Advance Review Copy
Grading Scale: 1 (*) – 5 Stars (*****)
The “Phantom” was a musical phenomenon that Rebecca had always found enchanting. She had no idea that her life was about to mirror the play that was her obsession. When her high school drama club chooses “Phantom” as their annual production, Rebecca finds herself in the middle of an unlikely love triangle and the target of a sadistic stalker who uses the lines from the play as their calling card.Rebecca lands the lead role of Christine, the opera diva, and like her character, she is torn between her two co-stars—Tom the surfer and basketball star who plays the lovable hero, and Justyn, the strangely appealing Goth who is more than realistic in the role of the tortured artist.Almost immediately after casting, strange things start to happen both on and off the stage. Curtains fall. Mirrors are shattered. People are hurt in true phantom style. They all seem like accidents until Rebecca receives notes and phone calls that hint at something more sinister. Is Justyn bringing to life the twisted character of the phantom? Or in real life are the roles of the hero and the villain reversed? Rebecca doesn’t know who to trust, but she knows she’s running out of time as she gets closer and closer to opening night. Only when the mask is stripped away, will the twenty first century phantom finally be revealed.—Synopsis courtesy of the author’s website.
This book had a lot of potential. There was a potential for a great interpretation of the Phantom of the Opera, but the way it was carried out was a bit clumsy, and a little too reverent to the Andrew Lloyd Webber version of the story. When they referenced the musical, or were singing from the musical, none of the song lyrics were from the show at all. I’m guessing they were excerpts from the original story by Gaston Leroux, but it felt…off. I can understand from a business standpoint why an independent press might not want to take on the financial aspect of using lyrics from the copyrighted show. I felt that should have been taken into consideration when referencing the show almost exclusively in the text. Using made-up lyrics when Becca and Justyn are singing for example, Point of No Return, was something that should not have happened.
“Lord Justyn” only had one or two good lines in his dialogue, and the rest seemed pretentious and overbearing, like he knew he was trying too hard to be a Byronic-style hero. He was a brooding, stereotypical Goth high school student, who practiced Paganism and wore only black. I wanted a little bit of a variation from this stereotype, and truly wanted to like Justyn. But he was too flat and one-dimensional to be relatable, and his lifestyle as a Pagan was one-dimensional as well. Instead of showing the reader that Paganism wasn’t all black cats and pentagrams, it seemed to do the opposite in my opinion, by seeming a bit comical.
Becca, the heroine of this novel, reminded me a bit of Bella Swan from Stephenie Meyer’s Twilight Saga. She had her good moments, but those didn’t outweigh the terribly cliched areas of her character.
The plot had an interesting twist near the end, and that justified some of the moments that dragged, but I really wanted to like this interpretation more than I had. I felt that the publishing company could have presented this novel in a better way and might have possibly hindered any sort of positive reception to the book by their choice of cover and cover artist in the edition I received. I had to use a black book cover over the design because it was so distracting. A reader’s first impression of a book is always the cover, and this one wouldn’t have made me pick it up off the shelf if I saw it in a library or in a bookstore.
Even if this interpretation of the Phantom of the Opera wasn’t what I expected, I think I would give this author another try anyway.
Visit Author Laura DeLuca’s Website