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Vegas is the Town that Owns the Night…
Now—Vegas has the Music of the Night!
Brent Barrett Interview
TICKETS NOW ON SALE THROUGH 31 DECEMBER 2006
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BRENT BARRETT IS the superlative Phantom in the new 'Vegas' version of 'Phantom of the Opera,' which at the shorter 95 minutes is the Venetian's bid for Broadway in Vegas—Andrew Lloyd Webber's PHANTOM—The Vegas Spectacular. I loved the entire production and Brent Barrett is perfection as the haunted Phantom. He adds to the reasons you have to see this show if you haven't already, or to see it again on one of Brent's performance nights. You can go to his site www.brentbarrett.com and once into the site, click on his performance schedule. The new schedule features earlier hours (6 & 9 p.m. Saturdays, 5 & 8 Sundays, 7 & 10 weekdays, dark Wednesdays).
'Phantom of the Opera' is one of our world's most renowned theatre productions. It has the distinction of being a version of musical theatre that is at once opera, and is not. What it is, really, is theatre at its absolute finest. Beloved by the millions of people who have already seen it, it's pure simplicity has earned it an entrenched following, adding more admiring fans with every production, each day that the show plays, everywhere in the world.
 The famous story unfolds in the haunted environs above, below, and within the famous Paris Opera House of the late 1800s. Taunted and abused since childhood, the Phantom character strums deeply, delicately on the heartstrings of most fans. The masked role requires emoting such anguish by actors deprived of facial expressions to aid the process of creation of a role. During the 'unmasking,' and later rejection, by Christine, his protégé, the Phantom is delirious with fury, dejection, disbelief. After the Phantom listens to Christine and Raul declare themselves to each other, he is naturally jealous and feeling betrayed. For this tormented character, Brent Barrett's voice is soft and clear as air, or furiously thunderous—his voice changes up as appropriate, his body language saying what his songs cannot. With Barrett, the Phantom is yours to love for the first time, or again, with his heartfelt rendition—very impressive work.
You really should make the time to see Phantom—the Venetian Resort Hotel Casino outdid themselves and a good deal of the strip. They brought Broadway to Vegas in the only way Vegas knows how—bigger and brighter and better. What a bit of extra change can do for a production—especially in our day of special effects and technological marvels. A nineteen-piece orchestra, world-class actors/singers, lush sets and costumes, blinding pyrotechnics, a heart-stopper 'accident' and a seamless rush of scenes to the climax which is rightfully referred to as a 'spectacle.'
Andrew Lloyd Webber and most of the original 'team' created this spectacle and you are guaranteed an experience befitting that word and these artists. The Vegas production is a surprisingly odd, and highly successful juxtaposition of theatre, musical, opera and Vegas extravaganza. If your only exposure to this story is not the stage, but the movie, you are in for a revelation. Though the movie was great for fluidity of scenes, the sets, costumes, horses, and Minnie Driver in a mint performance as Carlotta, the Phantom, himself, was found wanting, to me. Not so with Brent Barrett's personification of the Phantom at the Venetian!
Brent agreed to this interview, sharing pithy insights about the new show, personal thoughts and visions and the unlikely notion he'd like to get a dog—that doesn't shed—surprising himself with how comfortable he has become in Las Vegas—and how long term his plans are beginning to feel to him. He purchased a house here in the spring that he had remodeled. One of his neighbors, a local contractor, in less than two months, removed most of the walls downstairs, "to open it up…put down tile…made it feel like a home." Now it welcomes him 'from Vegas' after his performances at the Venetian extravaganza, which opened in late June.
 The Venetian allowed the new space a wonderful graciousness of luxury and grandeur, for Andrew Lloyd Webber's 'compressed' musical. The large theatrical setting is definitely not a Vegas showroom. First, in a gold-, crystal- and red-themed foyer, wide, plush staircases wind up, up, and around the sides and back of the theatre, leading to the various seating levels. Note: elevator available. The designer, David Rockwell (labeled the 'Star-chitect' by the RJ's Mike Weatherford), to say the least, created stunning layers of increasingly lavish sets. Upon entering Rockwell's theatre through small draped doors, a peaceful, yet suspenseful feeling settles around you.
Seating is elegant theatre red. Low and askew, a massive crystal and metal chandelier hangs from the dark reaches of the vaulted ceiling. Further up, two smaller versions hang out-of-kilter. Yards and yards of lustrous brown fabric, the color of dark rocks, drape the walls lending a sense of underground cavern drama as you are being seated—everyone speaking in hushed tones—as after all, it is a theatre. Thick, heavy curtains hang, caught with tasseled ropes, on the stage in front of the rows of high-backed seats. Overhung by a balcony lined with more rows, this theatre is one after which to lust by any cultural presenter, small town or big city. Disguised by the fabric hangings, more set design surprises await during the show. The stage is set, as they say, and you expect true theatre—and you are not disappointed. Phantom—the Vegas Spectacular leaves nothing wanting.
 
Although the original musical is longer, the Vegas score retains all of the songs. Just over twenty years ago, Cameron Mackintosh and Andrew Lloyd Webber formed the Really Useful Theatre Company, presenting "Phantom of the Opera" to London audiences at Her Majesty's Theatre, their musical take on a classic, le Fantôme de l'Opéra, a Victorian-era story by turn-of-the-century writer, Gaston Leroux.
London's always-sold-out show continues with no end in sight. Broadway's The Majestic received another troupe, as did Shanghai, and Budapest. A separate troupe has been on tour in the USA, and productions have been performed in over 20 countries. In January of this year, the New York 'Phantom of the Opera' surpassed the longest-running Broadway show, none other than Webber's own 'Cats.' The original London cast recording has achieved the status of biggest selling cast album of all time.
To this legacy, many an actor/singer has gravitated. Brent Barrett considered the role nearly ten years ago, and had schedule conflicts. Now, here he is, as the Phantom in Vegas!
Bringing his solid career artistry to this stage, Brent Barrett's radiance as an all-around performer shines in a theatre suited to accomplished artists. Barrett is also thrilled to reunite with Hal Prince, the original director of the hit musical that has grossed more than $3 billion worldwide since its London premiere twenty years ago. Barrett was quoted about it: "'Phantom…' is such an amazing show and getting the chance to work with the original creative team of a show, twenty years later, is a treat for any actor." Barrett last worked with Hal Prince when Barrett starred in the Hal Prince's Broadway revival of "Candide." Barrett, has won critical acclaim on Broadway in the hit musicals 'Chicago' (opposite Melanie Griffith) and 'Annie Get Your Gun' (opposite Reba McEntire), 'Grand Hotel,' 'Candide,' 'Dance A Little Closer' and 'West Side Story.' Known to Broadway audiences, Barrett also has worked in London. He received the prestigious Olivier Award nomination for his starring role in the London production of the Broadway revival of 'Kiss Me, Kate!' His performance was filmed for a PBS broadcast here in the U.S. and he says is available on DVD.
It was a pleasure to visit with him the other day at one of his favorite haunts, the Canyon Ranch Spa Cafe. Barrett has an easy laugh, smiles a lot, and brings a good deal of energy to a conversation.
Carol Lane Patterson: We here in Las Vegas are very lucky to have a standing show like this in Vegas, in our own backyard…even as an abbreviated form. Making 'Phantom…' shorter and glitzier—how did that feel for the creative team?
Brent Barrett: They felt it was a successful trim. Their focus is really on the music and the basic story. They are very proud of the conversion and have said they are pleased with how it is working out.
CLP: And how did you like it?
BB: I liked it very much—I felt it enhanced the romantic triangle of the Phantom, Christine and Raoul, the principal characters.
CLP: What did you consider the major concessions of the original to turn it into the Vegas version (10 scenes in Act 1, 9 in Act 2)?
BB: With this version, you don't lose the storyline; you do lose some of the development of the secondary characters, however.
CLP: Is the venue what you expected?
BB: I think it is gorgeous, very theatrical. I had wanted to do the "Phantom…" and if there ever was a place to really do that role, it was in Vegas—that was the place to go, in my mind.
CLP: How does this theatre stack up to other theatres in which you have performed?
BB: The Phantom Theatre is certainly the most glamorous. The theatre was built especially for the show, so they were able to create it exactly how they wanted. The David Rockwell design is based on the Paris Opera House. The PHANTOM experience starts as soon as you walk through the doors and are transported to another time.
CLP: How do all the 'magic' tricks feel to you, after Broadway and London? A couple of times it must have been a double, the 'jump' from one part of the stage to another at such distances…so quickly…you're in great shape, but those couple of times were fast! Or, like magicians, can you divulge the secrets of the trade?
BB: Now, I can't tell you that and ruin the illusion…
CLP: How does the schedule work for you?
BB: I do five shows and Anthony (Crivello) does five. It was necessary to double cast because of the increased vocal demands of the shorter version; less down time between scenes and shorter turn around between shows on two show days. It helps extend our vocal health, which you need in this show.
CLP: Do you like sharing a lead role?
BB: Yes! I have a lot going on and this schedule allows me that freedom to pursue other interests. I have upcoming concerts (Barcelona, etc.). I am working on a new CD. I really want to explore a possible educational-style series of musicals, off-strip, for the local community, less expensive, with musicians and casting from local talent—possibly four a year. I could do shows I've done such as 'Annie Get Your Gun,' 'Chicago' and concentrate on working with the teams.
CLP: The schedule is changing up soon—when?
BB: Yes—mid-October: I think it will be great with the earlier times, and we will still be dark on Wednesdays. I think the audiences will appreciate the earlier show times on the weekends.
CLP: Your résumé shows an extensive background of roles—how does it feel to play a role where we can't 'see' you?
BB: Very liberating, actually. You know, in some ways, performers are always wearing a mask, slipping into the character—but you have to worry about how the lighting is on your face—stuff you don't have to worry about with this role.
CLP: You have done so many roles. And worked opposite so many leading ladies. What was it like working with Melanie Griffith? Or Reba?
BB: They were both fantastic. Reba was a dream to work with in 'Annie Get Your Gun' and ideal for the role. What a thrill it was to sing with her. Melanie played Roxie with a wounded bird vulnerability that you couldn't help but love.
CLP: TV and film offer similar visual products…How was the change up to the style of shoot that 'The Producers' requires? Did you enjoy the role of Brian, the set designer?
BB: We had a ball filming that scene. I doubt if I will ever wear a leather harness again.
CLP: Was doing Bryan in The Producers enjoyable/difficult, compared to TV, with all the hoopla of take after take?
BB: One of the great things about film is you prerecord the soundtrack. We sang live during the shooting but had the luxury of knowing if we messed up, they already had the singing in the can.
CLP: How did you come to audition for that role?
BB: I knew and had worked with the director, Susan Stromann, before. The Casting agent called my agent and offered me the part.
CLP: Was 'Kiss Me, Kate!' your first work in England?
BB: No, I have worked in England many times over the last ten years. I did 'Grand Hotel' in the West End when it debuted there in 1991. Plus, I've done many concerts over there.
CLP: Would you like to do more work in England?
BB: I love London and will go back any chance I get.
CLP: Your press release says you find Las Vegas infectious. How goes the infection?
BB: I am having a great time here. After living in cramped quarters in NY, it feels fantastic to spread out.
CLP: How does living in LV compare to New York, London, LA, with regard to mobility, whether you used public transit, etc., and prefer that or the wild west own your own horse transport out here?
BB: I don't own a car in NY and never drove in London. However, growing up in Kansas, I am very comfortable behind the wheel. I must say the "wild west" is an appropriate term with all of the accidents I see on the streets here. What is up with that? Do we need to start doing PSA's about driving safety? I get a little concerned when I see the driver in front of me with his cell phone in one hand and gesturing with the other. Who's driving the car???????????
CLP: Like a lot of big talent in town for a gig, you have opted for a home, rather than living at the hotel—locals love that—are you beginning to see yourself keeping it, even when you have gigs elsewhere?
BB: I have bought a house and am toying with the idea of making Las Vegas home base. In my business, you rarely know from one moment to the next where your work will take you. I love NY, and have made it home for the last 25 years. But…I think I might be ready for a change.
CLP: Now that you've had the thought, are you going to get a puppy?
BB: Well…I am waiting to hear about a little Shih Tzu pup. He is the runt of the litter and if he makes it, I guess I will have a lot of cleaning up to do around the house.
CLP: Do you have a most treasured possession? Moment?
BB: I'm not really a collector of things. There are people in my life that I treasure very much.
CLP: Most of us have a few very pivotal people in our lives. Do you have a favorite one in your life, career?
BB: My mom, who drove me to voice lessons before I could drive; My cousin Victoria, who was a dancer and inspired me; Bill Brewer, who introduced me to the world of Musical Theatre.
CLP: Is there one thing you would change about your life or yourself?
BB: Yes, I would have been born independently wealthy…other than that I'm very happy.
I can heartily recommend Phantom—the Vegas Spectacular. It is not often we get to reinvent ourselves. Andrew Lloyd Webber et al, with the Venetian's backing, were afforded just such a fun, extravagant experience. It is unique and not to be missed. They assembled a first-rate crew, cast and theatre team to make your 'gamble' pay off hugely. You can benefit and 'vote' on their high-stakes 'spectacle' with your attendance. Try for the Golden Circle (just not dead center). Front row center Balcony should also be great, but of course, you may lose a bit of definition in the cast faces. And—try to catch it on one of Brent's nights! If you're double lucky, he'll have the amazing Elizabeth Loyacano as his leading lady, adroitly performing her memorable Christine.
"None will ever be a true Parisian who has not learnt to wear a mask of gaiety over his sorrow and one of sadness, boredom or indifference over his inward joy… In Paris, our lives are one masked ball…"
~Gaston Leroux wrote in his original novel: le Fantôme de l'Opéra
"It was the voice! My rage equaled my amazement. I rushed at the mask and tried to snatch it away, so as to see the face of the voice. The man said, 'You are in no danger, so long as you do not touch the mask.'"
~Christine Daaé, from le Fantôme de l'Opéra by Gaston Leroux
The Really Useful Company, Inc., Live Nation and BASE Entertainment produce phantom at The Venetian. The Phantom of the Opera features music by Andrew Lloyd Webber, lyrics by Charles Hart, additional lyrics by Richard Stilgoe, book by Richard Stilgoe and Andrew Lloyd Webber. The late Maria Björnson, Production Designer, brought her special touch once again to the production design. The exceptional orchestrations are by David Cullen and Andrew Lloyd Webber. Cameron Mackintosh and The Really Useful Theatre Company Ltd. originally produced 'Phantom of the Opera.' Hal Prince directs and is responsible for pulling the whole Vegas production together. Gillian Lynne, Musical Staging & Choreography; Andrew Bridge, Lighting Designer; Martin Levan, Sound Designer.
The 'silent actor'—the one-ton chandelier—stats:
- 15' X 16', the chandelier, draped in hand-strung crystals, period lighting
- 80' to a center dome
- 32 winches and 40 computers
- It is almost five times the size of the prop in theatrical productions
Interesting clicks:
Phantom—The Las Vegas Spectacular:
www.phantomlasvegas.com
Brent's site:
www.brentbarrett.com and click on his performance schedule once you go into any part of the site.
Brent's first local community contribution will be November 11th, with other actors in a concert reading of a new musical 'God Lives in Glass':
www.familypromiselvtickets.com
For a bit of history of the Paris Opera House—this place has five floors below and five floors above the theatre section, and yes, there is a lake under it all—for ballast purposes, incredible as that may seem!
www.reallyuseful.com/rug/shows/phantom/inspirations.htm
www.thephantomoftheopera.com/poto/show/the_show_history_paris_opera.php
and the Phantom site—home page:
www.thephantomoftheopera.com/poto/home.php
Hong Kong site—don't go into the English side, be adventuresome!
www.musicnationgroup.com/www/Phantom
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