The Phantom of the Opera

Leroux's early-twentieth-century romantic thriller is skillfully adapted for this full-cast production. It's quick, humorous, and stays true to the original. The cast is lively and deft, playing up to Leroux's melodramatic mark but not beyond it. The musical pieces the characters perform are those mentioned in the novel, in the same order, so that listeners, as opposed to readers, can hear what Leroux intended. Original theme music is elegant and haunting, and sound effects are well done. "Making of" interviews are choppy and awkward, and out of place at the end of the first disc, and one character's supposedly Spanish accent is merely peculiar. But overall this production is top-notch--thoughtful, professional, and fun. W.M. (c) AudioFile 2009, Portland, Maine


Geoffrey Howard reads this early twentieth-century melodrama in a British accent that sounds slightly foreign; it's a bit distracting at first but ultimately gives the story the Continental mood it calls for. He shines at moving the story briskly, effortlessly keeping it involving, even through its pulpy excesses and sillier excursions, such as some comic relief involving the opera's managers. Howard falls short only by holding back in rendering some of the Phantom's more extreme behaviors--mad laughter and other scene-chewing (though he conveys fully his love-sick last extremity). Perhaps his restraint is wise; his ability to make such a wild purple tale not seem ridiculous is an accomplishment. W.M. 2006 Audie Award Finalist (c) AudioFile 2006, Portland, Maine

October 28, 2019
The inaugural release in the Horror Writers Association Haunted Library of Horror Classics series will be a revelation to those familiar only with the musical based on the 1910 novel by LeRoux (1868–1927). The tale of a Paris opera house inhabited by a spectral figure with seemingly magical abilities remains genuinely creepy today. Much of the book’s power stems from the author’s presentation of his narrative as the factual product of his own diligent archival research and interviews with survivors of the phenomenon. This understated treatment means that even his spoiler-laden prologue heightens rather than lessens suspense. A turnover in the management of the opera house coincides with sightings of the so-called Opera ghost and the grim discovery of the hanged corpse of Joseph Buquet, the company’s chief scene-shifter. These events are followed by an unexpectedly triumphant performance by Christine Daeé, who previously had an undistinguished singing career, which proves to be linked to the phantom. Fans of literate horror, whatever their opinion of Andrew Lloyd Weber, will be gratified.