open you are in a lovely modern styled lobby
area, with chandeliers and a winding modern
staircase. Once inside the theatre proper you
are taken back to Paris of the late 1800s.
This 95 minute fast-paced version of PHANTOM at the Venetian keeps you on the edge of your seat, as you never know
what surprises they have incorporated into the musical. Every scene has something new and some scenes some
exciting new sets, thrills and as always the amazing music composed by Andrew Lloyd Webber played by a real 19-piece
orchestra. Something you do not see that much in some Las Vegas shows. Mostly the shows here have bands or 13
pieces, but not a French horn or Oboe, Flute, Violin, Viola, and Cello. This is unheard of in Las Vegas for a show on
the “Las Vegas Strip!”
The sound from the orchestra pit of course is glorified in this new theatre made especially for this production. It is
lovely and you can hear every lovely note and song sung in the musical beautifully.
The theatre designed by David Rockwell, is beautiful. It reminds me of the old theatre before they were torn down in
Los Angeles or red-done with cup holders. No cup holders in this theatre old-fashioned seats, and still comfortable.
The theatre holds about 1800 and to me it felt quite intimate because of the way the stage comes out into the theatre
portions where the audience sits. The dome ceiling like something you would see at the Paris Opera House (which the
inside of this theatre is fashioned after). I am gushing about it as there is nothing like it on the Las Vegas Strip. Then
to have it in one of the more beautiful resort/casinos in Las Vegas makes it even better. Although the Venetian is
fashioned after Venice, once in the theatre you are taken back in time to Paris at the turn of the century.
The sets are fantastic they are bigger and better than any production that we have seen. The audience applauded the
sets. Now how many times do you see that? The chandelier received ovations of applause, at least three times. How
many times do intimate objects get applause, but the chandelier has been a part of the show since it opened. This
chandelier is bigger (I understand three times bigger than the ones used on Broadway and the West End) and does
more than you can imagine. I was sitting under it and was mesmerized by the way it is done to bring it back to its place
at the top of the theatre. This is something you have to see, as I will not give away what hypnotizing event this is just
watching it. I craned by neck watching it and in the morning woke up with a sore neck. It was like being a child and
watching a mechanical toy for the first time. Not something you will soon forget especially if you are positioned under
the chandelier. The understand that the chandelier also falls 6 times faster than the other chandeliers in productions
of this show all over the world.
I have never sat under the chandelier in the 12 previous times I have seen the show. As I hate things above me. This
was scary, but also exciting to watch. Plus other surprises connected to the chandelier that this writer will not
mention.
Maria Bjornson’s original set designs were expanded. Sue Willmington’s additional costume designs were very good. I
loved the new look to the Wedding dress and “Point of No Return” costume. Illusions in the show were done
excellently, under the supervision of Jim Steinmeyer. Also, Paul Kelly Scenic Adaptation and Additional Production
Designer did a wonderful job on the show.
They have double cast leads for the Phantom, Christine and Carlotta. Brent Barrett was our "Phantom" and he is very
good. Barrett can sure twirl that cape. I don’t remember the cape twirling so much from previous stage versions, just
the film version. It has been a long time that an actor sent chills down my spine during the song “Music of the
Night.” Sierra Boggess was our "Christine" and she is very good. She is a powerhouse and has a great vocal. Tim
Martin Gleason is a very good "Raoul." Elena Jeanne Batman as "Carlotta" was good and funny in her role. I thought
the Lawson Skala, as "Firmin" and John Leslie Wolfe as "Andre" were an excellent team, and one of the best I have
seen.
There was an almost immediate standing ovation for the cast once the chorus started walking on stage for their bows.
Even before Raoul and Christine came out. This usually does not happen. I almost missed seeing the Phantoms
entrance for the bows.
Bravo to the two men who put this new version together, Andrew Lloyd Webber and Hal Prince. Webber and Prince did
an excellent job in shortening this version. The songs that were taken out not missed as much. They shortened some
songs and those were too long in this writer’s opinion anyway. The show moved fast and I loved the way it was done.
As for Prince’s direction well he is a master at his craft and you know why he has won 21 Tony’s as he just received a
special “Tony Award” for “Lifetime Achievement in the Theater” this year.
The actors were taken through their paces, with the changes to the sets, shorter version and then adding a few
surprises along the way. I can’t say enough about Webber asking Prince to join him again in creating a shorter version
of “The Phantom of the Opera.”
The lovely lyrics (by Charles Hart, additional lyrics by Richard Stilgoe) are shortened, but still make you love this
show. The PHANTOM is coming upon its 20th Anniversary in London. It opened on the West End October 9, 1986. It
is a musical that many people have seen over and over. This version will not disappoint those who love the longer
versions. I know we are going back to see this show again!
You cannot come to Las Vegas and miss knowing this show is in town. There are banner (huge ones) on the Venetian
inside and out. They also play the original highlights version throughout the hotel/casino. It was funny going to the
ladies room and hearing “Music of the Night.” Even the gaming tables have Phantom masks on them. It is not your
usual “Phantom of the Opera” that is for sure.
If you can, you have to see this new version “Phantom Las Vegas.” I never had time to think about the shorter songs,
as the sets and the changes to the show are amazing. It has so many new things in sets and surprises in special effects
that you are just mesmerized and cannot even try to compare it to the other versions.
AnthonyCrivello, Sierra Boggess, and
Brent Barrett
on the "Red Carpet" before the show opening.
and Director Hal Prince
at Gala Opening After Party.
Director Hal Prince,
Creator Andrew Lloyd Webber,
and Choreographer Gillian Lynn
Special Curtain cal opening night.
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Phantom Las Vegas
Vegas' Arts & Entertainment Corner
Brent Barrett Phantom Las Vegas