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Phantom The American Musical Sensation Book by Arthur Kopit Music & Lyrics by Maury Yeston Based on The Phantom of the Opera by Gaston Leroux Directed by William Pullinsi Music Direction by Valerie Maze Choreographed by Linda Fortunato At The Theatre at the Center 1040 Ridge Road Munster, IN Call 219-836-3255, tickets $36 - $40 Wednesdays 7 Thursdays at 2 pm Fridays at 8 pm Saturdays at 2:30 & 8 pm Sundays at 6 pm Running time is 2 hours, 40 minutes with intermission Through August 17, 2008 Fine remount of “Phantom” graces the stage at The Theatre at the Center in Munster. In 1991, at the old Candlelight Dinner Playhouse, director Bill Pullinsi made Maury Yeston and Arthur Kopit’s “Phantom” a regional theatre hit. The smart “Phantom” is an excellent story that covers the Phantom as a real person, not a caricature as in Lloyd Webber’s “Phantom of the Opera.” We care about Yeston’s “Phantom” (Larry Adams) and we understand why he and Christine (Johanna McKenzie Miller) have a mutual attraction. We see how Gerard Carrier (Jim Sherman), Erik’s (The Phantom) father has cared for the lost soul over the years.
When Christine emerges as a song seller, singing “Melodie de Paris,” the very Parisian flavor of the musical is established. We see how Carlotta (Marilyn Bogetich), a terrible singer wants to change the opera house to her venue. The Phantom has long indirectly ruled this place as Carriere’s artistic associate. The Phantom rules the opera house—his home. Describes as “the most successful musical never to have played Broadway,” “Phantom” has grossed more than 71 million dollars to date—making it one of the most popular musicals of all times. This Phantom is far superior to Webber’s “Phantom of the Opera” for several reasons: first, Yeston’s score is more diversified with ringing anthems, stirring ballads and melodic songs. Kopit’s book depicts the motivation of Christine and Erik’s love as well as the father-son relationship between Erik and Gerard. We care about the Phantom’s plight.
The Theatre at the Center’s production is elegant, opulent and empathetic. Director Pullinsi’s use of the hydraulic lifting stage that becomes the catacombs beneath the Paris Opera house worked effectively. Myron Elliott’s costume design with Kevin Barthel’s wig design and Val Bajak’s masks were first class. Valerie Maze’s musical direction did justice to Yeston’s score. However, J.D. Sargent’s sound design, at times, over powered the singers with its heavy volume. Also, placing a mic too close to the piano gave the piano too strong a dominance as did the high volume of the underscoring music. Lowering the music a tad would help this production as the singers would not have to compete with the music.
There is much to enjoy in Pullinsi’s production: Larry Adams is a terrific Phantom—with his charisma and rich voice. Johanna McKenzies Miller is a wonderful Christine with a fine voice. Jim Sherman, as Carriere, and Jeremy Rill, as the Count were particularly effective. Marilyn Bogetich was deliciously obnoxious as Carlotta. The ensemble work was first class and the staging worked nicely until the final violent scenes. The last scenes need to be polished somewhat so the full effect of father-son relationship and the tragedy can be shown. This “Phantom” is a musical and theatrical treat as it has the elements of a fine musical—excellent book, memorable score and wonderful singing. Come see the show that Bill Pullinsi helped launch—he still knows how to direct a musical. Recommended Tom99@chicagocritic.com for comments Talk Theatre in Chicago podcast Date Reviewed: July 17, 2008 |
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Site owned by Tom Williams 1-773-549-0227, tom99@chicagocritic.com Copyright, Chicago, IL 2006 |
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