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      With Cheers and Tears, ‘Phantom of the Opera’ Ends Record Broadway Run

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      The show’s record-breaking 35-year Broadway run came to an end on Sunday night. Its famous chandelier got a bow, and its composer, Andrew Lloyd Webber, spoke after its emotional final performance.“The Phantom of the Opera” concluded the longest run in Broadway history Sunday night with a glittery final performance at which even the production’s signature chandelier, which had just crashed onto the stage of the Majestic Theater for the 13,981st time, got its own curtain call.The invitation-only crowd was filled with Broadway lovers, including actors who had performed in the show over its 35-year run, as well as numerous other artists (including Lin-Manuel Miranda and Glenn Close) and fans who won a special ticket lottery. Some dressed in Phantom regalia; one man came dressed in the character’s sumptuous Red Death costume.The final performance, which ran from 5:22 to 7:56 p.m., was interrupted repeatedly by applause, not only for the main actors, but also for beloved props, including a monkey music box, and scenic elements such as a gondola being rowed through a candelabra-adorned underground lake. After the final curtain, the stagehands who made the show’s elaborate spectacle happen night after night, were invited onstage for a resounding round of applause.“It’s just amazing, really, what has happened,” the composer, Andrew Lloyd Webber, who wrote the show’s soaring score, said after the final curtain, as he dedicated the performance to his son Nicholas, who died three weeks ago.Lloyd Webber spoke alongside his longtime collaborator and the show’s lead producer, Cameron Mackintosh. They invited alumni of the original Broadway production to join them onstage, and projected onto the theater’s back wall pictures of deceased members of the original creative team, including its director, Hal Prince, as well as every actor who played the two lead roles (the Phantom as well as Christine, the young soprano who is his obsession).Andrew Lloyd Webber, center left, with Cameron Mackintosh during the curtain speech at the Majestic Theater after the final performance of the musical “Phantom of the Opera.”Sara Krulwich/The New York TimesToward the end of the evening, Mackintosh acknowledged the one-ton chandelier, which was lowered from the ceiling to a round of applause, and the crowd was showered with gold and silver metallic confetti, some of which dangled in ribbons from the chandelier.Hours before the curtain, fans gathered across the street, waving and taking pictures and hoping somehow to score a spare ticket. Among them was Lexie Luhrs, 25, of Washington, in a Phantom get-up: black cape, homemade mask, plus fedora, vest and bow tie, as well as mask earrings and a mask necklace. “I’m here to celebrate the show that means so much to us,” Luhrs said.On Broadway “Phantom” was, obviously, enormously successful, playing to 20 million people and grossing $1.36 billion since its opening in January 1988. And the show has become an international phenomenon, playing in 17 languages in 45 countries and grossing more than $6 billion globally. But the Broadway run ultimately succumbed to the twin effects of inflation and dwindled tourism following the coronavirus pandemic shutdown.Carlton Moe, obscured, hugs Raquel Suarez Groen before they go on the red carpet. They are both cast members in the musicalSara Krulwich/The New York TimesIt closed on an unexpectedly high note — and not just the high E that Christine sings in the title song. As soon as the closing was announced last September, sales spiked, as those who already loved the musical flocked to see it, and procrastinators realized it could be their last chance; the original February closing date was delayed by two months to accommodate demand, and the show has once again become the highest-grossing on Broadway, playing to exuberant audiences, enjoying a burnished reputation, and bringing in more than $3 million a week.“For a show to go out this triumphantly is almost unheard-of,” said Mackintosh.Jaime Samson at the theater in a Red Death costume he made himself.Sara Krulwich/The New York TimesAfter the final performance, the show’s company and its alumni gathered for an invitation-only celebration at the Metropolitan Club, with the show’s iconic mask projected onto a wall next to a marble staircase.The show, with music by Lloyd Webber and lyrics by Charles Hart, is still running in London, where the orchestra size was cut and the set was altered during the pandemic shutdown to reduce running costs, and it is also currently running in the Czech Republic, Japan, South Korea and Sweden. New productions are scheduled to open in China next month, in Italy in July and in Spain in October.And will it ever return to New York? “Of course, at some point,” Mackintosh said in an interview. “But it is time for the show to have a rest.” More

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      ‘Phantom of the Opera’ Fans Mourn the Record-Breaking Show’s End

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      “The Phantom of the Opera,” the longest running show in Broadway history, will give its final performance on Sunday, bringing its glittering chandelier crashing down on the stage of the Majestic Theater for the 13,981st and final time.Its success was powered by all kinds of engines, perhaps none more striking than the group of die-hard patrons who call themselves Phans. They come from all over the world, drawn by its soaring Andrew Lloyd Webber score and Gothic love story, and have devoted themselves to the show, seeing it as often as possible, of course, but also collecting memorabilia, dressing up as characters, and conversing about it online.Frank Radice, a Long Island call center operator, proposed to his wife at a “Phantom” installation inside a Madame Tussauds Wax Museum, and Tracy O’Neill of Connecticut used the show’s “All I Ask of You” as her wedding song. Elizabeth Dellario, a New York City tech worker, named her cats Christine and Erik after characters in the show. Erin Castro, a Los Angeles office assistant, makes Lego figurines of the cast. Katie Yelinek, a Pennsylvania librarian who has seen it 69 times, said, “I can honestly say I’ve shaped my adult life around going to see Phantom.”So many Phans. Meet six:Body ArtAlice DychesAlice Dyches, a singer-songwriter who fell for “Phantom” while growing up in South Carolina, expresses her love for the show with tattoos. Lucia Buricelli for The New York TimesPlenty of Phans have “Phantom” tattoos, but Alice Dyches has gotten specific with hers. Inked on her wrist are the first three notes of “Think of Me,” a beloved song in the show, and her midriff shows an address for the Majestic Theater: “245 W 44th.”Growing up in South Carolina, she fell in love with the music by watching the film; when she was six, she saw it for the first time on Broadway, on a trip with her grandparents.“The Phantom was Hugh Panaro, and he terrified me, and I kept wanting to go back,” she said.Now Dyches, 22, is a singer-songwriter, living in New York and working at a cat sanctuary on the Lower East Side. Throughout the pandemic, she worried about whether “Phantom” would survive, but once it reopened, she felt reassured.“I’m real sad — I thought I had more time to see it,” she said. “I’ve not lived a life without ‘Phantom’ being on Broadway, and there’s always been the notion that if I’m having a really crap day, I can go.”And, with that address inscribed on her abdomen, she is wryly watching what happens next.“I hope something good goes into the Majestic,” she said, “because otherwise I’m going to be screwed.”Phan ArtWallace PhillipsWallace Phillips, who said he had seen “Phantom” 140 times, creates artworks inspired by the show, and dreams of making an animated film of the musical.Lucia Buricelli for The New York TimesWallace Phillips didn’t even know what “The Phantom of the Opera” was when he dressed as the Phantom one Halloween. He was 10 years old, growing up in Silver Spring, Md.; he just thought the costume was cool.His mother gave him a cast recording and then, in 2010, brought him and his sister to see the show on Broadway.“It was eye-opening, and awe-inspiring,” he said. “I was enthralled.”Phillips is now 27, living in New York City, where he moved to study animation at the School of Visual Arts. He’s making his way as a freelance filmmaker, while working as an usher at “Hamilton.”How much does he love “Phantom”? At last count, he had seen it 140 times.Phillips expresses his Phandom through his artistry — he hopes one day to make an animated film of the musical, and meanwhile, he does concept art and drawings, some of which he signs and gives to cast members.“Despite all the times I’ve seen it, I’m always surprised, every time I’m there,” he said. “That overture! That chandelier rising! The theater transforming! It keeps me awed every time.”The NamesakeChristine SmithChristine Smith, of Bountiful, Utah, was named after Christine Daaé, a character in “Phantom.”Taylor SmithShe became a Phan.Chrisitne SmithIn elementary school in Kaysville, Utah, Christine Smith had to write a paper about where her name came from. When she asked her mom, she learned that she had been named for Christine Daaé, the young soprano at the heart of “The Phantom of the Opera.”“I wrote that I was named after some dumb opera singer,” Smith recalled.Her father, who worked graveyard shifts stocking shelves in grocery stores, listened to “Phantom” to pass the time. She didn’t understand the appeal until she saw the movie.“I know it sounds silly, but I just could tell, that was going to be my life,” she said. “I really learned to love my name.”She picked up a cast album at Walmart, started performing in school shows, and dreamed of playing Christine. Her family couldn’t afford to travel to New York, but they made it to a production in Las Vegas, which she eventually saw six times.Smith, 31, who now lives in Bountiful, Utah, finally got to see it on Broadway — twice — after the show’s closing was announced. In October, she and her husband arranged a flight layover in New York so they could see “Phantom,” and then, in January, she won a contest to see its 35th anniversary performance.“It made my ‘Phantom’ heart so happy,” she said.The GlobetrotterAlessandro BertolottiAlessandro Bertolotti, who lives south of Milan, has seen “Phantom” all over the world.Alessandro BertolottiHe has programs in many languages.Alessandro BertolottiAlessandro Bertolotti, who lives in Codogno, a small town south of Milan, has seen “Phantom” roughly 100 times: not just on Broadway and in London’s West End, but also in Austria, Canada, the Czech Republic, Denmark, Finland, Germany, Greece, Hungary, Norway, Poland, Spain and Sweden.“The most memorable evenings are those where you feel an energy in the public — something created by a fusion between the audience and the cast,” he said. “And then there are shows, like the one in Sweden, where I really enjoyed seeing a completely new staging of ‘Phantom.’”Musical theater did not initially interest Bertolotti, 67. Opera was his thing — both as a fan and a director. But two decades ago, while in the United States to work on a production of “Otello,” Bertolotti saw “Phantom” on the recommendation of a colleague.“It was a revelation,” he said. “I was fascinated by the music, by the sets, and this vortex of costumes and fast scene changes.”He is planning this summer to see a version in Trieste — the first in his native Italy — that will star the Iranian-Canadian “Phantom” veteran Ramin Karimloo.“Among all the musicals I’ve seen, ‘Phantom’ will always be the most fascinating and the most engaging,” he said. “It’s part of me now.”Phandom FROM AFARYixuan WuYixuan Wu, who grew up in Changsha, China, watching a DVD of “Phantom,” has seen it on Broadway 61 times since she moved to New York in 2021. Lucia Buricelli for The New York TimesYixuan Wu was just 11 when she stumbled across a “Phantom” DVD in a video store. She was about as far from Broadway as can be — in her hometown, Changsha, China — but the packaging caught her eye, so she rented it.She watched it over and over, and nurtured her Phandom online, streaming bootleg recordings from around the world.“I just feel like this story was calling to me,” she said.Flash forward to 2021. Wu had finished art school in China, and moved to New York to study at the Fashion Institute of Technology. She bought a ticket at the TKTS booth in Times Square, and finally saw “Phantom” from the right rear orchestra.“I was amazed and surprised by all the colors onstage,” she said. “You have to see it with your own eyes.”Wu, 25, has now seen the show 61 times, sometimes with a $29 standing room ticket, sometimes by winning a lottery, and once in a while by springing for a full-price seat. She collects merch (including teddy bears from the Japanese production), writes fan fiction and makes fan art (illustrations of cast members, many of which she gives to them).“Every time I go into the Majestic,” she said, “I feel like I’m home.”CosplayingPatrick ComptonPatrick Compton had not heard the term “cosplay” when he first showed up at “Phantom” in a costume.Greg MillsHe performed a scene from “Phantom” for a fundraiser at his church in Frankfort, Ky.Charlie BaglanThe first time Patrick Compton dressed as the Phantom was at a church event. His congregation in his hometown, Frankfort, Ky., was raising money with an evening of scenes from Broadway shows, and he decided to sing something from the musical.Compton, a duty officer at Kentucky’s Division of Emergency Management, had loved “Phantom” since his parents took him to see it in Louisville, and this was his moment.In the years since, Compton, 47, has taken voice lessons, recorded his own versions of “Phantom” songs, taken a weeklong workshop with “Phantom” alums and auditioned for a number of shows. He has seen “Phantom” 20 times in New York, and five times on tour.He had never heard the word “cosplay” when he started showing up to the show wearing a mask, cape, vest and fedora — he just thought it was fun. Now he’s done it several times.“To this day I have yet to figure out how a show like that can just emotionally affect you — from the very first note of the overture, you get goose bumps, and your hair stands on end,” he said. “You can’t help it. It’s addictive.”Elisabetta Povoledo More

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      ‘The Phantom of the Opera’: Thinking of a Spectacle Fondly

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      As the longest-running musical in Broadway history closes, Times critics with a lasting affection for the show take stock of its legacy.With “The Phantom of the Opera” set to play its final performance on Sunday — yes, it’s actually happening — Broadway’s longest-running show, a spectacle in residence at the Majestic Theater since 1988, still resonates with fans. The closing date was delayed by eight weeks after a surge in ticket sales.Joshua Barone, the assistant classical music and dance editor and a contributing classical music critic, was joined by the critics Alexis Soloski and Elisabeth Vincentelli in a discussion about the show’s legacy. Here are edited excerpts from the conversation.ALEXIS SOLOSKI I first saw “Phantom” in Los Angeles, at the Ahmanson Theater, sometime in the late ’80s during its first North American tour. My friends and I were obsessed. We wore the T-shirts, we wore out the cassettes, we watched every Michael Crawford movie. (He also did the “Phantom” tour.) When you’re a preteen girl just on the cusp of sexuality and sexuality seems a little scary, the idea of being in thrall to some powerful man is awfully compelling. That this genius is also a murderer with some very strong incel vibes didn’t occur to me till a lot later. It remains a foundational text for me — as a critic, as a woman — but one I’m wildly ambivalent about. I love it. I love the big feelings. I can sing (badly) every tortured line. But it’s rape apology with a fog machine.ELISABETH VINCENTELLI The first and only time I saw the show was on Broadway in May 2011. I had not paid much attention to it before but loved it so much that I seriously questioned my entire life before that: Why had it taken me so long, considering that the show checks a lot of my taste boxes — bombast, over-the-top melodrama, histrionics? What’s especially surprising about my late discovery is that I had actually read the 1910 novel it’s based on, by the French pulp-fiction auteur Gaston Leroux.JOSHUA BARONE I didn’t see “Phantom” until a high school trip to New York in the mid-2000s. By then, I had read the Leroux novel, heard the cast albums and seen the 2004 Joel Schumacher film adaptation. Unfortunately, I fell asleep at the show; I was tired from a long day of sightseeing. The spectacle didn’t quite reach me at the rear mezzanine, and I was asleep by the end of “The Music of the Night.” But I’ve since gone several times — with, for better or worse, increasing affection for it.SOLOSKI That’s the thing, right? It’s in terrible taste — histrionics all the way down — but it works.The chandelier in “Phantom” is emblematic of the mega-musicals that emerged in the same period, our critic writes: the “Miss Saigon” helicopter, the “Les Miz” revolve, the absolute commitment to spectacle.Sara Krulwich/The New York Times BARONE It works, I’d say, better than most shows of terrible taste and histrionics from its time. There is, for all its historical specificity — those synths! — timelessness in its subject matter and score. It’s solidly middlebrow, and that’s a large part of its appeal. Your best bet, should you find yourself in the audience, is to just sit back and surrender to it.SOLOSKI But that’s what the Phantom wants, Josh! Fight it!VINCENTELLI I was headbanging in my seat when I saw it. I distinctly remember cackling at the insanity of it all. I love when art throws any regard for logic, taste, story to the window and goes for broke. I was also stunned by the way the score integrates rock and electronics in a way that still feels bracing. The rock energy is indisputable.SOLOSKI It does have an undeniable pull. When I hear that synthesizer launch into that descending scale, I still get literal chills.VINCENTELLI Roger Waters of Pink Floyd thought Lloyd Webber had stolen from the 1971 Pink Floyd song “Echoes” and then dissed him in “It’s a Miracle”: “We cower in our shelters with our hands over our ears/Lloyd-Webber’s awful stuff runs for years and years and years.” I live for feuds like this.SOLOSKI That’s where the music lives, right? In some unholy space between prog rock and grand opera.BARONE That’s one of the reasons we get chills. “Phantom” is often derided as a product of the big-hair, Neo-Gilded Age days of Cameron Mackintosh’s Broadway, but I think it’s just as much an artifact of 1980s postmodernism. You hear Puccini’s lush orchestration and lyricism — literally, in the case of “The Music of the Night” quoting “La Fanciulla del West” — but also rock-pop, 18th-century opera buffa and what is clearly stylized melodrama.SOLOSKI And some really dumb ballads. “Think of Me.” Ugh.VINCENTELLI Lloyd Webber had approached Tom Stoppard and Jim Steinman as potential collaborators for “Phantom.” That says a lot. (I still want to see that show!)BARONE And don’t forget that Alan Jay Lerner, before he died, was on as the lyricist! Imagine that show — perhaps one in which the ballads wouldn’t have been as banal (“Wishing You Were Somehow Here Again,” yikes) as they are as written by Charles Hart and Richard Stilgoe.In the foreground, from left: the Broadway producer Cameron Mackintosh, Andrew Lloyd Webber and the director Hal Prince at the end of a 2006 performance.Sara Krulwich/The New York TimesSOLOSKI For me, the most perverse element is that Lloyd Webber began this show “because I was trying to write a major romantic story, and I had been trying to do that ever since I started my career. Then with the Phantom, it was there!” Let’s be clear: This. Is. Not. Romance. Even in the initial Times review, Frank Rich wrote that “Music of the Night” “proves as much a rape as a seduction.”BARONE One of the many dramaturgical question marks that hang over this show. But, strangely, that perversity is kind of what makes it an inheritor of the theatrical traditions it tries to emulate. And only because it is indebted to opera does it get away with as much as it does. Other composers — including him — have tried to copy the gothic romanticism of “Phantom,” but few have come close to his success. Opera is a medium that thrives in extremity, and Lloyd Webber follows that to a logical, undeniably entertaining degree. He found a cousin in “Sunset Boulevard,” in which he adopted a lavish Golden Age Hollywood sound in the score. But “The Woman in White”? The dead-on-arrival “Phantom” sequel “Love Never Dies”?VINCENTELLI Common wisdom has it that the show was trounced by critics when it opened, just like most mega-musicals are assumed to have been pilloried. But that’s not the case: Most of those shows have had at least mixed reviews, and most have earned tons of Tony Awards — regardless of what one thinks of the Tonys as critical arbiters, they do suggest a level of institutional and industry support. “Phantom” won seven Tonys, including best musical.SOLOSKI I think Rich was extremely fair-minded, acknowledging the deficits, and yet daring you not to enjoy it.BARONE Another favorite line from that review is, “If you don’t leave the theater humming the songs, you’ve got a hearing disability.”VINCENTELLI There was a really fascinating article in The Times in 1988 where people from the classical-music world weighed in on “Phantom.” William Bolcom, Frederica von Stade and Beverly Sills liked it a lot; Ned Rorem, not so much.BARONE Ned Rorem was witty as always, but I do think that to dismiss this music is to risk a kind of affected snobbery. It’s like saying Rachmaninoff and Tchaikovsky are too sentimental; in some ways that’s true, and you don’t see the same level of craft in their music as with some of their peers, but at the same time it has staying power simply because it continues to move audiences. SOLOSKI We’ve concentrated mostly on the music, but a lot of the power of “Phantom” is its visual splendor. I remember when we first saw it my mother sniffed that the Los Angeles audience applauded the set changes and chattered through the arias, but honestly, Maria Björnson’s sets and costumes are spectacular. Several of them were on display at the Museum of Broadway and the intricacy of the stitching and beading was glorious. I challenge anyone to watch “Masquerade” and not wallow in its excess.VINCENTELLI And at least they are genuinely exciting. I’ve seen people applaud massive, opulently appointed living-room sets at Manhattan Theater Club productions, and my reaction is “Oh, so we clap at Crate & Barrel showrooms now?” In his memoir, “Unmasked,” Lloyd Webber talks about how the sets actually are less grand than most people remember them. They are just very smartly designed.BARONE I was struck by this the last time I saw the show. The gilded proscenium masks — sorry to use that word — the fact that most of the scenic design is made from curtains. Draping black ones, ornately patterned ones with tassels, but curtains nevertheless.SOLOSKI Should we talk about the chandelier?BARONE Lot 666.SOLOSKI It falls … slowly, but it is definitive of the mega-musicals of this period, the “Miss Saigon” helicopter, the “Les Miz” revolve, the absolute commitment to spectacle. Spectacle gets a bad rap, but I wish more shows had the commitments and the budgets to deliver extravaganzas like these.Top 200 Broadway Shows by All-Time Sales More

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      ‘Bad Cinderella’ Review: The Title Warned Us

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      Andrew Lloyd Webber hopes to extend an unbroken 43-year streak on Broadway. But his 13th new musical may not be the charm.First: Bring earplugs.Not just because the songs in “Bad Cinderella,” the Andrew Lloyd Webber musical that opened on Thursday at the Imperial Theater, are so crushingly loud. The dialogue, too, would benefit from inaudibility.For that matter, bring eye plugs: The sets and costumes are as loud as the songs. If there were such a thing as soul plugs, I’d recommend them as well.That’s because “Bad Cinderella” is not the clever, high-spirited revamp you might have expected, casting contemporary fairy dust on the classic story of love and slippers. It has none of the grit of the Grimm tale, the sweetness of the Disney movie or the grace (let alone the melodic delight) of the Rodgers and Hammerstein musical. Instead, it’s surprisingly vulgar, sexed-up and dumbed-down: a parade of hustling women in bustiers and shirtless pec-rippling hunks.Finally, a Cinderella for streetwalkers and gym rats!That this is the supposedly improved version of the musical that opened in London in August 2021 beggars the imagination. Then simply called “Cinderella,” and welcomed with indulgent warmth by critics who were perhaps rusty after more than a year of lockdown, it has here acquired the adjective “Bad,” as if to dare headline writers with an easy mark. A more accurate adjective might have been “Unnecessary” — except perhaps for Lloyd Webber himself, whose unbroken 43-year streak of shows on Broadway, beginning with “Evita” in 1979, would otherwise end with the closing of “The Phantom of the Opera” in April.Yet if there was no good reason for “Bad Cinderella,” that doesn’t mean it couldn’t have been good. Quite a few recent and incoming musicals — “& Juliet,” “Once Upon a One More Time” and “Six” among them — have more or less reasonably applied a feminist spin to pre-feminist tales and history.Grace McLean as the Queen with a bevy of shirtless pec-rippling hunks.Sara Krulwich/The New York Times“Bad Cinderella” seems as if it could have been in the same league. Emerald Fennell (original story and book) and Alexis Scheer (book adaptation) have rejiggered the traditional plot to give Cinderella (Linedy Genao) a better motive for marrying Prince Sebastian (Jordan Dobson) than mere infatuation; he’s already her friend instead of a stranger she meets at a ball. Her transformation from a “gutter rose” and a “rebel” to a silver-leafed stunner, with the help of a godmother (Christina Acosta Robinson) who’s more of a mad aesthetician than a fairy, is not for him, we are told, but herself.Despite that, and a series of effortful numbers Genao sings bravely, her story, which is almost entirely internal, recedes. Sebastian’s is more interesting. An unassuming, enlightened type, he has been dragooned into choosing a bride only because his brawnier and better-loved brother, Prince Charming, is presumed dead after disappearing at war. With both his mother (Grace McLean) and Cinderella’s stepmother (Carolee Carmello) devising other plans for him — the dreaded stepsisters, here hideous Valley Girls — Sebastian’s problem isn’t figuring out whom to marry (he wants Cinderella) but how.Those changes are hardly groundbreaking, especially coming from Fennell, who won an Oscar for writing the feminist revenge thriller “Promising Young Woman,” and Scheer, whose play “Our Dear Dead Drug Lord” took a cudgel to stereotypes of innocent girlhood. Still, they ought to have been sufficient to make “Bad Cinderella” at least a winky hoot.One reason it isn’t is the unrelievedly pompous direction by Laurence Connor. Aside from those strident sets and costumes (by Gabriela Tylesova) and that aggressive sound (by Gareth Owen), there is a fundamental mismatch between the flippant fairy tale tone of the book, which wants the lightest possible treatment, and the exhaustingly one-note insistence of the staging. (The choreography is by JoAnn M. Hunter.) As in his work on the Broadway revivals of “Les Misèrables” in 2014 and “Miss Saigon” in 2017, Connor seems to favor busy, murky, late-Reagan-era oversell, not necessarily inappropriate to those late-Reagan-era shows but lacking the delicacy necessary for much that came after.Carolee Carmello, center, as Cinderella’s stepmother, with the dreaded stepsisters, played by Morgan Higgins, far left, and Sami Gayle. Genao is at right.Sara Krulwich/The New York TimesAlso lacking delicacy: the songs, with workmanlike lyrics by David Zippel, and music by Lloyd Webber that often sounds like it escaped from “Phantom.” The prettiest, if most bombastic, is “Only You, Lonely You” for Sebastian, which has the engine-in-overdrive feeling of “The Music of the Night,” complete with triple-crème melody and sludgy orchestrations (also by Lloyd Webber).But “Phantom” was a show about obsession, so its richness and hysteria made sense. If anything, “Bad Cinderella” is about plotting how to “marry for love” (the title of a song in the second act) and thus requires a much lighter touch. In only one number, “I Know You,” which McLean and especially Carmello turn into the show’s comic highlight, do Lloyd Webber and Zippel hit the mark.Whether the mark is worth hitting is another matter; a comic duet that pits aging, carping viragos against each other in the manner of “Bosom Buddies” from “Mame” is not perhaps a feminist anthem. At least there are jokes to land: “I must admit I never quite forget a face/Though every feature’s in a slightly different place.” But mostly when aiming for drollery, the songwriters overshoot and wind up at operetta.Well, “Phantom” was at bottom an operetta too, yet even in an obsolete genre has run on Broadway for 35 years. If “Bad Cinderella” does not seem likely to match that success, its virtues, however invisible to me, may yet be measurable by other means.Keep in mind that Lloyd Webber’s 12 previous Broadway musicals, starting with “Jesus Christ Superstar” in 1971, have run up a total of 30,000 performances, nearly 75 years’ worth. (And he has just turned 75 himself.) What the shows have grossed in New York City — $1.4 billion for “Phantom” alone — could finance a moon mission, or pay off thousands of mortgages for employees and send their children to college.Lloyd Webber, not only British but a Lord, has been, in that sense, America’s most successful theater composer. We can argue that “Evita” wasn’t good for the culture — and “Cats” not good for anything — but somehow, he and Broadway made a match that’s lasted like no other. Even without the blessing of critics, and just like “Bad Cinderella,” it’s an implausible story about a real marriage of love.Bad CinderellaAt Imperial Theater, Manhattan; badcinderellabroadway.com. Running time: 2 hours 20 minutes. More

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      A ‘Titanic’ Parody Show That Draws Fans Near, Far, Wherever They Are

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      Some of the devotees of ‘Titanique,’ which recently moved to the larger Daryl Roth Theater after months of sold-out shows, have seen it more than a dozen times.On a recent Tuesday night at the Daryl Roth Theater in Union Square, temperatures outside hovered in the mid-30s, but inside, a few hundred 30-somethings in sailor hats were sipping “Iceberg” cocktails and grooving to Lizzo’s “Juice.” A gleaming silver and blue tinsel heart hung suspended above the stage like a disco ball.And then: The woman they were waiting for arrived.“It is me, Céline Dion,” said Marla Mindelle, one of the writers and stars of the “Titanic” musical parody show “Titanique,” casting aside a black garbage bag cloak to reveal a shimmering gold gown — a nod to the witch’s entrance from “Into the Woods” — and sashaying her way to the stage to a tidal wave of applause.The sold-out crowd of 270, who sported tight green sequin dresses, black leather jackets and hot pink glasses, had gathered for a special performance commemorating the 25th anniversary of the 1997 blockbuster film, set to hits from Dion’s catalog. Since opening at Asylum NYC’s 150-seat basement theater in Chelsea in June, thanks to strong word of mouth and a passionate social media following, the show has been consistently sold out.“The movie and Céline are still in the zeitgeist,” said Constantine Rousouli, who plays “Titanique”’s romantic male lead, Jack, and created the show with Mindelle and Tye Blue, who also directs.From left, Tye Blue, Constantine Rousouli, Nicholas Connell and Marla Mindelle, the creative team behind “Titanique.”Evelyn Freja for The New York TimesThe show has won praise for its campy tone, improvised moments and energetic cast, and has cultivated a fan army of “TiStaniques,” some of whom have seen the 100-minute show more than a dozen times.“It’s filled with so much joy and heart and just dumb fun,” said Ryan Bloomquist, 30, who works in Broadway marketing and has seen the show five times.The Unsinkable Celine DionThe Canadian superstar has won over fans with her octave-hopping renditions of songs like “Because You Loved Me” and “My Heart Will Go On.”Rare Disorder Diagnosis: Celine Dion announced that she had a neurological condition known as stiff person syndrome, which forced her to cancel and reschedule dates on her planned 2023 tour.Quebec’s Love Will Go On: The extraordinary outpouring in Quebec that greeted Dion’s announcement showed how her fandom, and ideas of national identity in her home province, have evolved.A Consummate Professional: At a concert in Brooklyn in 2020, the pop diva was fully in command of her glorious voice — and the crowd gathered to bask in it.Adored by Fans: Dion can count on some of the most loyal supporters in the industry. In return, she gives all of herself to them.Partially improvised and best enjoyed with a drink in hand, “Titanique,” which retells the story of “Titanic” from Dion’s perspective and through her music, began life as you might expect: during a drunken discussion between Mindelle, 38 (Broadway’s “Sister Act” and “Rodgers & Hammerstein’s Cinderella”), and Rousouli (“Wicked,” “Hairspray”), 34, at a bar in Los Angeles in 2016.Rousouli and Mindelle, a fellow “Titanic” fan, had become friends while doing dinner theater and pop parody musicals in Los Angeles. And now, Rousouli had an idea: What if they did a “Titanic” parody musical — using Dion’s songs — and made the Canadian singer herself a character in the show?He said he thought, “She’s just going to narrate the show like ‘Joseph,’” referring to the 1968 Tim Rice and Andrew Lloyd Webber musical, “Joseph and the Amazing Technicolor Dreamcoat.” (It was during this same conversation, he said, that the trash bag entrance idea in the first scene came to life.)Convinced they were onto something, Mindelle and Rousouli worked with Blue, 42, an acquaintance from the Los Angeles dinner theater circuit, to write a script. (The music supervisor Nicholas Connell, 35, did the arrangements and orchestrations.)A giant tinsel version of the blue diamond featured in the 1997 film.Evelyn Freja for The New York Times“I never considered myself a writer,” Rousouli said in a lively conversation earlier this month with Mindelle, Blue and Connell in the theater’s basement bar space. “People ask me now, ‘What was the process like?’ And it was like I closed my eyes, and all of a sudden there was draft there and I’d written this whole musical.” They wrote the initial book in a month and a half, he said.They began doing pop-up concerts of the show-in-progress at small venues around Los Angeles in 2017 and then New York the next year. The first performances were bare-bones affairs, with no set or costumes and, according to Mindelle, a “really bad” Dion accent in the first readings. But audiences loved them — and many came back for a second or third time.After a pandemic delay, they opened the first fully staged production of “Titanique” at the Asylum in June. The first month was a little scary, Blue said, with entire rows sitting empty. But by July, thanks to social media buzz, they were selling out shows. It helped that Frankie Grande, who recently had his final performance in the dual role of Jack’s pal Luigi and the Canadian actor Victor Garber, has a famous half sister, Ariana, who gave the show a shout-out after attending.“Social media and word of mouth has just been wildfire for us,” Mindelle said.Soon, celebrities were coming to see it, among them Garber, who played the shipbuilder Thomas Andrews in the film, and Lloyd Webber.“He looked at us and he goes, ‘You’re all mad,’” Rousouli said, affecting a British accent in imitation of Lloyd Webber. “I said, ‘Cool, thanks, we are.’”The production’s scrappy spirit remained when it moved to the larger Daryl Roth Theater in November, where the show now features richer sound and around 100 more seats.“I was afraid we were going to lose that sense of intimacy and charm,” Mindelle said. “But we’re now running in the audience the entire time; I can still make eye contact with people, I can still touch every person.”Members of the cast rehearsing. Unlike a typical Broadway musical, the “Titanique” script is updated weekly, sometimes daily, to stay current with pop culture references and TikTok trends.Evelyn Freja for The New York TimesPart of the appeal, said Ty Hanes, 29, a musical theater actor who has gone 13 times, is that no two performances are the same. He looks forward to seeing what Mindelle will do in the five-minute scene between Rose and Jack that she improvises every night (some of his favorites: a bit about a toenail falling off and a riff on Spam, the tinned pork product).“You can tell they just have a blast changing stuff up a bit every night,” he said.“Sometimes it really works, and sometimes it doesn’t,” Mindelle said.“No, it does,” Rousouli said. “It always lands.”Unlike a Broadway musical like “Wicked,” in which the script does not change after the show opens, Rousouli said, they tweak the show weekly — sometimes daily — to stay current on pop culture moments and TikTok trends. On a recent night, a joke featuring a Patti LuPone cardboard cutout drew loud laughs (“You can’t even be here, this is a union gig!”), and a line originally uttered by Jennifer Coolidge’s character in the Season 2 finale of the HBO satire “The White Lotus” (“These gays, they’re trying to murder me.”), now spoken by Russell Daniels performing in drag as Rose’s mother, received a mid-show standing ovation.“People feel like they’re part of something special every night,” Rousouli said.One aspect of the show’s popularity that has been rewarding, if unintentional, Mindelle said, is how L.G.B.T.Q. audiences have embraced it. “I never thought that we were writing something inherently so queer,” said Mindelle, who like Rousouli, Blue and Connell identifies as queer. “It’s just intrinsic in our DNA and our sense of humor.”Bloomquist, who is gay, said the show resonated with his personal experience. “Everything that’s coming out of the show’s mouth, you’re like ‘Oh my God, this is just how I speak with my friends,’” he said.The musical, which announced its fourth extension last week and continues to sell out a majority of its performances, is set to close May 14, but Mindelle said an even longer run may be in the cards.“I think the show has the potential to be much like the song,” she said. “We hope it will go on and on and on.” More

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      ‘Phantom of the Opera’ to Delay Broadway Closing After Sales Spike

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      Last week was the highest-grossing in the show’s 35-year history.“The Phantom of the Opera” is going to continue haunting Broadway a while longer.The musical — the longest-running show in Broadway history — announced in September that it would close in February, ending a storied run shortly after celebrating its 35th anniversary.But immediately after the closing was announced, ticket sales spiked. And last week, when Broadway was bolstered by Thanksgiving travelers, “Phantom” enjoyed its highest-grossing week ever: $2.2 million.So on Tuesday the show’s producer, Cameron Mackintosh, plans to announce an eight-week extension of the run, to April 16.“What a phenomenal response there has been to the show ending,” Mackintosh said in a telephone interview on Monday. “We’ve sold out virtually everything that we have on sale.”And why not run forever? The answer is simple: Until the closing announcement, the show was not selling enough tickets to defray its rising running costs. The slow return of audiences to Broadway following the pandemic and inflation were both contributing factors.“For most of last year, we were losing every week,” Mackintosh said. “There comes a point when you become theatrical wallpaper. People took it for granted that it’s going to run forever.”Those driving the surge in sales include fans hoping to catch the show before the closing.George Etheredge for The New York TimesThe turnabout at the box office has been significant. The week before the closing plan was announced, the show grossed $867,997. After the announcement, the numbers began to climb.Broadway is gradually rebuilding following the lengthy pandemic shutdown and last winter’s Omicron slump, which forced a number of shows to close.Thanksgiving week — traditionally one of the biggest of the year for Broadway — saw a modest uptick in grosses from last year. The 33 shows running this year grossed $37.5 million last week, up from the $32.5 million that the 33 shows running last year earned during the same period. But Broadway has yet to return to prepandemic levels: in 2019 there were 35 shows running, and they grossed $41.7 million.Those driving the surge in “Phantom” sales include people who have seen the show before but want to catch it again before the closing, as well as those who have never seen it and realize it’s now(ish) or never.“The reason it is sold out is because it’s coming off, absolutely,” Mackintosh said. “We know that one of the reasons that it’s doing it is because this is your last chance to see the great show.”Among the recent patrons: Lucas Perez, a 37-year-old smoke shop worker from Manalapan, N.J., who bought a pair of tickets as soon as the closing was announced. He had seen the show twice before — once as an elementary school student, and once as an adult — but wanted to bring his mother, who had never been. They went in mid-October.“It felt like I was saying goodbye to an old friend, to someone I’ll never see again,” Perez said. “I was very nostalgic the whole time. There’s something about the experience of ‘Phantom’ that other shows don’t have.”Featuring soaring music by Andrew Lloyd Webber, “Phantom” is a Gothic melodrama about a masked music lover who haunts the Paris Opera House and becomes fixated on a young soprano. The Broadway production, directed by Hal Prince, is a large-scale spectacle, with a 27-person orchestra and a famously crashing chandelier, emblematic of an earlier era of hyper-romantic musical theater. In 1988, the year the show opened, it won seven Tony Awards, including the one for best musical.Christina DiCillo, a 31-year-old Queens resident who works in the advertising department at the website TheaterMania, is a “Phan” — what the show’s superfans call themselves — who has seen the show 46 times so far, and hopes to hit 50 before it closes. She and her twin sister saw a touring production of the show when they were growing up in Buffalo; now they have each seen it repeatedly in multiple locations. (Christina has seen it in London, Las Vegas and South Korea, among other places.)“I feel bad for people that are just discovering it now,” she said. “The music always gets me, and when I’m there I’m transported. I keep thinking, ‘Maybe this time is the time it won’t feel as magical,’ but every time the chandelier rises you get the chills down your spine. I see a lot of Broadway shows for fun, and some of them are better and some of them are worse, but that’s one I know I’m going to love every time.”The Broadway run has been seen by 19.9 million people and has grossed $1.3 billion; at the time of its closing it will have had 13,981 performances. According to the production, it has employed about 6,500 people, including 400 actors.Mackintosh said there would be no further extensions. Following the show’s closing, he said, the Shubert Organization is planning a renovation of the Majestic Theater, where “Phantom” has run since its opening. The show will mark the end of its Broadway run with an April 14 benefit performance to raise money for charities, and a final performance with an audience including alumni and friends of the show.“Phantom” had a lengthy North American touring life, playing 14,500 performances in 77 cities, and productions are currently onstage in London (where running costs were lowered by reducing the orchestra size) and in Melbourne, Australia. A version in Mandarin is scheduled to open in China next year, and the actor Antonio Banderas is working on a new Spanish-language production.“It’s not like the show is going anywhere — the show will be done and is being done all over the world, and I’m sure it will come back to America and we’ll do a tour in the future,” Mackintosh said.And will it return to Broadway? “I’m sure at some point it will,” he said. “It’s a great show, and the great classics do come back.” More

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      London Theatergoers Are on the Edge of His Seats

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      One family firm supplies seating for most of the West End’s theaters, from flexible new spaces to Victorian treasures. Its chief designer reveals some tricks and traps of the trade.LONDON — Earlier this month, during the first performance at the West End’s newest theater, @sohoplace, the audience repeatedly cheered the actors performing “Marvellous,” a comedy about a British eccentric. At one point, several hundred theatergoers even applauded a technician who came on to clean the floor.But there was one person key to the evening whom no one cheered, whooped or even politely clapped. And Andrew Simpson, the designer of the theater’s seats, was happier that way.“If a seat’s good, you don’t notice it,” he said. “You only notice it when it’s bad.” In the world of theater seating, he added, “No news is good news.”Simpson, 62, is in a position to know. He is the lead designer at Kirwin & Simpson, a family firm his grandfather founded that started out patching upholstery in a local movie house during World War II and now supplies the seats for most West End theaters. (It works with some in New York, too, including the Hudson Theater and St. Ann’s Warehouse.)Andrew Simpson, Kirwin & Simpson’s lead designer (and the grandson of the company’s founder) at the firm’s headquarters in Grays, England.Tom Jamieson for The New York TimesThe West End is challenging territory for a seating designer. Many of the London theaters Simpson caters for are Victorian jewel-boxes: tight, ornate spaces built with more attention to gradations of social class than to comfort.Originally, according to David Wilmore of Theatresearch, a company that restores historic theaters in Britain, they would have had a few front rows of luxurious armchairs — known as fauteuils — for their wealthiest patrons. Everyone else sat on wooden benches. When middle-class visitors were finally accorded seats, Wilmore said, theaters preserved their old sightlines by forcing the sitters bolt upright — “part of that Victorian strictness in all areas: ‘You jolly well better sit up and listen!’”That won’t do for seats that now often cost hundreds of dollars to occupy.A recent tour of Kirwin & Simpson’s works in Grays, a working-class town east of London, included a room filled with rolls of multicolored cloth and a shed where five men were busy screwing, stapling and gluing sleek maroon seats for the forthcoming Ronald O. Perelman Performing Arts Center in New York. One warehouse is filled with emergency replacements, so that if a seat rips at, say, the Victoria Palace Theater — the London home of “Hamilton” — a new, perfectly matching one can be installed within hours.Each theater needs many types of seats. The new, 602-capacity @sohoplace has 12 types, according to Simpson, all removable to allow different styles of staging, but some tricky older spaces require far more.A seat that Kirwin & Simpson designed for @sohoplace, a West End theater that opened this month.Tom Jamieson for The New York TimesThere are high chairs with built-in footrests, to give a clear view from the back of Victorian balconies where front-row patrons would once have sat directly on a low step. There are chairs with wide backs, but smaller seats, designed to fit perfectly into tight curves, and others with hinged armrests that can be raised so wheelchair users to slip into them. And there may be any number of things in between. Andrew Lloyd Webber’s Theater Royal, Drury Lane, has over 160 different designs, with widths and angles tweaked to ensure the best view.The seats themselves have become less cluttered over time, losing accessories like ashtrays and wire cages for men to store their top hats. But in the most cramped spaces, Simpson still sometimes employs an illusion. Short armrests make a narrow aisle feel wider, he said, because visitors don’t have to squeeze past them to get to their places, and they are then less inclined to start thinking about how little legroom they have. “It’s all psychology,” he added.It similarly helped if the show was a hit. “If the stuff onstage is really good,” he said, “then people don’t mind what they’re sitting on. If it’s anything less than that, then the surroundings come into focus, shall we say.”The Sondheim Theater in London, which has a capacity of more than 1,000. The seats are by Kirwin & Simpson.Tom Jamieson for The New York TimesInside the Kirwin & Simpson workshop.Tom Jamieson for The New York TimesEven with the good will of a good show, it can be tough to accommodate theatergoers of varying shapes, sizes and tastes. Nica Burns, the chief executive of Nimax Theaters, the company behind @sohoplace, said she wanted the seats in all her venues to be comfortable for short people like her (she’s 5 foot 2 inches), who don’t want their feet to dangle in midair, and for tall people like her 6 foot 3 inch husband. While the theater was being designed, she kept two Kirwin & Simpson seats in her office and asked visitors try them. But, she said, “you’ll never find a seat that suits everybody.”One demand that Simpson hears increasingly is for wider seats. Last year, Sofie Hagen, a popular comedian, began a campaign on Twitter, urging theaters to publish details of seat widths on their websites, to help larger people like her decide if they wanted to attend. “The amount of times I’ve gone to see a musical only to be in constant, excruciating pain,” Hagen wrote. “Once I had to leave before the show even started because the seat was too narrow.”Hagen said in a telephone interview that every venue on her current British tour had agreed to display details of the width of their seats and she hoped more would follow. “If theaters had signs up saying ‘Fat people are not welcome,’ people would be like, ‘What?’,” she said, “but that’s subliminally the message we’re being told.”At @sohoplace, some dozen seats at the orchestra level and balcony discreetly offer an extra three inches of width, on top of the standard 20 or so. Simpson, the designer, said that during a test event he had happily shared one with his 27-year-old son.For some, however, a big seat might be a little too much comfort. Seats that leave theatergoers “practically rubbing shoulders with one another” make for more of a communal experience, Wilmore, the theater restorer, said.An original cast-iron row end from the Victoria Palace Theater, in Kirwin & Simpson’s workshop.Tom Jamieson for The New York TimesMichael Billington, who resigned in 2019 after nearly 50 years as The Guardian’s chief theater critic, said he felt “a degree of austerity” helped keep audiences awake. For example, Shakespeare’s Globe in London has both Elizabethan-style standing space and backless wooden benches: Billington described those benches as “a form of terror,” but added that he certainly paid attention whenever he sat on one.The new seats at @sohoplace drew typically mixed reviews from some of their first paying users. In interviews with a dozen audience members at the recent “Marvellous” performance, seven were glowing. John Yee, 22, visiting from Canada and sitting in the balcony, said they were “comfy as hell.”Josh Townsend, who had a spot in the orchestra level, said he was 6 foot 2 and often struggled with seats that lacked legroom, yet @sohoplace’s were “really good.” The week before, he had watched “Dear Evan Hansen” in London’s Noël Coward Theater — whose seats are also by Kirwin & Simpson — and his legs were jammed against the seat in front. This was a huge improvement, he said.But though she had loved the show, Ayesha Girach, 26, a doctor, said the seats were so hard they were “probably the most uncomfortable” she had ever sat in. She then praised those at the Gillian Lynne Theater, just a few blocks away, where she’d recently seen “The Lion, the Witch and the Wardrobe.” “Those were really comfy,” she said. They were Kirwin & Simpson seats, too. More

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      Andrew Lloyd Webber’s ‘Bad Cinderella’ to Open on Broadway in March

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      The musical, which was known simply as “Cinderella” during a previous run in London, is a new adaptation of the classic fairy tale.The famed composer Andrew Lloyd Webber’s unbroken streak on Broadway — at least one of his musicals has been onstage since 1979 — will not end with the closing of “The Phantom of the Opera” next year.Lloyd Webber announced Monday that his next musical, “Bad Cinderella,” will begin performances on Feb. 17, one night before the scheduled closing of the long-running “Phantom.”“Bad Cinderella,” which had a previous run with a sparer title, “Cinderella,” in London, is a contemporary adaptation of the classic fairy tale, now with a consideration of beauty standards and body-shaming, plus bawdy language and same-sex relationships. “It adds up to not so much a ball as a blast,” Chris Wiegand wrote in a five-star review for The Guardian, adding that it was “silly but warm and inclusive, with relatable, down-to-earth heroes and pertinent points about our quest for perfection and our expectations of each other and ourselves.”The New York production is to star Linedy Genao, in her first leading role on Broadway. Genao, who described herself in a news release as “a proud Dominican American,” was in the ensemble of the Broadway production of “On Your Feet!” and an understudy in the Broadway production of “Dear Evan Hansen,” and this fall she is to star in a production of “On Your Feet!” at Paper Mill Playhouse in Millburn, N.J.“Bad Cinderella” features music by Lloyd Webber (his many credits include “Evita,” “Cats” and “Phantom”), lyrics by David Zippel (“City of Angels”), and a book by Emerald Fennell (she won an Academy Award for the screenplay of “Promising Young Woman”). The director is Laurence Connor and the choreographer is JoAnn M. Hunter; they previously collaborated on Lloyd Webber’s “School of Rock.”The musical, produced by Christine Schwarzman’s company, No Guarantees, alongside Lloyd Webber’s Really Useful Group, will run at the Imperial Theater, with a scheduled opening night of March 23.The run in London was repeatedly delayed by the pandemic. When it finally opened last year, Matt Wolf, a critic for The New York Times, declared it “worth the wait” and said it “looks set for a sturdy West End run.” But that turned out not to be the case: It closed in June, after a run of less than a year.Lloyd Webber said in a news release that the creative team has been developing “a few new songs” for the Broadway production. A spokesman said the show has also been redesigned. More