I watched The Phantom of the Opera on Youtube as part of Andrew Lloyd Weber’s ‘The Shows Must Go On’. This was the 25th anniversary production at the Royal Albert Hall, and although I had seen this show live before, this version of the production gave me chills from start to end. The costumes, originally designed by Maria Bjornson, perfectly show the characters and their relationships, and all the tiny details reveal more and more about the characters- there’s always something new to spot that reveals another tiny element of the character.
The show begins in the future. All the characters are dressed in black, creating a dark and eerie set, which is a sign of what is to come in the production. The music then swells, as the production goes back in time to the rehearsal of Hannibal. The bright greens and reds show the happy state of the opera house, and the gold details also add to the traditional nature of the Opera. Carlotta’s dress in particular is very grand and dramatic to show her over the top personality, and her status as the prima donna of the opera house. Piangi also stands out as Hannibal due to his oversized helmet, drawing the audience’s eye, and showing that he is the lead male singer of the company. The dancers are also dressed in much simpler outfits that still match the grandeur and colours of the performance, but do not have the size of Carlotta and Piangi’s outfits, to show their lesser importance. The skirts are also cleverly designed to flow with the dancers when they dance, creating even more of a spectacle onstage.
The rehearsal is interrupted by the director, who stands out against the bright costumes in a brown suit. He also wears a bowler hat, which added to his mannerisms, draws similarities between him and Charlie Chaplin, perhaps suggesting to the audience that the performers don’t take him too seriously. Madame Giry also appears in all black, suggesting she is a darker character, and hints at a potential relationship between her and the phantom. Her tight updo also shows her age and proper nature, and her full coverage dress lets nothing show, suggesting that her personality is more guarded and perhaps she has something to hide. The owner of the opera also appears in a dramatic embroidered cape, to show the theatrical nature of his position, and also gives off a happy and joyful vibe. This contrasts with the new owners, Andre and Firmin, who wear much more modern, streamlined, darker costumes, which is an ode to what will happen under their ownership. Meg is also introduced, who stands out among the ballet chorus as very angelic and innocent due to her light blonde hair, which contrasts hugely with Carlotta’s fiery red locks, which show her fiery spirit and over dramaticness. It is at this time the audience is also introduced to Christine Daae, the female lead of the show. Her promotion to prima donna is shown in the large overskirt that is wrapped around her to transform her chorus dress, however, her youth and innocence still remains in her long curled hair and her ballet dress which still remains underneath. Raoul is also introduced, and his simple black tuxedo stands out against the grandeur of the opera house, suggesting he is younger and more modern, and also that he is a stranger to the theatre, and doesn’t quite fit into the setting.
After Hannibal has been performed with Christine as the lead, the show shifts to a ballet rehearsal with the dancers and Madame Giry. The ballet dancers contrast hugely to Giry, as their white tutus, long curled hair and large bows make them appear young and innocent in comparison. Christine also appears in a white robe, which shows her innocence, however, when compared to Meg she looks more mature, due to her promotion as well as her past. Her heeled shoes also show that Christine is growing up and becoming more mature. Raoul visits her in her dressing room, and the white frills on his shirt match Christine’s gown, showing the previous relationship between the two.
Raoul leaves, and then the Phantom appears for the first time. His black hat and cloak are very overdramatic which shows his power and darkness. It also adds an element of mystery to his character, as it makes it difficult for the audience to see any of his features. Furthermore, the white mask contrasts with the rest of his attire, drawing the audience’s eye to his face, and the fact that he is hiding something. The white colour also links to Christine’s attire, showing her relationship with him, and the influence he has over her. This is further shown through his white shirt, which we catch a glimpse of shortly after. Finally, the sequins on his cloak and the other appliques add a magical element to the Phantom, further adding to his mysterious nature, and also showing his relationship with the opera house. His slicked back hair is also completely different to the large, curled styles seen previously, suggesting he is different to those who work at the opera house, and his huge black ring is another small detail that helps to really prove the full extent of his power.
Next, Andre and Firmin appear again, and their garments ode to their new ownership- the gold embroidery on Andre’s waistcoat and velvet used for Firmin suggest they are now a part of the theatrical opera. Carlotta and Piangi then arrive, both wearing fur, to show their high status as the stars of the opera and the wealth it has brought them. Carlotta has a lot more fur on her outfit, adding to her over the top personality, and her prima donna nature. Her grey/black colour scheme however shows that her character has become darker due to the accident that occurred during Hannibal, however it still remains very fussy and large to show her exuberant personality, and also suggests the influence she has over the other men.
The costumes for Il Muto therefore are equally as fussy, to show Carlotta’s influence over the opera house, however, their is a definite shift in mood when compared to Hannibal, as the costumes are far less colourful and glitzy, suggesting the opera house has become much more serious and scared. The ballet costumes worn in the production are also very light and traditional, which makes the death of Buquet in this scene even more of a shock, as it rips apart the light ballet number, suggesting that the Phantom is destroying the fun, lighthearted nature of the opera house as a whole.
Christine flees, scared by the events that have just occurred, and appears in a much more grown up dress due to its decoration and larger shape, which also shows her growing wealth and position. However, the light colour and her long hair still shows her youth and innocence, and the light green cloak also helps to show her purity. The cloak as a symbol however, shows the influence the Phantom has had over her, as it reminds the audience of his cloak, and the large hood shows her fear, as she hides behind it and appears to almost disappear inside it. Raoul removing her hood therefore, shows that he is the key to her overcoming her fear, and cements his character as Christine’s protector from the Phantom.
Act 2 opens up a few months later, with a huge masquerade. Andre and Firmin are in monster masks and black cloaks, as well as skeleton suits, suggesting that they are mocking the Phantom, as he seems to have disappeared. Their cloaks also have green/red linings, which link back to the Hannibal colours, suggesting that the opera has returned to its happier state. Christine’s dress is very light and pretty, and the pink colour shows her naivety and youth. The fairy-like details also show her soft and sweet personality. All of the other cast members are also dressed in bright, lavish costumes, suggesting that the mood in the theatre is uplifting, and also their belief that the Phantom has gone, and the theatre can return to its previous state. However, the monkey costumes suggest that the Phantom’s influence hasn’t quite slipped away, as they remind the audience of the monkey toy in his lair, suggesting that perhaps he has not gone for good. Giry is also still in all black, suggesting she hasn’t forgotten the Phantom so easily, and further suggesting some sort of connection between the two. Carlotta is also in black, suggesting she is mentally scarred by what the Phantom did to her, and she is still fearful of her own fate. Her costume is also less glamorous than previously, suggesting her position in the company has dropped due to Christine’s rise. Raoul is also still dressed in very clean-cut garments, suggesting he is still removed from the theatre world, however, the gold braid suggests his relationship with the theatre through Christine, and also his growth in status as the benefactor, in addition to his previous wealth. The Phantom then appears in all red, which is an immediate symbol of danger and the blood that has already been spilled. His costume has many details that make him comparable to a pirate, suggesting his villainous nature, and making him appear scary and intimidating. His mask is also scary and angular, adding to his intimidating nature.
As the company rehearses the Phantom’s new opera, Carlotta appears in red, which further shows how much the death of Buquet and the Phantom’s actions towards her has affected her. Christine’s blue dress is also much darker than the ones she has previously worn, suggesting her fear at the Phantom’s return, and the change in style also suggests her growing maturity now she is engaged to Raoul. However, the white floral details still show that her purity and youth is present, and that she is not quite grown up yet. The contrast between Carlotta and Christine here is notable- the warm vs cool tones in their dresses show their hugely different personalities, which is further exemplified by the gaudy vs simple details in their costumes, and also the warm vs cool tones in their respective partners (Piangi and Raoul). The chorus are also dressed in black, to show the influence the Phantom has had over the whole cast, and the darkness he has brought. However, Meg still wears her white tutu, making her stand out as the innocent of the company, and the most vulnerable.
When Christine goes to visit her deceased father, she wears a long, navy cloak over her dress, which give the imagery that she has been shrouded in darkness by the Phantom, and the large red bow also shows his colossal influence over her, as it is tied around her neck, suggesting he holds her fate. The Phantom also appears in this scene, in a large hat with big black feathers, further exemplifying the pirate imagery, and showing his growth in power and influence.
As Don Juan Triumphant, the Phantom’s opera, opens, the costumes are notably very different from previous productions. They are much darker, with lots of black and red, to show the Phantom’s influence. Piangi’s garments resemble the Phantom, suggesting the character is modelled after him, as the garments have a pirate feel, and the black cloak is a clear link to the Phantom’s wardrobe. Christine’s salmon pink dress makes her stand out amongst the others, however the heavy black embroidery and underskirt show the full extent of the Phantom’s influence. The full shape, shorter length and ruffles also show her character’s playful and flirty nature in the production, which is very different to Christine’s more timid, reserved personality, perhaps suggesting how the Phantom would like her to treat him. The black cloak worn by Piangi is then used to conceal the Phantom as Piangi’s character, allowing him to trick the cast, and the fully cloaked effect makes him appear even more scary and ominous. The ring is the only detail that tells the audience it is truly the Phantom underneath the cloak, and also finally signals to Christine that the Phantom is onstage, which is reflected in her sudden change in demeanor to very fearful, as she knows she has no escape. When he is finally revealed to the shocked cast, the white mask makes him stand out as different, and he vanishes with Christine.
Back in the Phantom’s lair, his hair is messy, showing how Christine’s love for Raoul has driven him crazy, as he wants to be with her. The placing of the ring on Christine’s finger also shows him trying to gain control over her, and seize his control. The Phantom’s face is finally revealed, showing his true self, however, in a way, this makes the audience pity him, as his facade is removed, leaving a vulnerable man judged for his monstrous look. Raoul then appears in a white shirt, drawing huge contrasts between him and the Phantom in black. During the rest of the production, the two actually wear fairly similar garments, as they battle for Christine’s love, however together, their contrasting personalities and natures is clear, despite their similar goals. The colours for each also remind the audience of an ‘angel/devil’ scenario, in which Christine must choose between the two. Christine herself is in a white wedding dress, which can be interpreted in many different ways by the audience: as a symbol of the Phantom’s control over her as he is able to force her into it, as well as drawing back to her white gown where she was at her most vulnerable to him suggesting she has given in, or as a sign of her defiance to submit to the darkness of the Phantom, and to show her loyalty to Raoul, as she matches his attire. Regardless of the way the audience interprets her dress, however, the removal of the veil when she decides to save Raoul shows her remaining loyalty to him, and her defiance to the Phantom as it suggests she is not marrying him willingly. When the Phantom then lets her go, he sheds his black outer jacket to reveal a white shirt underneath, suggesting that he has a lighter side, and shows his inner vulnerability. Christine’s removal of the ring also signifies the end of the Phantom's influence over her, and suggests she is taking back control of her own life. Christine and Raoul leave the Phantom, and he then disappears from the stage, leaving only the mask behind. Meg then appears in dark coloured trousers and a shirt, and finds the Phantom’s mask, suggesting the full extent of the Phantom’s influence over the company, and how he has impacted even the most innocent.
Overall, I thoroughly enjoyed this production, and in my opinion, I think the costumes are some of the best I have ever seen. The clever way that every costume detail reveals something more about the characters is something that is very rarely seen, and is a clear mark of what a strong and experienced designer Bjornson was. The costumes also reflect the setting perfectly, and between them, tell the story on their own, and allows the audience to fully embody the story and characters.
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