Wednesday, July 12, 2017
How Phantom of the Opera Finds The Man Behind the Mask
Playbill: When Eric Woodall was a college student, training to be an actor at Carnegie Mellon University, he hung ceramic half-masks in his dorm room: an homage to The Phantom of the Opera. “I was in awe of its spectacle and its beauty,” he recalls, after seeing the show in New York in the early ’90s. These days, Woodall doesn’t act much, but the mask still looms large in his life: He is now in charge of casting the Broadway production. “It is a joy to be able to work on such a loved piece, and a timeless piece as Phantom of the Opera,” he says. “I follow a great line of folks here in Tara Rubin Casting, in our office, of working on the show.”
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Phantom of the Opera is my favorite theatrical production for a number of reasons. When I was younger, I watched the movie on DVD almost every day, and to date I hold the same level of fascination for the show that I did then. I initially loved Phantom for its moving instrumentals and lyrics that tug at your heart and mind, but I have since realized how dynamic the show is as a whole. It has pressing relationships, one of the most elaborate sets to ever grace a stage, costumes that captivate, and so much more. I understand Eric Woodall’s awe for Phantom’s “spectacle and … beauty,” and I am happy that he gets to be so involved in something he admired from a young age as well. Woodall truly found a gem in Ali Ewoldt, and I might go see the Broadway show again simply to see her perform. I hope his comments regarding Phantom’s celebration of diversity can soon be extended to other productions.
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