The gamecock. (Columbia, S.C.) 1908-2006, January 26, 2005, Page 10, Image 10
PHOTO SPECIAL TO THE GAMECOCI
Actress Emmy Rossum plays Christine Daae, and Gerard Butler
portrays the legendary phantom in this Broadway remake.
MOVIE REVIEW
‘Phantom ’ retains elegance of theater
“Andrew Lloyd Webber’s The
Phantom of the Opera”
Starring Emmy Rossum,
Patrick Wilson
★★★★ out of ☆☆☆☆☆
By BOBBY BROOKS
THE GAMECOCK
The classic Broadway musical about a
love triangle caused by a disfigured
musical genius falling in love with a
young opera soprano has finally found its
way to the silver screen. Purists of the
Tony Award-winning stage production
of “Andrew Lloyd Webber’s The
Phantom of the Opera” can put their
fears aside about this Hollywood
adaptation, which treats the musical’s
choreography and staging with a deep
respect.
The new song added for the film,
“Learn to be Lonely,” is only hinted at
with a few bars throughout the movie. It
makes its full debut with Minnie Driver
singing over the final credits. The story’s
sensuality has been upped a thousand
degrees with a hot trio of lead actors.
Emmy Rossum' (“The Day After
Tomorrow”) plays a stunningly gorgeous,
young Christine Daae. Patrick Wilson
(“Angels in America”) is the heroic
Raoul. And who could forget the hot,
new Phantom brought to life by Gerard
Butler (Angelina Jolie’s boyfriend in
“Tomb Raider”).
The famous mirror scene when
Christine first encounters the Phantom
face-to-face is even creepier than it is on
stage. The sight of a man peering back at
someone from a mirror is still perfectly
eerie. The chandelier-crashing scene has
been moved into the second half of the
movie and is phenomenal and even more
destructive.
The beauty of “Phantom” extends
beyond its hot leads and notorious
scenes. The movie sets are massive and
spectacular. The Phantom’s
underground lair is reminiscent of the
Playboy Grotto with elegant candles
rising from a pool of crystal-clear
water.
The music has been re-orchestrated.
When the mood calls for it, a 70-piece
orchestra pipes in through surround
sound. In more intimate scenes, a pit-size
orchestra was retained. Although the
singing is nowhere near perfect, it still
captures the story’s essence. The end of
the movie left me feeling more
sympathetic for the Phantom.
Director Joel Schumacher (“Batman
Forever,” “Batman & Robin”) has put
his own visual touches Qn the movie.
When you first start the film, it almost
feels like a music video, but the thought
leaves your mind after the first couple
songs.
Gigantic statues line the underground
labyrinth with the same gothic feel as in
Schumacher’s “Batman” movies. The
action at times tends to be very much like
a comic book hero’s. Even though these
things would seem to be tacky in this
musical, it all works in an amazing way to
truly give the audience an excellent
adventure.
This great story is told as a movie and
a musical — two entirely different
mediums. They both will stay forever
inside your head. The main difference is
deciding what to wear when you go see
them. The movie requires far less dressy
attire than the Broadway version — and
has extremely cheap tickets. Go ahead
and “let your mind start a journey
through a strange, new world” in this
excellent version of “Andrew Lloyd
Webber’s The Phantom of the Opera.”
This is a great movie for everyone —
even those who have never been seduced
by the nifty score. And if it’s a return
trip to the “Opera Populaire” for you,
prepare for a few flashbacks to that great
new stage production, as well as some
surprises.
Comments on this story? E-mail
gamecockfeatures@gwm.sc.edu
SHOW REVIEW
One-man wonder plays ‘Solitaire ’
“Virtual Solitaire”
Performed by Dawson
Nichols
★★★★ out of ☆☆☆☆☆
By ALBANY GAULT
THE GAMECOCK
“Virtual Solitaire” is a one-man show
performed by Dawson Nichols, a visiting
theatre professor at USC. Nichols plays
23 different characters, all computer
programs controlled by hosts who can
decide to “light up” - destroy or continue
with the program without concern that
the programs might have feelings.
The set-up is simple: A computer game
addict is assigned to calibrate a new virtual
reality murder mystery game that uses
players’ emotions. As he tries to get out of
the game, he begins to think someone
might be trying to keep him online.
Perhaps the most intriguing and
complex of the two-dozen characters is
Nathan, a program that keeps
malfunctioning. Nathan is a program of
emotions. Throughout the play, Nathan’s
many emotions and personalities come in
to focus, ranging from a convicted killer to
a hermaphrodite.
Nichols’ character transition is
remarkable. It was like seeing someone
with split personalities. Without any
costume change, the audience could tell
the characters apart through accent and
body movements. Nichols made the
stage come alive.
Nichols’ first one-man play, “I Might
Be Edgar Allan Poe” is being performed
in Australia, and his psychological
thriller, “Escher’s Hands,” an ensemble
play, was nominated for the national
New Play Award of the American
Theater Critics Association.
Nichols said the infusion of
technology in everyday, contemporary
life influenced his show.
“I’m skeptical and wary of
technology, even though I probably
spend more hours with my computer
than with my wife,” Nichols said.
It’s easy to get lost in the plot, and the
performance is both comical and
heartbreaking. Overall, Dawson Nichols’
performance was an amazing rarity.
“Virtual Solitaire” is showing at the
EMILY WAGGONER/THE GAMECOCK
Dawson Nichols, a visiting
theatre professor at USC,
performs "Virtual Solitaire.”
Booker T. Washington Lab Theater on
Wheat Street, between Pickens and Bull
streets. The cost of the play is $5. The
performance debuted last weekend, and
showings will start again Thursday
through Sunday at 8 p.m.
Comments on this story? E-mail
gatnecockfeatures@gwm.se. edu
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