A Persian Phantom Unmasked
I have always greatly admired Andrew Lloyd Webber’s Musical shows, From Jesus Christ SuperStar, Evita to Cats all have been great international success’ for more than three decades running regularly on the London Stage and elsewhere worldwide.
They combine Lloyd Webber’s great compositions with Lyrics by such confirmed talents as Tim Rice, Charles Hart or Richard Stilgoe. All the above musicals cited were also brought to Screen with great success. Other than the fact that most songs truly strike a sentimental corde with the audience is that these shows also involve large casts, incredible sets and visually stunning choreographies that share all the necessary ingredients that make a great entertainment very much like during Hollywood’s Golden Era.
One of Lloyd Webber’s most successful musicals in recent years has undoubtedly been the The Phantom of the Opera, based on a novel published in 1910 by French author Gaston Leroux. Leroux’s novel was to be brought to screen numerous times notably with Lon Chaney in the title role of the Silent 1925 version and Claude Rains in the Technicolor version from the mid 40’s. Finally Joel Schumacher directed the screen adaptation of Lloyd Webber’s musical in 2004 with scottish actor Gerard Butler (now known for playing Spartan King Leonidas in Zach Snyder’s 300 ) in the title role.
Interestingly the lead role of the Phantom on the London Stage is now being played by a talented Persian Canadian named Ramin Karimloo who was also cast as the father of Christine, the Phantom’s love interest, in Schumacher’s Hollywood film. Born in Tehran in 1978, Ramin grew up in Toronto singing in Rock Bands before being drawn to the Theater and pursue a career on stage. His fabulous voice, charismatic and handsome looks are sure to make an impact both on Stage and hopefully Onscreen in the years to come!
There is a strange but happily ironic coincidence in having an actor/singer of Persian Heritage reprise the role of the Phantom. Indeed although the following detail does not appear in Andrew Lloyd Webber’s musical version due to narrative choices, it deserves however to be mentioned: In the initial story by French author Gaston Leroux, the major protagonist, Erik, a horribly deformed musical genius known as the "Opera Ghost" has been running away from an obscure past, in a foreign land that is only revealed gradually throughout the book by another mysterious character who serves essentially as the narrator known as “The Persian” or "Daroga”.
Born hideously deformed, in the city of Roen, France, Erik was a "subject of horror" for his family and as a result of which, he ran away as a young boy and fell in with a band of Gypsies and clowns, making his living as an attraction in freak shows, in which he was known as "le mort vivant (the living dead)." During his time with the tribe, Erik became a great illusionist, magician and ventriloquist. His reputation for these skills and for his beautiful singing voice spread quickly, and one day a fur trader mentioned him to the Shah of Persia (*).
The Shah ordered the Persian to fetch Erik and bring him to the palace. The Shah-in-Shah soon commissioned Erik, who proved himself a gifted architect, with the task of constructing an elaborate palace. The edifice was designed with so many trap doors and secret rooms that not even the slightest whisper could be considered private. The architecture was arranged for the purpose of carrying sound to a myriad of hidden locations, so that one never knew who might be listening in. At some point under the Shah's employment, Erik was also a royal assassin, using a unique noose referred to as the Punjab Lasso.
The Persian dwells on the vague horrors that existed at Mazenderan rather than going in depth into the actual circumstances involved. The Shah, pleased with Erik's work and determined that no one else should have such a palace as his, ordered Erik to be blinded. Thinking that Erik could still make another palace even without his eyesight, the Shah ordered Erik's execution. It was only by the intervention of the daroga (the Persian) that Erik was able to escape. He eventually makes it back to France and is bid on a contract to help with the construction of the Palais Garnier, commonly known as the Paris Opera House.
Karimloo has been performing in the title role since September 10, 2007, and this year marks the Phantom's 21st anniversary in Her Majesty’s Theater, Haymarket in London. I was happy to interview Ramin Karimloo on his new challenge in a rewarding role of The Phantom of the Opera.
Darius Kadivar(DK): Ramin, how does it feel to finally be in the spotlight with full credit and top billing on the Phantom of the Opera as the youngest actor to date?
Ramin Karimloo(RK): The whole age thing is not something I am not really concerned with or interested in. It’s a great accolade for myself I guess and even my career to be the youngest to play the Phantom in London. But playing the role itself at any age would be a great achievement as well. As far as it age and it’s relevance to the show and character goes, it’s something that I had to actually forget about. The Phantom’s psyche, emotions and heart are all what makes his truth.
Ultimately that’s the aim for me as an actor. I do bring a different energy and physicality because of my age, naturally. It is a big challenge for me. I do however feel that this is the perfect time for me to be part of the show. I felt there are things I’d like to bring to the Phantom. I wanted to bring a new energy to the role.
DK: Musicals demand both singing and acting skills and more importantly finding the right balance between the two. How do you pace and control your breathing during such lengthy stage performances as with Miss Saigon or the Phantom?
RK: I think the main thing is to keep healthy. I try and sleep regularly and keep a strict diet. I try and eat six meals a day to keep my energy levels up. I train in the gym anywhere between 3-5 days a week. Although lately Phantom has taken hold of most of my time with the 21st anniversary.
DK: Is the Phantom an anti-hero, a good or loathsome person?
RK: I guess in a way he’s all of the above. He definitely is not an evil person. He is a victim of circumstance and environment. He has been conditioned with such prejudice in his life. I believe the Phantom to be Autistic. I think he has a form of Aspergus Syndrome. When the Phantom kills I truly don’t believe it to be premeditated. He’s just losing control. Again, this all stems from his social conditioning. He’s never felt a mother’s love, nor his father. He has had to become a man without being a child.
DK: This story was brought to screen several times notably by Classic Hollywood Legends like Lon Chaney or Claude Rains. Most recently Joel Schumacher adapted Lloyd Webber’s Musical in which you took part with Gerald Butler in the title role. Were you influenced by these former performances or do have you a totally different approach?
RK: I approached the role from my own truths. There was a slight inspiration from Gerald’s Phantom which I thought brought a contemporary feel to the character. Actually, what he did was remind me that Andrew Lloyd Webber wrote the role of the Phantom as a rock opera. So that got some ideas floating around my head and then I got the call to come and audition. That felt like fate was calling. I can’t really take on what other Phantoms do because their truths are not the same as mine. We all bring unique interpretations to the Phantom base on our own physicality, presence, and voice.
RK: I had a chance to play Joe Gillis in Sunset Boulevard for a short period of time. That was a great role. I guess because I didn’t play him long and I was very young to play his too, 22, I would like to have a longer run at that. It was great to go from narrator to character within the same scene. There’s a lot fun to be had with that. He also has a great number at the top of Act II. So, I’ll say Joe Gillis.
DK: Tell us a little about your cosmopolitan background?
RK: I was born in Tehran. Sadly I don’t know much about my roots there. I’m just now learning about our family history and also at the same time the countries history. It would be such an honor to go back one day and visit such a beautiful place. Well as Persians we are instinctive and passionate so I draw on that. As for anyone in general, it’s hard to say. I left Iran within the first few months of my life so any artists that have influenced me would be from North America. Although when I hear the way the Koran is sung or when I hear Persian vocalists, there is something passionate that resonates that I always feel would sound great in a theatre show. There’s a lot of heart when you hear someone like that sing.
Leigha
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