Few musicals pack the dramatic punch of The Phantom of the Opera, one of the top-selling entertainments of the 20th Century. There's the spectacle, the huge cast, the costumes and the slightly scary (thought sometimes romantic) plot. So it's no wonder that Phantom returns to Milwaukee for its third run. Happily, this engagement welcomes the show's national tour. In every respect, this Phantom is the "A" team. There's the crashing chandelier and the blink-of-an-eye escapes and the boat rides through a candle-filled lake. But what sets this Phantom apart from some others is the high caliber of its cast.
With precision and an appealing freshness, this cast picks up every cue and projects the nuances of each character. The show's focal point, a young opera singer named Christine, is particularly good at juggling the demands of two admirers. She's convinced that one of them, her "music teacher" (the Phantom) is a heaven-sent promise from her beloved, long-deceased father. The other suitor (Raoul) is a former childhood pal who has turned into a strapping young man. Both of the men carry shades of Christine's past, though she knows she must break away from these memories to claim her own future. In a particularly touching moment, she sings a tender song at her father's grave ("Wishing You Were Somehow Here Again").
Trista Moldovan brings an innocence to the role of Christine. She is lovely, energetic and glorious to hear. As the Phantom, Tim Martin Gleason faces a tough role. He must be masterful and shy, murderous and vulnerable. He manages to fully engage the audience's sympathy (at least when he's not exhibiting his darker side as a cold-blooded killer). His singing is superb. Aside from the Phantom's "disfigurement," it's clear that he could easily have been the dashing Raoul. Both men profess their love for Christine, making her frightened and confused.
Raoul (Sean McLaughlin), who has far less "face time" than either Christine or the Phantom, does an excellent job of conveying his protectiveness toward Christine.
Supporting players also impress, including Kim Stengel as Carlotta, the "prima donna" of the Paris Opera House. At once ludicrous and hilarious, Stengel sings beautifully as she struts about the stage. Another highlight is Nancy Hess as Madame Giry, the stern dance manager.
Although The Phantom of the Opera does not contain even one hit tune, its music propels the audience through the story. Lloyd Webber plays with a limited repertoire of musical phrases that are repeated endlessly. Sometimes, they subtly create an ironic backdrop to the scene being played out onstage. At other times, such as when the Phantom takes to his organ, the crashing, sweeping chords overtake the action. An excellent orchestra that travels with the show creates the proper mood, whether andante or fortissimo.
