'Phantom' shows humanity of character
Review: 'Phantom' shows humanity of character
Few characters have had as striking an impact on the theatrical imagination as the Phantom of the Opera, the central figure in two monumental musicals: Andrew Lloyd Webber's larger-than-life "The Phantom of the Opera" and Arthur Kopit and Maury Yeston's less-well-known, but equally satisfying, "Phantom." Is the Phantom a lost innocent or a devil, a musical genius or a madman, a denizen of darkness or a creator of light? Whatever the truth about him, he remains a fascinating, enigmatic figure.
Hale Centre Theatre is giving "Phantom" a splashy, epic production. Although it has languished in the shadow of its more famous rival, "Phantom" fashions a more approachable, understandable image of the mythic figure. Whereas Webber concentrates on the Phantom's vengeful destructiveness and the cost of artistic ambition -- characteristics well-suited to his soaring, operatic music -- Kopit and Yeston's character is more human. He even has a sense of humor. When he hears the overbearing Carlotta sing, he remarks, "This place definitely is haunted. I think her voice is worse than my face."
The Phantom is part "Svengali," part "Pygmalion," but the myth the play most closely parallels is "Beauty and the Beast." Christine, the young singer the Phantom trains, has the ability to translate his talent into something tangible: he can live his life through her. Ironically, as he seeks to dominate her, she increasingly gains control of him.
Although the show's first act focuses on power and manipulation--a battle of wills between the Phantom and Carlotta, the new mistress of the opera house -- the second act is all about love. We discover the circumstances that have made the Phantom the person he is and see his transformation of Christine in a new light: she reminds him of the only person who truly loved him -- his mother -- and he desperately hopes to recapture that love. "I was born so she could come and save me," he tells Carriere.
In the Tuesday, Thursday, Saturday cast, Justin Bills and Jenny Latimer are perfectly paired. Bills' Phantom is a charismatic combination of master manipulator and lost soul, while Latimer's Christine is as fragile as a flower, as sweet and innocent as the angel he constantly compares her to. Both have magnificent voices, and their duets -- "Home" and "You Are Music" in the first act and "My True Love" in the second -- are highlights of the show. David Glaittli is warm and compassionate as the Phantom's protector, Carriere, and Nathan Copier has the looks and voice to play Phillippe, but his acting is too bland for a bon vivant. Maurie Tarbox revels in the role of the egocentric, controlling Carlotta, and Bruce Bredeson provides comic relief as Cholet, her addled, agitated husband.
Director John Sweeney moves everyone fluidly around the Hale's cramped stage, often orchestrating counterpointing action on both sides simultaneously, ably assisted by Spencer Brown's moody, golden area lighting. Marilyn Montgomery's ballet choreography is a charming addition. As expected, Darrin Brooks and Dennis Hassan's lavish set, with its rich red drapes, multitude of candles, and pieces that rise from the floor and descend from the ceiling, and Tamara Clayton's elegant period costumes are stars of the show in their own right.
"Phantom" may be less grandiose than "Phantom of the Opera," but its concentration on human relationships give it unique emotional power.
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