Phantom: Should I see it in London or New York?

I'm spending the summer in Berlin (highly recommend Tanz der Vampire to all...wow!) and on my way back to the West Coast I'll be flying through London for 5 or so days and New York for a week or so. I've seen Phantom once in Vegas with the dreadful Anthony Crivello, and want to see the full production in one of these two cities with a Phantom who can actually, well, sing? Anyone have any recommendations as to see it in one city over the other?

I'd love to see Anna O'Bryn in London, but I heard Broadway's new sound system is not to be missed? Or did London get that as well? Anyways, anyone who has seen it in both places, or has recommendations for one over the other, I'd love your input!

Danke schön!

Be sure to have dinner at Zur Letzten Instanz.

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>> "but if you're looking for a Phantom who can sing strongly, I'm afraid Marcus Lovett is not the way to go."

I wouldn't recommend Peter Jöback, either - at least not as the Phantom, and certainly not following a voice like Hugh Panaro's.

Jöback is a handsome man (not that it matters under that make-up), but he has the thin, bright vocal qualities of a teenaged pop star. Vocally, Jöback sounds more like Michael Crawford's Phantom than Ramin Karimloo's, but Jöback's singing is much less "powerful" compared to Crawford's.

Hugh Panara will be back in the role in August. Will you be seeing Phantom at that time?

Updated On: 5/22/13 at 09:23 AM

When I saw it in NYC recently, it was full of understudies (both Phantom and Raoul), so I can't help you much in regard to Phantoms! However, Samantha Hill's Christine was lovely.

The words "middle aged walrus" pretty much discredited the rest of the post.

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Is neither an option?

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Samantha Hill can't be any older than 25, and she looks maybe 19. Middle aged walrus indeed... and she has a spectacular voice. I've never seen the show in London, but I don't believe that Broadway could possibly be that much worse comparatively. I enjoyed it when I saw it.

Jimmy, please watch the clips before you open your mouth.

As a walrus of a certain age, I am offended.

BWFan 101 writes: I've seen many phantoms, and I have to say, I just didn't like Hugh Panaro. A lot of people rave about him, but he sounded like Rick Moranis to me. The only time that I saw him perform was at the 25th anniversary -- almost back row of the balcony. The lack of oxygen at that altitude could have caused me some brain damage or something??

BWFan, I was probably sitting right near you at the Phantom 25th. I was the one in the Phantom coat and earrings, right near the young lady with the Phantom tattoo on her back. (Not kidding). That was the fourth time I saw Hugh Panaro, and I thought it was his best performance by far. Usually, he plays the Phantom as both angry and disengaged, and this time, he played him in a more passionate manner. He has a lovely voice, but it’s also a little too high for my taste, as is Joback’s. (I prefer a deeper, darker voice for the Phantom).

I was fortunate enough to see Samantha Hill in her second or third performance as Christine. Many actors play the role as a frightened, passive ninny, but she is adorable and spirited. I happen to like walruses, but I’d think of her as more of a sea otter. ? BTW, I also like Trista Mouldovan’s and Sierra Boggess’s interpretations – they, too, play Christine with spirit, as did Emmy Rossum, the movie Christine.

The Phantoms I’ve seen are Panaro (four times), Anthony Crivello (twice, in Las Vegas), John Cudia (once, at the Kennedy Center, National Tour), Tim Martin Gleason (once, in Baltimore, National Tour, although I think I saw him in Las Vegas as Raoul), Gerry Butler (the movie Phantom, countless times), and Ramin Karimloo (London 25th anniversary, on Blu-Ray, countless times). I like Gerry’s interpretation best, even though he doesn’t have the operatic voice that the stage Phantoms need. John Cudia and TMG had terrific, albeit very different, interpretations. I didn’t really agree with Tony Crivello’s interpretation, but his voice is fantastic. I got to meet him, and he’s also a heckuva nice guy.

Turning to the OP’s question, Broadway or London, I’d say both. As a Phantom connoisseur, I can’t imagine skipping a chance to see it anywhere. ?

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Sorry for the late response guys, internet is spotty at best here. Apparently Germans don't believe in free wifi...

Unfortunately I'll miss Hugh, I'll be in New York the last week of July. I've always wanted to see him, however, so that's too bad. (I do like Walruses though, I think they're cute for what it's worth.)

The consensus seems to tell me London... so I'll definitely keep that in mind! Thanks for the input! I've never been to either city before... and I'll be alone for each. Lots to do lots to see. If anyone has any recommendations or special events that last week in NYC then of course let me know! (I'd rather not start one of these "MY FIRST TIME IN THE CITY WHAT SHOULD I DO" threads. Though I suppose that's basically what I did here.

EatLasagna wrote: "and my favorite part about the production... they use the OLC version of Wandering Child when Raoul appears... I HATE how they changed it for the American productions... "

Oooo, Do TELL. I've only seen the American productions, except for the 25th anniversary video, and that was staged differently. What happens when Raoul appears?

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Thanks, EatLasagna, I never noticed that before... or I may have noticed but dismissed it as a quirk of the 25th anniversary production. I wonder if the difference has something to do with Actors Equity rules -- higher pay for a certain amount of singing. That's just a wild guess, however.

One change I noticed between the US and British versions is in "Music of the Night." (I'm not referring to the totally different words on the highlights album -- apparently that was an earlier version of the song). The US version contains the phrase, "Slowly, gently, music shall caress you; hear it, feel it, secretly possess you...." The British version is "Slowly,gently, music shall surround you; hear it, feel it, closing in around you...." I don't think that rhyming "around" with "surround" works very well. I don't know why the British production didn't switch to "caress" and "possess."

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