THE PHANTOM OF THE OPERA

This faithful adaption begins as Gaston Leroux’s novel does. Young ballet dancers fret and gossip about seeing the fabled Opera Ghost. A stagehand is subsequently found hanging dead in the third-floor cellar. Above the tragedy, prima donna Christine Daaé brings the opera hall to a standing ovation as she debuts in the role of Margarita. Later, the Ghost appears in the flesh to threaten the opera’s new management if they don’t keep his box seat open and let Christine sing again. The managers ignore him. The Ghost’s obsession with Christine only grows, and he seeks to possess her as his bride. Her childhood friend and love interest, Raoul, tries to intervene. More Stephen Gammell than Andrew Lloyd Webber, Hungarian artist Tomi casts an eerie light on the horror in this ghostly romance. The Ghost’s glowing red eyes, a few times hidden in small background details, pierce through the fourth wall to gaze at the reader. The panels switch from rectangular to jagged and jarring, incorporating different color schemes and styles to distinguish memories (rendered in a bright, soft glow) from horrific sequences (rendered in chilling sepia tones). The cast, with the exception of “the Persian,” presents White. The “Backstage Access” section shows original sketches and gallery art.

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