It is quite something to realise that, but for the pandemic enforced lockdown, Andrew Lloyd Webber's operatic musical The Phantom of the Opera has been playing to continually packed houses at Her Majesty's Theatre for nearly 36 years.
Even more astonishing is the fact that as a Londoner and avid theatregoer, this was the first time I had got to get along to it.
In addition, Her Majesty's is a wonderful theatre and, as they say, 'worth the price of admission' just to be there to appreciate its grandeur.
Le Fantôme de l'Opéra
Le Fantôme de l'Opéra first saw the light of day in 1909, when French author Gaston Leroux's story was published a serial novel.
It is said to be an embellishing of historical events at the Paris Opera during the nineteenth century, when rumours of a phantom or opera ghost first emerged to explain a series of misfortunes to befall the place.
Leroux's novel was a literary success, as was a 1925 film depiction staring Lon Chaney and, to a lesser extent, a number of musical adaptations.
Phantom as we know and love it
But it is Lloyd Webber's production of Phantom that has become the stately behemoth of musical theatre.
It continues to take London's West End and New York's Broadway by storm and has seen a series of sellout tours over the years.
Having now seen Phantom of the Opera, it is oh so obvious why.
In the theatrical world Phantom is an undisputed heavyweight champion.
One that still packs a staggeringly dramatic punch, and in a theatre that provides the perfect venue.
Phantom opens with an elderly Raoul, the Vicomte de Chagny, securing a wind up performing monkey musical box during an auction opera memorabilia at the Opera House.
This leads us back in time, and in dramatic fashion, to reveal why the purchase was so important to Raoul.
And so, we witness the infatuation by the 'opera ghost' for Christine, a beautiful soprano and new shining light of the Paris Opera.
While there is little need to explain the plot beyond this, it is Lloyd Webber's approach to staging and musical interpreting that enables The Phantom of the Opera to stand head and shoulders many others of its genre.
At one time we are eves dropping the behind the scenes attempts by the Opera House's owners, cast and crew to thwart the Phantom's attempts to disrupt their productions.
Here we have the mainly sung-through dialogue that the Llloyd Webber/Rice musicals are known for.
The next, we are drawn into passionately intense moments when the Phantom manages to lure Christine into his subterrain domain, or when she and the young Raoul profess their love for each other from the rooftops.
These duets are sung in more modern musical style and include the well know standout numbers including the The Phantom of the Opera itself, Music of the Night and AlI I ask of you.
Finally, and seamlessly, we also become members of the audience watching parts of the grand and comic operas staged the by company.
That this production elicits a spontaneous and prolonged standing ovation, after 36 plus years, says all you need to know about what awaits you if you still have to get to The Phantom of the Opera.
www.uk.thephantomoftheopera.com
Her Majesty's Theatre
Her Majesty's Theatre on Haymarket was built in 1897 for actor-manager Herbert Beerbohm Tree, who established the Royal Academy of Dramatic Art, on a site that had housed theatres since the early 16th Century.
The theatre changes its name with the gender of the current British king or queen.
And so it was His Majesty's Theatre from 1901 to 1952 when Edward VII; George V; Edward VII and George VI sat on the throne.
It was then renamed Her Majesty's on the accession of Elizabeth II to the throne.
The theatre's large stage and backstage area make it well suited to grand musicals like Phantom of the Opera, which demands expansive staging and frequent set changes.
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