Also this issue:

Material Girls
The Female Funny Fest might make you think, but it wants to make you laugh.
-Debra Auspitz

Brittle Women
-Susan Hagen

The Real Thing
-David Warner

Pal Around
-Steve Cohen

Human, Nature
-Janet Anderson

War on War
-Sam Adams

Sons Also Rises
-David Anthony Fox

Due Cause
-Frank Lewis

October 31-November 6, 2002

theater

He's Baa-aack

by David Anthony Fox

A confession: Till last Friday, I had never seen The Phantom of the Opera.

You’re probably thinking: “Yes… because he’s a snob.” Truly, that isn’t the (only) reason. When it first opened, I was just one of many frustrated theatergoers without a prayer of scoring a ticket. By the time it was possible to actually get into the show, I had moved on to other things.

But last week, I lost my Phantom virginity.

So like all just-deflowered people, I will now bore you with my revelations. 1) How is it possible that a score with two such splendid theater ballads ("Music of the Night," "All I Ask Of You") has so many really wretched songs (lyrics worse than music, but still...)? 2) Harold Prince's staging is indeed a thing of wonder -- a Victorian funhouse with 21st-century technology -- but it renders the story (and particularly, the Phantom's end) incomprehensible. 3) If the writers and director hate real opera as much as they seem to, I wonder -- why did they choose to adapt Phantom in the first place?

Let's be honest, though. The above is 1) old news and 2) doesn't matter. People love Phantom. They always have. They always will. And why not? Reservations aside, it's a heap o' fun.

It's also been 10 years since the show first graced a Philly stage. That means a whole new generation who (like me) are first-timers. It was sweet to see the multi-generational family groups enjoying the piece together -- kids, spellbound at the novelty of it; parents and grandparents, enjoying it again through younger eyes.

I imagine experienced Phantom-ites will wonder only how this version measures up to previous tours. Rebecca Pitcher (Christine) is lovely and graceful, Tim Martin Gleason (Raoul) is handsome and romantic and Kim Stengel (Carlotta) is funny. All three voices betray signs of wear (this is a tough score to sing every night), but still give pleasure. Ted Keegan (the Phantom himself) is a Broadway veteran, with a superb baritone that can float high notes to haunting effect. He acts well, too.

What's left? The famous chandelier seems here to glide rather carefully to the ground, and is not as splashy as I thought it would be. On the other hand, the boat ride through a sea of candles is exquisite, and absolutely earns its oohs and ahhs.