[ back ]
'Phantom' crashes a bit weakly
(by Herb Hammer - August 05, 2010)
THEATER, BY HERB HAMMER
'Phantom' crashes a bit weakly
In the cozy confines of the Allen Theatre, the centerpiece of Cleveland's Playhouse Square, a return engagement of "The Phantom of the Opera" is again drawing crowds. The Andrew Lloyd Webber masterpiece often brings audiences back. It is the rare patron who is taking a first look.
The musical, based on an ancient French novel, has been playing Broadway since 1988, with touring companies continuing to return to Cleveland and cities across the country.
Mr. Webber, along with lyricist Charles Hart, who also worked with him on the book, have created a certain stage magic with their mysterious opera, a show that simply will not go away.
While nothing is intended to change as cast and crew continue to evolve, the look and feel change as new performers and technicians and even designers move in and then move on.
Though the Allen Theatre production lives up to the production values I have witnessed in New York, Toronto and even the last time around in Cleveland, there are noticeable differences.
As the title character, Tim Martin Gleason is a far more sympathetic phantom than others I have seen. Gone is the evil, frightening character of previous productions. Mr. Gleason plays the phantom as a lovelorn lost soul whose threats no longer frighten. His stunning baritone captures the character's loneliness.
The phantom is madly in love with Christine, a chorus girl and student he has prepared for the opera. Trista Moldovam, an enchanting Christine, has early problems with the music. Her shrill moments settle down as the songs become less demanding.
Sean MacLaughlin plays Raoul, Christine's love interest. Mr. MacLaughlin is a passable actor but a wonderful singer.
The plot is quite simple yet terribly confusing for a first timer. The combination of fictional opera, Broadway musical with touches of rock 'n' roll are enough to satisfy everyone. The plot requires close attention.
The show opens in 1911 Paris at an auction where, among other items, an enormous 30-year-old chandelier is presented. Once it is sold to a mysterious buyer, it springs to life and is transported from the stage to the highest reaches of the theater.
The scene flashes back to the Paris Opera House of the early 1880s where a fictitious opera rehearsal is taking place. After a great deal of excess dialogue and comical music, the diva suddenly leaves. Christine comes out of the chorus and takes her place as the plot moves on.
We are never told when or how the phantom has been able to become Christine's teacher, the masked, or rather half-masked, "ghost of the opera" whisks her away through unseen tunnels then to a small boat that takes them to his lair.
There is a lot of this mysterious business between operas. One opera has been written by the threatening phantom. The exquisite "All I Ask of You," sung brilliantly by Miss Moldovan and Mr. MacLaughlin, steals the show.
Though "Phantom" has mysterious moments, there is no real mystery. The ending is quite predictable. It's the music that brings in the crowds.
While Harold Prince directed the original "Phantom," much of his work is missing at the Allen. Movement by the many supporting characters is often clumsy. One scene in the early going while the phantom and Christine trudge back and forth across the stage could have been much more interesting.
And then there is the crashing chandelier. Just as the first act closes, the angry phantom cuts the chandelier loose, and it comes crashing to the stage. It's obvious, though, that this production has only one chandelier. Instead of crashing, the giant light fixture gently glides to the Allen stage. As in much of this production, the drama has weaknesses.
[ back ]
