well aware of who he is before extending her hand to him. It’s crucial to emphasize this aspect, particularly in our current world, as she’s not merely an innocent little girl; the storyline is significantly more intricate than a simple portrayal might suggest.

Her fearfulness and curiosity intrigue me. It adds depth to her character, making her more compelling. I believe this transformation impacts our connection.

Chisnall emphasizes, “Indeed, it does. It significantly enhances the narrative’s power, making it not only more engaging but also more beautiful and intriguing.

During the practice sessions, we’ve been having discussions about the complexities in Christine and the Phantom’s relationship, focusing on its challenging aspects. It’s only wise for us to have this conversation given the current state of the world, which I’m grateful we’re all aware of. My intention is to ensure that Lily, as Christine, always has autonomy within the play’s framework. As both a human and an actor, you’ll sense this. I believe that’s why the production remains as relevant today as it ever was, perhaps even more so. We’re exploring various themes within it, making it a truly captivating story.

Chisnall and Kerhoas now make private checks regarding their comfort level during intimate scenes on set, a practice that was unheard of a decade ago, as stated by Chisnall himself. These calls serve as a way for them to discuss and ensure that both are at ease with the physical intimacy portrayed in the show.

In certain instances, unexpected events occur during performances that haven’t happened before, so we always confirm with each other if everything was alright, he explains. Kerhoas further notes: “It’s quite valuable because not all actors might have a relationship as open as ours, where we can discuss anything freely. Our goal is to ensure the show is as exceptional as possible.

When and where can I see The Phantom of the Opera?

The musical “The Phantom of the Opera” is currently being staged at His Majesty’s Theatre, located on Haymarket in London. The closest subway stations are Piccadilly Circus, which services both the Piccadilly and Bakerloo lines, and Charing Cross, offering access to the Northern and Bakerloo lines as well.

Performances take place every Monday to Saturday and you can now book up until September 2025.

How to get The Phantom of the Opera tickets

Prices start from £28 before you add booking fees.

2024-12-21 12:34

When and where can I see The Phantom of the Opera?

How to get The Phantom of the Opera tickets

Read More