"PHANTOM OF THE OPERA."

New Zealand Herald, Volume LXIII, Issue 19292, 3 April 1926, Page 12

"PHANTOM OF THE OPERA."

A SPECTACULAR PRODUCTION A strange -and unusual picture, full of the mysticism of the unknown, touched with tho gaiety and abandon of the bal masque, and the splendour of the gorgeous opera house, but overshadowed by the threats of a terrible malformed creature, " The Phantom of the Opera," which made its first appearance at the Princess, Tivoli, and Everybody's Theatres on Thursday night, and the Rialto on Friday, has justified every claim n. tde for it. Lou Chancy, as the "Phantom," gives another startling exhibition of his wonderful powers of makeup. The story was written by Gaston Leroux, and centres round the strange happenings at the Paris Opera House. The scene opens on a performance of " Faust." The famous actress Carlotta is to take the role of Marguerite, but is unable t<? do so, and the part is given to her understudy, Christine Daae, played by Mary Phil bin. Christine is given the power of song by a strange being, the 1 "Phantom." She achieves instant fame | and is congratulated by her lover, Comtc Raoul de Chagny. A note signed by the Phantom is given to the new managers of the theatre, demanding that the understudy be given the part of Marguerite permanently in place of Carlotta. The management receive tho message lightly, and tho Phantom puts a curse on the theatre. Next evening, as Carlotta is singing, a sonorous voice fills the hall: "She is singing to bring down the chandelier," it says, and immediately the lights flicker and the huge chandelier begins to sway slowly to and fro, and then falls with a crash into the crowd beneath. Scenes of indescribable chaos follow, and in her room Christine hears the voice again calling her": " Are you ready, Christine, to come to the master who has given you the gift of song?" " Yes," she replies, and a panel opens in her dressing-room and she is led by a strange masked figure down through the dark and noisome cellars of the theatre, across a lake of seepage and through a massive door. And here, five cellars underground, is the lair of the Phantom. Christine unexpectedly slips the mask from his face and he, wild with rage, turns a hideous and repulsive face upon her; she faints, and on her recovery promises her captor never to see her lover Raoul again if she is giVcn her freedom. Tho ghoulish creature acquiesces, and Christine is restored to her friends. The next night, however, is the bal masque, a gorgeous and colourful ball in the opera house, at which Christine breaks her word and sees Rooul, and arranges to flee with him after the performance next night. Their plans are overheard, how- i ever, by the Phantom, who takes Christine away again. In the meantime Joseph Buquot, of the Secret Service, has identified the Phantom as tho escaped maniac Erik. Tie and Raoul set off through the cellars but fall into tho Room of Mirrors, an old torture chamber. The Phantom discovers them and submits them to terrible tortures. But the theatre mob, tired of the reign of terror of the Eliantorn, band themselves together and search the cellars. Erik hastily departs from the theatre, taking with him Christine, and drives furiously through tho streets. Raoul and Punnet, released by the crowd, follow closely behind and are'followed bv the huge procession, howling with ratrc, like a mob in the French Revolution. Christine jumps from the cab and is recovered by her lover, uninjured. Erilc. fleeing for his life, is overtaken bv the fierce mob and burled info the Seine. Wedding bells and orange blossoms form a happy conclusion to a strange and wonderful picture.