Sandra Margolese

Q: How did you get into singing? Was there anyone that inspired you?

SM: My interest in singing began when I was a young child at home. On family trips, we would all break out into a version of When the Red, Red Bobbin Goes Bob Bob Bobbing Along, or a song about Charlie Chaplin that my grandfather taught us. He was very musical and could play anything by ear on piano, violin, clarinet, or banjo. Both my grandmothers were singers as well, they really inspired me. As for famous personalities, I spent many hours listening to Barbara Streisand, Judy Garland, and Ella Fitzgerald. They are a few of my all time favorites.

Q: How did you initially land your role?

SM: I heard through the grapevine that replacement auditions were taking place in Toronto for Phantom. I immediately phoned my agent and had him send my photo, resume, and tape in to Livent's casting department. I had an audition a couple of weeks later at which I sang Adele's "Laughing Song" from Die Fledermaus, and "Moonfall" from The Mystery of Edwin Drood. The Artistic and Music Directors liked my audition and had me step out of the room to work on Carlotta's "Tantrum," "These things do happen." Two days later, I had my job offer of a six-month contract to play the Princess and understudy Carlotta. I started rehearsals two weeks later, and was on the Pantages stage June 5, 1994! The rest, as they say, is history!

Q: How did you research or prepare for the part of Carlotta?

SM: The first thing I did to prepare, was to go back to the original Phantom story, the book written by Gaston Leroux. I think it's crucial to the portrayal of a character to try to understand how the librettist and composer were inspired. Whenever a musical or play is based on a book, it must be the cornerstone of your characterization. However, when a show has been running as long as Phantom, the key is to "fit in" with the existing cast. As an understudy, this is a real challenge. Another way I prepared was to watch and learn! Some of the biggest divas were right there on our stage, and I have used them as models. I have understudied some of the best Carlottas on stage and I have learned a lot from their experience.

Q: What are some of your insights as to Carlotta's character and her motivation for behaving the way she does?

SM: Carlotta was probably a child star who was coddled and adored. She was used to getting lots of attention for her beautiful voice from everyone she met. In fact, I think she was an only child as well. She walks into the Paris Opera House as if she owns the place and openly shows her emotions when she feels she is not being given the royal treatment. However, to think of her only as a spoiled diva would make her one-dimensional. I think above all else, she wants people to like her. She craves the approval of others and is basically insecure. She is no longer the "Ingenue" and feels despair as the end of her career comes into view. The Phantom plays on her insecurities until, in "Il Muto," he finally sends her reeling from the stage croaking. I think the reason we see her return in Act II, is her desire to regain her position in the company. She would never want to be seen as weak or vulnerable. However, my choice, as an actor, is to let small amounts of this vulnerability come through her otherwise commanding exterior. It makes her human to have some weaknesses.

Q: What are some aspects you have brought into your interpretation of Carlotta to make the character uniquely yours?

SM: I like to bring a likeable quality to Carlotta. She smiles and flirts with all the men of the Opera Company, including the managers. She likes to be adored by men. I somehow don't see her as having many female friends.
I use my less-than-tall stature to my advantage. For instance, I can't reach the floor while sitting on the "Il Muto" bed. So, I dangle my feet and kick them in time with the music. I use my parasol in Managers I to gesticulate my anger towards the managers. I use it as if it were a bayonet as I point at them and charge at them across the stage. Above all, I let my personal sense of fun onstage, and let it colour my performance. I try to keep the audience entertained by letting them see my love of performing.

"Don Juan" costume

Q: What are some of the challenges inherent in playing the role of Carlotta?

SM: Carlotta provides the performer with both vocal and dramatic challenges. It takes stamina to sing all those high notes!! There is a large jump to be made from the dramatic singing at the end of Managers I, to the light coloratura of "Il Muto". However, I think the biggest challenge for me, is the opening cadenza that kick starts "Hannibal." Carlotta must take charge of the stage from the moment she appears. The cadenza is as exposed as a singer can get, since it is completely unaccompanied and Carlotta is alone onstage. The entire show could come to a halt if she can't pull off the cadenza.
Another challenge is to not make Carlotta a cariacture or a cartoon diva. She must remain real and believable to the audience. I try to make the audience like me as Carlotta. Everyone has some redeeming qualities, even her.

Q: Why do you think people come again and again to see Phantom?

SM: I think the reason why people keep coming to see Phantom is that it has so much entertainment value. When people attend the theatre, they like to be taken away from their everyday life and be drawn into another world for a few hours. Phantom is filled with romance, adventure, special effects, beautiful music, and heroic characters. I think it has something in it to please everyone. It’s like going on an adventure everytime you see it.

Q: What is your favorite part in the show?

My favorite part in Phantom is near the very end, at the moment when Christine kisses the Phantom. I’m rooting for him all the way! Perhaps that is why so many people keep returning to the show. They want to see if Christine will finally choose the Phantom.

Q: After all that happened at the end of Phantom, do you think Carlotta kept singing at the Paris Opera?

After all that happened to Carlotta, I don’t think she would be able to continue at the Paris Opera. I think she would go on a very long holiday back to Italy, and eventually try to pick up the pieces of her career.

Q: What is the approximate total of all your performances?

SM: It was my fifth anniversary with Phantom June 5, 1999, so that puts my total performances at approximately 2000!!!

Q: What are some things that have gone wrong at certain performances?

SM: Once, while playing Carlotta, I had a mental block. It was a scary feeling. As I was being introduced to the Managers in Hannibal, I realized I didn't have a clue what to say to them. Instead of saying "Piacere," I said "Bonjourno." it was the only Italian word that came to mind, besides a type of pasta! Right on cue, the Piangi repeated "Bonjourno" when he was introduced. I don't think anyone, but the cast, caught on.
One show, when Buquet was hanging, the rope broke and the dummy fell right down to the stage. It certainly gave the cast a fright, but no one was hurt.
A short time ago, the Phantom, played by Rene Simard, lost his mask at the end of his first journey into the lair. He had to perform all of "Music of the Night" without it! He kept turning away from Christine and using his hand to cover up his face.

Q: What is a typical performance day like for you?

SM: Theatre life requires a person to be strong both physically and mentally, so everyday starts with a good breakfast and a Yoga practice. All right, maybe not every morning, but at least five or six days a week. I also take my dog for a walk every day in the woods. It's terrific exercise and it helps to clear my head if anything is troubling me. The rest of the day is spent doing normal household chores, laundry dishes, grocery shopping, etc. I spend time singing, teaching, and making dinner and then I make the commute to the theatre. I don't live in Toronto so I leave about an hour to get to work everyday. I do my vocal warm-up in the car on the way in. After the show, I like to unwind with my husband and watch reruns of Law & Order. I follow this with a good book. It's rare that the cast goes out after the show. But, when we do, we have a blast!

With Rene Simard

Q: What other roles in theatre have you done?

SM: Some of my theatre credits are Hodel in Fiddler on the Roof, Edith in The Pirates of Penzance, Peep-Bo in The Mikado, Sarah Brown in Guys and Dolls, Laurey in Oklahoma, and ensemble rolls in Godspell, Evita, and West Side Story. I have been on tour with Theatre on the Move, a children’s theatre company, as well as Actsense Theatre for Young Audiences.

Q: What are some of your extracurricular and/or philanthropic activities?

In my spare time, I enjoy seeing theatre productions and movies, reading the latest book by Robin Cook. He writes terrific medical thrillers! I also teach a few voice students out of my home. In the summer, I love to spend the day gardening and then going for a swim in my pool! Sydney, my yellow Labrador Retriever, also enjoys a dip in the pool after her walk!

As for philanthropic activities, I produced and directed a benefit concert, "Voices of Hope," at the Winter Garden Theatre in Toronto, 1997. Performers from the mega-musicals at the time, including Phantom, Joseph and the Amazing Technicolor Dreamcoat, Ragtime, and Beauty and the Beast, all came together to help raise money and awareness for Pediatric AIDS research at the Hospital for Sick Children. Former Phantoms Colm Wilkinson and Ethan Freeman were featured performers. I am proud to say that we raised $18,000 for the hospital. One of my sisters and her son are both HIV positive and benefit from the Hospital for Sick Children's HIV/AIDS program. To all those who came out to support this cause, and all the performers who gave of their talent, I am truly grateful. As for the next time, a date has not yet been set. But there will be a next time!

Q: What are your plans for the future?

SM: I am currently working on a Jazz/Swing Demo CD, and I am really excited about it! I hope to someday make a full recording and tour with an orchestra. I am also working on a children's book which will be published with accompanying musical tape. Maybe it will be ready by the time we start a family! As for theatre, I am always looking to pursue the next show in town, whatever that may be.

Note: After Phantom closed in Toronto, Sandra starred as Mrs. Cratchit in a production of Mr. Scrooge.