"Whose is that shape in the shadows? Whose is that face, in the mask?"
–Phantom of the Opera by Gaston Leroux

All the above musicals cited were also brought to Screen with great success. Other than the fact that most songs truly strike a sentimental corde with the audience is that these shows also involve large casts, incredible sets and visually stunning choreographies that share all the necessary ingredients that make a great entertainment very much like during Hollywood’s Golden Era. One of Lloyd Webber’s most successful musicals in recent years has undoubtfully been the The Phantom of the Opera [1], based on a novel published in 1910 by French author Gaston Leroux.

Leroux’s novel was to be brought to screen numerous times notably with Lon Chaney in the title role of the Silent 1925 version [2] and Claude Rains in the Technicolor version from the mid 40’s [3]. Finally Joel Schumacher directed the screen adaptation of Lloyd Webber’s musical in 2004 [4] with scottish actor Gerard Butler ( Now known for playing Spartan King Leonidas in Zach Snyder’s 300 [5] ) in the title role. Interestingly the lead role of the Phantom on the London Stage is now being played by a talented Persian Canadian named Ramin Karimloo [6] who was also cast as the father of Christine, the Phantom’s love interest, in Schumacher’s Hollywood film [7].

Born in Tehran in 1978 , Ramin grew up in Totonto singing in Rock Bands before being drawn to the Theater and pusue a carreer on stage. His fabulous voice, charismatic and handsom looks are sure to make an impact both on Stage and hopefully Onscreen in the years to come! …

On a different note, there is a strange but happily ironic coincidence in having an actor/singer of Persian Heritage reprise the role of the Phantom. Indeed although the following detail does not appear in Andrew Lloyd Webber’s musical version due to narrative choices, it deserves however to be mentioned: In the initial story by French author Gaston Leroux [8], the major protagonist, Erik, a horribly deformed musical genius known as the "Opera Ghost" has been running away from an obscure past, in a foreign land, that is only revealed gradually throughout the book by another mysterious character who serves essentially as the narrator known as “The Persian” or "Daroga"…

Born hideously deformed, in the city of Roen, France, Erik was a "subject of horror" for his family and as a result of which, he ran away as a young boy and fell in with a band of Gypsies and clowns, making his living as an attraction in freak shows, in which he was known as "le mort vivant (the living dead)." During his time with the tribe, Erik became a great illusionist, magician and ventriloquist. His reputation for these skills and for his beautiful singing voice spread quickly, and one day a fur trader mentioned him to the Shah of Persia (*). The Shah ordered the Persian to fetch Erik and bring him to the palace.

The Shah-in-Shah soon commissioned Erik, who proved himself a gifted architect, with the task of constructing an elaborate palace. The edifice was designed with so many trap doors and secret rooms that not even the slightest whisper could be considered private. The architecture was arranged for the purpose of carrying sound to a myriad of hidden locations, so that one never knew who might be listening in. At some point under the Shah's employment, Erik was also a royal assassin, using a unique noose referred to as the Punjab Lasso.

The Persian dwells on the vague horrors that existed at Mazenderan rather than going in depth into the actual circumstances involved. The Shah, pleased with Erik's work and determined that no one else should have such a palace as his, ordered Erik to be blinded. Thinking that Erik could still make another palace even without his eyesight, the Shah ordered Erik's execution. It was only by the intervention of the daroga (the Persian) that Erik was able to escape. He eventually makes it back to France and is bid on a contract to help with the construction of the Palais Garnier [9], commonly known as the Paris Opera House [10].

I do bring a different energy and physicality because of my age, naturally. It is a big challenge for me. I do however feel that this is the perfect time for me to be part of the show. I felt there are things I’d like to bring to the Phantom. I wanted to bring a new energy to the role.

DK: Tell us a little about cosmopolitan background ? Where in Iran were you born ? Have you kept any ties with your country of birth ?

RK: I was born in Tehran. Sadly I don’t know much about my roots there. I’m just now learning about our family history and also at the same time the countries history. It would be such an honor to go back one day and visit such a beautiful place.

DK: Do your Persian Roots influence or inspire you as an Artist or in your life in general ?

RK: Well as Persian’s we are instinctive and passionate so I draw on that. As for anyone in general, it’s hard to say. I left Iran within the first few months of my life so any artists that have influenced me would be from North America. Although when I hear the way the Koran is sung or when I hear Persian vocalists, there is something passionate that resonates that I always feel would sound great in a theatre show.

There’s a lot of heart when you hear someone like that sing.

DK: I also know that you would like to extend your experience on film and you seem to be also interested in Iranian films. Have you had any propositions from Diaspora directors or those from in Iran ? Is there any particular director/ actor you would like to work with ?

RK: Well I have had some interest from an Iranian director who’s name is actually Ramin. Unfortunately it has yet to materialize to something but I believe when the right thing comes at the right time, then it will work out. My Farsi is don’t think is strong enough for film but if an Iranian director wants an Iranian actor with an American/Canadian accent, then that is something I would definitely consider. There are lots of actors and directors I would love to work with. I am pretty sure my list of wishes would mirror ever other actor in my position wanting to make that leap from the stage to the screen.

DK: You were born in 1978, therefore approximately at the time of the Islamic Revolution that took place in Iran, but I suppose like many of your generation, you grew up learning about that period through your parents. Sincerely has it been difficult for you to cope with your Persian Roots while growing up in the West ? Have you been to Iran and what are your hopes for its future if any ?

RK: I’m learning about my history now. Growing up it wasn’t too difficult because I left Iran so young. I grew up and learnt around North American culture and my parents embraced that for our sakes. In our home we kept true to our roots and heritage so we had the best of all worlds. Although when I got older I did find it hard to feel like I had a true identity, especially once I made England my home. I always say, my blood is Iranian, my heart is Canadian and my home is England.
DK: On a final note, given the international political and cultural tensions between countries in our Post Sept 11Th times, I would like to know if you think that there is an avenue particularly for Iranian Diaspora Artists ( and there are many [18]) like you who are gifted with a dual heritage, where they could express themselves and bridge Persian Culture with the West and vice versa ?