鉴于这个楼又出来了
Can you talk about how you view the Phantom?
It's all about the abused child, and that we all carry masks. It's about daring to take the mask off. It touched me in another way, and the love story is beautiful. The end scene is so amazing. For me, it's like he's realized, when she kisses him, he will never be able to give her what she wants because he doesn't like himself. It's so sad. It touched me, because I've had experiences like that. I want to play him as the vulnerable child. To be abused can make you a monster, because in some way it has to come out. It's the [people] at the Paris Opera House [who make] him the monster.
I sense that you relate to the character.
It took a very long time for me to accept myself and who I am and the things that happened to me as a child. This was a mask, before I grew into my body and [began to] celebrate who I am. I wanted to make him vulnerable so that could shine through. That's the challenge. If you dare to take risks, it doesn't have to be perfect. But as a performer, you have to be perfect, so you have to work against yourself. But you can be more alive if you dare to [take risks].
So you don't view the Phantom as a monster, then.
He's not a monster, he's trying to survive. He's been in the dungeon for such a long time. Like he says, he wants heaven, and he finds this girl, he hears her pray, and there's a connection. He can help her, he can teach her. Also, I think he's in love with her beauty. There's something sexual happening. Because, you know, he's been down there for so many years, and suddenly there's this contact. [laughs] But still, he wants to be the teacher, so don't come too close. He doesn't connect it that way until she says it in the end; the problem isn't here, it's in your soul, and that hits him. When she finally reaches out and kisses him, he can't embrace her because he doesn't like himself. For me, that's the key thing. My goal is that people will go in there and say "Why didn't she pick the Phantom?"
via theatermania.com
Can you talk about how you view the Phantom?
It's all about the abused child, and that we all carry masks. It's about daring to take the mask off. It touched me in another way, and the love story is beautiful. The end scene is so amazing. For me, it's like he's realized, when she kisses him, he will never be able to give her what she wants because he doesn't like himself. It's so sad. It touched me, because I've had experiences like that. I want to play him as the vulnerable child. To be abused can make you a monster, because in some way it has to come out. It's the [people] at the Paris Opera House [who make] him the monster.
I sense that you relate to the character.
It took a very long time for me to accept myself and who I am and the things that happened to me as a child. This was a mask, before I grew into my body and [began to] celebrate who I am. I wanted to make him vulnerable so that could shine through. That's the challenge. If you dare to take risks, it doesn't have to be perfect. But as a performer, you have to be perfect, so you have to work against yourself. But you can be more alive if you dare to [take risks].
So you don't view the Phantom as a monster, then.
He's not a monster, he's trying to survive. He's been in the dungeon for such a long time. Like he says, he wants heaven, and he finds this girl, he hears her pray, and there's a connection. He can help her, he can teach her. Also, I think he's in love with her beauty. There's something sexual happening. Because, you know, he's been down there for so many years, and suddenly there's this contact. [laughs] But still, he wants to be the teacher, so don't come too close. He doesn't connect it that way until she says it in the end; the problem isn't here, it's in your soul, and that hits him. When she finally reaches out and kisses him, he can't embrace her because he doesn't like himself. For me, that's the key thing. My goal is that people will go in there and say "Why didn't she pick the Phantom?"
via theatermania.com
（听说今天不许点那啥，不过还是给叔点个）
