On April 14, Andrew Lloyd Webber’s “The Phantom of the Opera” will close on Broadway after a magnificent, historic 35-year run.
Its associate musical supervisor and conductor Kristen Blodgette has been with the show from the very start. She’s moving on but, it turns out, only a couple of Theater District blocks, to serve as conductor and musical supervisor for Lloyd Webber’s new musical, “Bad Cinderella.”
But also, as she herself admits, Blodgette will never quite move on from “Phantom.” Over the years, she has worked as music supervisor on international productions of the “Phantom” in Hamburg, Australia, Mexico City, Antwerp, Copenhagen, Madrid, Buenos Aires, and Stuttgart; after April 14, she travels to Shanghai for the Mandarin production.
Even beyond that, she has been closely connected with Lloyd Webber’s music for 38 years, having also worked on productions of “Cats,” “Evita,” “Sunset Boulevard,” “The Woman in White,” “Love Never Dies,” and “Jesus Christ Superstar.”
Ahead of the end of “Phantom” and the opening of “Bad Cinderella” — and, as it turns out, on the day of Andrew Lloyd Webber’s 75th birthday — Blodgette spoke with Forbes about “Phantom” and the composer whose music she has served so devotedly.
Kristen, have you transitioned away from “Phantom” yet?
I will never transition away from “Phantom”! I’ve been working on “Cinderella” for the whole rehearsal period and I’ve been conducting occasionally, trying to do one or two a week of “Phantom.” Today is the press day for “Bad Cinderella.” Once we open, I’ll go back and do three shows a week of “Phantom.” I can’t give it up.
I was in the Majestic Theatre last night, so I’m curious to ask you: “Phantom” is an emotional and exciting show anyway, but I wonder if, since it’s been announced that “Phantom” is closing, there’s something extra in the air?
Oh, there’s no question. Everybody gives it a hundred percent anyway, but since the closing was announced… First of all, the audiences are crazy, and wonderful. People are so passionate about seeing it before it closes. And of courses that propels and excites all of us. To hear that kind of response — it’s really thrilling. It’s very emotional. I have trouble dealing with it, to be honest. I went into the dressing room yesterday, and just walking down the stage door alley, I just thought, “How many times do I get to do this again?” You try not to be maudlin. I try to live in a state of total gratitude. It’s unbelievable what we had. But it’s like losing an arm or something.
Even as an audience member, the feeling of being a part of something historic is palpable. I can only imagine what it must be like for you.
Oh it’s been unbelievable. For a lot of us, we started out doing this young. And our lives have changed. It’s like watching a child grow up. I didn’t have a child when I started this. Now I have a daughter, who’s 34, and a grandson!
Tell us about your connection with Andrew’s music.
It started with me being hired as pianist on the tour of “Cats” in 1984, and then I was moved to the position of conductor. In that position I met musical supervisor David Caddick. He asked me to be Keys 1 and the rehearsal pianist for “Phantom” on Broadway. I was pretty much in shock. From that position, David moved me to be his associate. He took a risk on giving me a position of leadership — letting me conduct at a time when it wasn’t that common that women were doing it.
And when David got very busy, I got to work with a lot of international companies…
I have a special affinity for Andrew’s music. I feel like I know how to do his music.
What is it about Andrew’s music that speaks to you?
Stylistically, it is so varied. You go from “Cats” to “Phantom” to “Evita.” Many, many styles that cross between musical theater and classical music. I like that challenge. On top of it, I would just say that the passion with which he writes is really palpable in the music. And that’s something I respond to.
I also love singers, and I love trying to find people who can sing his material.
I’m so glad you mention the word ‘passion.’ In Andrew’s memoir he writes about the making of “Phantom” as an intellectual exercise, but we also know he was writing songs for his then-wife, Sarah Brightman. The show seems to me to be a work of incredible love and passion.
He speaks of things intellectually. But what he feels is so evident in the music. And if we don’t provide what he is feeling in his music, it’s very upsetting to him. It’s a challenge.
I would make the case that Andrew is underrated. Incredibly successful, and yet, somehow taken for granted. I feel like the musical theater cognoscenti overlook him and don’t appreciate the wit and the passion there.
Oh yes. I think that’s absolutely true. I feel like some people would apologize, ‘Oh I’m doing an Andrew Lloyd Webber show.’ It’s like, wait a second, people! It’s really fantastic in its storytelling, and it’s vivid, and it’s gorgeous. The orchestral requirements as well as the vocal requirements are really profound.
I think people do underrate him, and I don’t know why. I’m also a Sondheim fan.
It’s cool to like Sondheim.
That’s right. And I don’t know why. But I’m OK with being an Andrew fan.
Me too. I’m sure it changes all the time, but is there a moment in “Phantom” that gives you chills lately?
Recently, because of knowing about the closing, whenever I start “Think of Me” … “Think of me, think of me fondly, when we say goodbye…” It’s hard to get through it!
And the final scene is rather heartbreaking.
“It’s over now, the music of the night…” That line seems to be about the show, in a way.
That’s right! And I think a lot of people feel it that way.