The controversy over Gerard Butler's voice. — Page 3

I have a question. Wasn't Christine's father meant to be relatively NOT well-off? So how come he has the largest tomb in the cemetery????

Personally, I prefer the slightly more gothic simple-cross-with-mound-of-skulls idea.

I think when Gerard is singing softly he's always great. There are just those few moments where he's loud that sound funny like "I am dare inside!" or "Let your mind start a journey!"

Yep... I think we'll have to. Peace...

BTW, did you say you worked at the Winter Garden theatre in Toronto? I recently read an article about it. Sounds like the building has an interesting history.

If you are having trouble with
Christine and Horse Scene
The Carriage Ride
and Joseph chasing The Phantom
PLEASE READ THE BOOK.....it will make alot of sense.

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I'm going to reluctantly weigh in on this "debate" with the following:

There is a difference between SINGING and vocalizing words in tempo and on-pitch. SINGING requires breath control, emoting, and perhaps most importantly, phrasing. Gerard Butler's voice possesses none of these attributes. And ALW's take on his raw, "rock" sound and screen presence aside, I cannot for a moment fathom that there is not another actor out there who is at LEAST as sexy, and has at LEAST as much screen presence as Gerard Butler, AND can actually do justice to some of the most well-known and consistently well-sung (on stage, anyway) music of the last 20 years.

Having admittedly not yet seen the film...there is NO level of sexiness or acting ability that will make up for an atrocious singing voice -- especially when 95% of the material is sung. The compromise simply isn't worth it. If ALW wants a rock sound, then hire an actor with a legitimate rock sound. Adam Pascal and Patrick Wilson (who has at least as much screen recognition as Gerard Butler, especially after "Angels In America") both possess thrilling, passionate, and CONTROLLED rock tenor voices. Gerard Butler's screaming and shrieking is not the result of a deliberate "rock" technique -- it's merely the sound of a man with almost no sign of innate musical talent, who's being vocally coached to within an inch of his life just to be able to reach the notes.

Having said that, singing ability, and it's relative importance to acting ability in musical theatre, is an issue that's always been highly subjective, and probably not more than simply a matter of personal taste.

Updated On: 12/20/04 at 12:01 PM

Michael Crawford? No!!! Anthony Warlow? Hell Yeah!!!

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You just don't know. I am listening right now and I have a drool cup that is almost full.

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The one NOTE that I have to put above all others is the last note in "Unexpected Song." **weak in the knees, feeling woozy, faints, wakes up, hears note again, faints again**

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And "Johanna"......whew!!! You go Boy!!!

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"The one NOTE that I have to put above all others is the last note in "Unexpected Song." **weak in the knees, feeling woozy, faints, wakes up, hears note again, faints again**"

AND it's on the "ing" in "hearing" -- a CLOSED vowel, people! A closed vowel, and it's still earth-shattering!

The debate about schizo nature of the score goes back almost 20 years, when the show opened...

Many people were put off -- or wildly amused -- by Webber's blend of traditional operatta with that grinding synthisized bleat he adds in lumps behind the title song. It used to be one of the big howls in musical theater, that synthesizer (STARLIGHT EXPRESS) DA DA DA DA DUUUUU, da-DUH that turns an ambitious score into kitsch on the spot. (All the way to the bank, I know.) So Webber opting for a rock "edge" in his leading man only matchess his penchant for ham-fisted (again, to the bank) blending rock n'roll techniques into musical theater works that dates back to JOSEPH and JCS. It's Webber's signature -- he didit first, and it's been aped by many since. Look no further than WICKED. When Webber skips it -- SUNSET and BY JEEVES, I believe he does his finest work. SUNSET's score, in particular, is rather extraordinary, and manges to sound like Hollywood movies in the50s--homage that pays off handsomly. I'm a fan of his, but I certainly understand why he can turn people off, too.

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In my humble opinion, Gerald Butler's voice is excellent for the role of the Phantom. He has a rock-style voice sure, but can you honestly tell me you don't feel that rock edge when you hear the first chords of the Phantom's theme. Butler puts passion behind the voice that you can't get from just singing pretty. Raoul couldn't even match the Phantom when they sang, "Anywhere you go let me go too!" Butler feels the essences of the Phantom and his voice portrays it.
Also if we talk about vocal technique and if we're going to be so picky, Emmy was not too good herself. As a singer myself, I noticed many marks of an unseasoned singer. She scooped up to her notes constantly and her diphthongs were horrid. But I am willing to accept that because I could say I could do her role better but saying the words doesn't make it true. Same way you could say you could do better as the Phantom but you're not the one on the screen, it's a lot easier to insult when you're sitting on your butt.