Article by Carrie Hernández
El Fantasma de la Opera premiered in Spain.
Sandra was one of many to see that show but
from there her story diverges from that of most
other (or perhaps any other) Phantom fan. Not
only did Sandra view the show numerous times
and take up correspondence with authors of other
Phantom versions. But she also wrote a Phantom
book of her own and made pilgrimages to the
Opéra Garnier in Paris there to find not only the
Phantom's private box but a descendent of
Gaston Leroux. When I heard about all she'd
done, I simply had to write and see if she'd do an
interview with me.
Part I
The Theatrical Adventures
Belenguer became something of an opera ghost herself. A friend of many a cast
member, Sandra has been backstage, on stage and in the dressing rooms, just
about anywhere, in fact, that a human spirit might go. Her love of Phantom and
her support for the production led, in 2002, to the Really Useful Group making
her a special invitation to present flowers to the cast during the farewell
performance of the Spanish Phantom production. Members of the cast insisted
she stay, took her hands and included her in their final bow. (Sandra is the lady
in pink.)
But how did it come about that a fan could become so universally beloved? Here
is Sandra's story.
In March of 2001, while on a trip to England, Sandra saw the Lloyd Webber
Phantom for the first time in London. She met Scott Davies, who was playing the
role of the Phantom at the time, and he was kind enough to take her on a
backstage tour. There she saw close-up, Christine's dressing room mirror, the
onstage trapdoors for the candles and the entire mechanism for raising and
lowering them and finally, the boat itself, where she posed for a picture with
Davies.
She had to wait until September 6, 2002 before seeing the show again. That
was the day Andrew Lloyd Webber's Phantom opened at the Teatro Lope de
Vega in Madrid, Spain.
Also before the opening of the Spanish production, Sandra met Luis Amando,
the main Phantom actor, through a mutual friend. At that time, she and Amando
had the opportunity to discuss his interpretation of the Phantom character in
some depth. It was through Amando that Sandra met many of the other cast
members as well as the music director of the production.
As a result, Sandra was in and out of dressing rooms, getting close-up views
of Christine's different costumes, especially her Masquerade dress—apparently
different from Christine's Masquerade costume in other international
productions. As a result of seeing that costume, Sandra was able to make a
replica of her own which she wore to the farewell performance. Other items she
saw were Red Death's costume, all the different cloaks, the wigs. She was able to
watch the application of the Phantom's makeup and to listen to the singers
warming up.
And of course she learned some wonderful stories.
David V. Muro (M. Firmin) told her about a rehearsal during which "the
American directors" were present. Everyone was especially nervous. During the
"Notes" scene, Madame Giry came onstage without the Phantom's note. It was
then Muro realized he didn't have the note memorized, he'd always read it from
the paper. Thinking quickly and with the knowledge that the American's didn't
understand Spanish, he adlibbed the following: "Gentlemen, I don't have the
letter . . . so I'm going to imagine what was written in it. 'Oh moon, who art in
the darkness of my solitude . . ." Everything would have worked out fine, he said,
if the someone hadn't started laughing. He vowed from that moment on, to
memorize the contents of the notes.
Juan Carlos Barona, another of the Phantom actors, told her he'd tripped over
his Red Death costume any number of times and had actually fallen down the
stairs twice. Luis Amando tells the tale of Felicidad Farag (Christine) who ran so
quickly toward Raoul in the final lair scene that she fell down and slid right past
him and under the portcullis, ending up on Raoul's side. And then there was the
rehearsal during which the chandelier really fell, nearly braining Pablo Eisele
(the music director) as it came down.
But all things must come to and end. On June 21, 2004, the Spanish
production was to give its farewell performance and Sandra, broken-hearted,
wrote a letter to the Really Useful Group, telling them how sorry she was that
the show was closing. They responded with the suggestion that she appear
onstage herself, at the final curtain call, to give one bouquet of flowers each to
the three main actors.
Just as the lights faded on Meg and the Phantom's mask, Sandra got up and went
running to the backstage area where one of the theater managers was waiting for
her with the three bouquets. She was led to the wings where she saw the
company taking their bows and then stepped out. She handed the first bouquet
to Raoul who gave her a smile. Christine was next, actually giving Sandra a hug.
And then finally, she presented a bouquet to the Phantom himself. He gave her a
kiss and wouldn't let her walk off stage. Both he and Christine took her hands
and told her she should stand with them for the final bow.
An extra congratulations to Sandra whom I just learned received her
bachelor's degree in Spanish and International Literature. She will shortly begin
teaching in that field.
