On Theater: New ‘Phantom’ is a strongly acted pyrotechnic spectacle
With all the usual bells and whistles — along with flaming exclamation points — “The Phantom of the Opera” has returned, with a vengeance, to the Segerstrom Center for the Arts.
Andrew Lloyd Webber’s magnum opus, which first burst upon Broadway in 1988 and never left, now holds the record as the longest-running Broadway show. It has spawned several touring companies, a few of which have surfaced in Costa Mesa, but the current edition is dubbed “the new production,” and it lives up to this billing under the soaring direction of Laurence Connor.
Webber and lyricist Charles Hart redefined the musical theater with their staged conception of a horrific French novel about a “ghost” who holds a Paris opera company in thrall and fixates on a young, beautiful soprano. This latest incarnation retains the gripping story and adds flashes of fire, one of which forces many theatergoers to “raise their hands to the level of their eyes,” to paraphrase one lyric.
In the current version, Chris Mann takes the title role and builds the character from a rather demanding musical tutor to, in the show’s climactic scene, a raging and murderous lunatic. He also has the character’s most crucial quality, a voice that recalls a trip through a carnival fun house.
The true star of this production, however, is Katie Travis as the Phantom’s protégé, Christine, stunning as a vocalist and equally commanding in her dramatic segments. Travis is the complete package in one of the finest interpretations of the character to be performed on the Costa Mesa stage.
As Raoul, an old flame who rediscovers Christine but risks losing her to the spectral tutor, Storm Lineberger presents a staunch, dedicated suitor. The imposing ballet mistress Madame Giry, a formidable martinet who keeps the Phantom’s secret, is impressively rendered by Anne Kanengeiser.
Another excellent performance is delivered by Jacquelynne Fontaine as the company’s resident vocal diva Carlotta, the object of the Phantom’s wrath. David Benoit and Edward Staudenmayer also excel as the theater’s new managers, chafing over their constant receipt of notes from the unseen dictator.
Paul Brown’s enormous settings — including stair steps that seem to appear out of nowhere en route to the Phantom’s lair — present an ominous backdrop. And the Phantom’s talent for instant conflagration is magnified in this new production, although the falling chandelier scene is somewhat muted.
Atop all the atmospheric touches is Webber’s towering musical score, seemingly magnified for this version of the show. It’s a legendary tale given a lustrous and often frightening new life at the Segerstrom Center for the Arts.
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SCR shares beautiful display in ‘Mary Poppins’
Meanwhile, across the street on South Coast Repertory’s Julianne Argyros Stage, SCR’s youthful Summer Players are mounting a colorful and highly entertaining production of the Disney favorite “Mary Poppins.”
No, she doesn’t fly in like Julie Andrews did, but this version of the “practically perfect” nanny is, well, practically perfect nevertheless. Director Hisa Takakuwa, who forges her young students into a full-scale musical extravaganza every summer, has outdone herself in this spirited show, enriched by the imaginative choreography of Chelsea Baldree.
In the title role, Lauren Cocroft beautifully commands the show with seemingly little effort. The Banks children are enthusiastically portrayed by Ella Webb and Nicholas Trafton.
Christopher Huntley, who shares the role with Guy McEleney, is a kick as Mary’s chimney sweep buddy Bert.
Particularly impressive is Kelsey Kato as the kids’ uptight banker father, while Katherine Parrish offers a strong singing voice as their caring mother. A standout in the supporting ranks is Kelsey Bray as the strong-willed housekeeper Mrs. Brill. Kira Wendland is enchanting as the street woman who urges passersby to “feed the birds.”
Baldree’s choreographic gifts are displayed splendidly in the ensemble numbers “Supercalifragilisticexpialidocious” and the chimney sweeps’ “Step in Time.” Sara Ryung Clement’s settings and costume designs are impressively accomplished.
These young thespians, all graduates of SCR’s Theater Conservatory, are the stars of tomorrow. Their talents are on full display in the beautifully staged “Mary Poppins.”
TOM TITUS reviews local theater for the daily Pilot, Coastline Pilot and Huntington Beach Independent.
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IF YOU GO
“The Phantom of the Opera”
WHERE: Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa
WHEN: Closing performances at 7:30 p.m. Thursday and Friday; 2 and 7:30 p.m. Saturday; and 1 and 6:30 p.m. Sunday
COST: Start at $39
CALL: (714) 556-2787
“Mary Poppins”
WHERE: South Coast Repertory Julianne Argyros Stage, 650 Town Center Drive, Costa Mesa
WHEN: Closing performances 7 p.m. Friday; and 1 and 5 p.m. Saturday and Sunday
COST: $14 -$17
CALL: (714) 708-5555
