Power and passion in ‘Phantom’s’ return

Tom Titus

Up until now, “The Phantom of the Opera” has been distinguished

primarily by its sweeping Andrew Lloyd Webber musical score and the

equally arresting special effects, such as crashing chandeliers and

pyrotechnic flashes. Actors -- even Michael Crawford and Sarah

Brightman in the original version -- tended to get swallowed up in

the spectacle. This, happily, is not the case with the current

incarnation now playing at the Orange County Performing Arts Center,

where performances are an equal element in the overall equation.

Crawford and Davis Gaines can move over. The latest actor to play

the title role, Ted Keegan, is every bit their equal and then some.

Keegan wrenches as much, or more, emotion from his brilliant but

tragically scarred character as his predecessors. His captivating

lyrical power commands the stage, and his searing, heartbreaking

showdown in the finale raises the bar for any future actor attempting

this role.

True, “Phantom” is melodrama, but it’s melodrama of the highest

order. Gaston Leroux originally set his novel in a Paris opera house

of the late 19th century where even the backstage turmoil was larger

than life and the artists, who plied their craft in operatic terms,

extended this overstated anguish to their personal lives. A mad

genius in this realm could be expected to devour the scenery.

This Keegan does, with a spectacular flourish, his voice emanating

from all venues of the Center at once as the onstage contingent

shudders in unison. And when the moment the audience is awaiting --

the crashing chandelier -- arrives, it does so in a blinding flourish

of light and sound calculated to chill even those well acquainted

with the spectacle.

The role of Christine Daae, the Phantom’s protege, was originated

by Brightman and demands a singer with her incredible range. Rebecca

Pitcher accomplishes this task superbly, hitting her stride with the

aching plea to her dead father, “Wishing You Were Here Again,” and

projecting her confused and captivated character in a marvelous

acting performance.

Tim Martin Gleason dynamically enacts Christine’s lover, Raoul,

challenging the Phantom’s wrath as a more acceptable rival for her

affections. Patti Davidson-Gorbea is perhaps a bit young for the role

of the stern dance mistress with a link to the opera ghost, but she

exudes a strong sense of authority.

When you’ve played a role more than 2,500 times, you’re going to

be awfully good at it -- and Kim Stengel revels in the part of the

operatic diva Carlotta, both as a singer and an outraged character,

livid at seeing her stardom fall to a girl from the chorus. Frederic

Heringes is a suitably pompous Ubaldo Piangi, the beefy star tenor

wrestling with the Phantom’s specially written music.

David Cryer and D.C. Anderson contribute some lighter moments as

the Alphonse-Gaston pair of producers. Erin Sacks delights as an

operatic ingenue. Julie Hanson will be seen as Christine at certain

performances.

This touring production -- directed by legendary Broadway

impresario Harold Prince -- is a delight for the eyes, as well as the

ears. Gillian Lynne’s musical staging and choreography is beautifully

accomplished, and Maria Bjornson’s overall production design, abetted

by Andrew Bridge’s lighting, is breathtaking.

It should be acknowledged, however, that while Andrew Lloyd Webber

composed this “music of the night,” the equally impressive lyrics are

those of Charles Hart, and they are perfectly blended for a magical

-- and undeniably haunting -- theatrical experience.

* TOM TITUS reviews local theater for the Daily Pilot. His

reviews appear Thursdays and Saturdays.