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The pause should have lasted 20 minutes, I’d been told afterwards. I didn’t know anything more, only that I’d been sitting quietly and peacefully on my place. The audience was quiet pleasant at this evening. None claps his hands at the wrong time (cruelly, if there is handclapping during the „Musik der Nacht“ :-) :-) :-) ), only the one or other sneeze or nose-blowing. Indeed there were some men, who better should have read the book of Leroux  before sitting here, for a better understanding of the Phantom and why he is, like he is.

 

That Ian has progressed many thinks around the Phantom and his acting, one could notice. He didn’t present a simply annoying psychopath, but a person, who also has an erotic and sexual aspect. And all these aspects Ian shows in his performance - no evident, intrusive eroticism, but visible for the one who can see and understand. Small gestures, interrupting of a movement, a step back and similar. I find, he makes it brilliantly.

 

And not only his voice is his tool, during the scene „Der letzte Schritt“, in which he’s wearing the black cowl, you can only see his hands and he uses them as erotic, emotional tools - however probably visible for whom who is able to see it. A stretching out of the hand - than however quickly draw back; now a stroke over the shoulder of Christine - however not execute in the last moment; the touching of Christine’s hands - however don’t capture them; and the highlight, when he packs Christine’s hands and procures her to him.

 

Although I’m looking in this whole scene only the Phantom’s hands, and can feel like he suffers, hopes, doubts and finally grabs - however again no fulfilment.

 

All this will happen in the 2nd act, I already know - and I’m pleasing it very much. First however again all this scenes which I mustn’t really see, which however belongs to the musical, such as the „Maskenball“. Luckily the cemetery scene will follow soon. Christine has suffered in front of her father´s Sarcophagus, sung, suffers, sung, but I’m observing only the large cross on the top, from which immediately the Phantom would appear. The skull staff again throws many fireballs to the lovers (I counted ten) before threatening a firewall announces the finale.

 

Because of the activities of the Phantom Christine will sing the leading part of his opera „Don Juan“ and after he eliminated Piangi, he himself appears on stage, wearing the black cowl, to sing together with Christine, unrecognised. My absolute highlight! - the tango steps of the „Letzte Schritt“. All the time in the centre: these hands - so beautiful, so slender and always in drive.

 

And how did he suffer, when Christine had torn away the mask of his face - and implored for her love. (Why doesn’t this woman grant for him? He’s not so ugly at all - I can’t understand her.)

 

The flight together with Christine to the dungeon of the night and the persecution through Raoul. How the Phantom mocks them both with  ...komm mit schnellen Pferden“ (meanwhile an aphorism for us). The bright´s veil, which he puts on her hair - oh, doesn’t sit good? So set right - oh, always not yet right? So set right the tulle.

Whether Ian may be born of the zodiac of a „virgin“ - typical conduct!

 

Then the impressively singing together with Christine and Raoul - always great, especially when the voices are in harmony like this. But none suffers as well as he do it! Here and there he runs in the dark dungeon, to and fro between the love to Christine, the feeling to keep her here in the dungeon or lo let her leave with Raoul. When little hope despairs, ranging, imploring as she proceeds to him, but simultaneously the assurance, that she will stay here to save Raoul’s life. Then Christine’s kiss to the fortissimo crescendo of the „Engel der Muse“ - melody - fulfilment for him? Surely not! But now he noticed that Christine’s feeling is only sympathy and not love.

 

He let leave Raoul and with the painful, despaired scream „Laßt mich alleeeeeiiiiin!“ he hunts Christine to him. Although he loves her and surely would have kept her here, gladly.

Then hope again when Christine comes back - however only giving back the ring. His repeated „Christine ich liebe dich!“ (Today for three times altogether), wouldn’t have belonged to her, although he screams loudly, implores softly, despairs sobs and finally celebrates his ultimately end, in the background always the softly singing lovers, who don’t perceive his grief. Nobody will be allowed to hear the „Musik der Nacht“, after the disappearance of the Phantom. Christine hasn’t granted him and with the loudly, angry outcry: „....Christine.....nur allein mit dir wird es vollbracht. So stirbt mein Lied und die Musik der Nacht!“ the music dies away. Unfortunately! - and real true, too!

 

I’ve seen and heard some different versions of this scene with Ian, but it’s never equal. How many new ways to say the sentence „Christine ich liebe dich“ will he still find? The amount of the sentences and proclamations varied every time - for me always surprising, but in each version very well.

 

Too bad that this wonderful musical will never be performed in Germany, no more Ian as the Phantom? I still hope, that a new location will be found soon - or Ian will play another role in a German musical. I would be very sad, if I no more might hear this fascinating voice.

 

 

 

                    These lines are dedicated to the best Phantom-performer I’d ever seen –  Ian Jon Bourg

                    June 14th, 2001 - G.K.

 

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