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Phantom
Book by Arthur Kopit
Music & Lyrics by Maury Yeston
Based on The Phantom of the Opera by Gaston Leroux
Directed by L. Walter Stearns
Music Direction by Eugene Dizon
Choreographed by Annie Hackett
Produced by Porchlight Music Theatre
At The Theatre Building Chicago
1225 W. Belmont Ave.
Chicago, IL
Call 773-327-5252, tickets $34 - $35
Fridays & Saturdays at 8 pm
Sundays at 2:30 pm
Special Wednesday matinee Oct. 17 at 2 pm
Running time is 2 hours, 15 minutes with intermission
Through November 11, 2007
Phantom’s lush melodies soar with terrific voices
Arthur Kopit and Maury Yeston’s Phantom is one of the most successful American Musicals “never to have played Broadway.” Maury Yeston told this reporter that since 1991, Phantom has had more than 1500 separate productions around the world grossing over $140, 000,000 making it truly “the people’s musical.” The third production directed by Bill Pullinsi in the early 90’s at the old Candlelight Playhouse ran for more than a year receiving rave reviews including Variety and The Wall Street Journal sparking national interest in Yeston’s Phantom.
This is the stronger version of Gaston Leroux’s 1910 novel—The Phantom of the Opera. Written before the spectacle based Lloyd Weber’s Phantom of the Opera, Yeston’s Phantom contains ravishing melodies with a lush, compelling operatic tone. Arthur Kopit’s book depicts the Phantom as a human being, not a cartoon villain. Kopit & Yeston’s Phantom has a name (Erik) who lives in catacombs of the Paris Opera. He falls in love with the voice and beauty of Christine. Drama ensues when a scheming diva, Carlotta, attempts to sabotage Christine’s opera debut. We learn why the Phantom always wears a mask, why he is disfigured and why he loves the ingénue, Christine. Kopit & Yeston’s Phantom unfolds as a passionate, heartfelt musical in which we empathize with the Phantom’s tragic life. The show has mysterious elements with a plot that unfolds in song utilizing the strong score on Yeston’s intelligent character-driven lyrics. This material uses classical musical theatre structure that engages us from the start and compels us to care about the Phantom and his love Christine. I think this Phantom is a masterpiece of musical theatre.
Walter Stearns’ smart direction on an ambitious and innovative staging (set design by Robert Martin) gives Phantom the look of a large scale production while capturing the close feel of a chamber musical. Porchlight is emerging as a boutique theater company specializing in giving audiences an intimate thrilling theatrical experience.
Phantom calls for strong performers who can both sing and act with the proper stage presence. Lara Filip is an ideal choice as Christine in that she has the looks, natural purity (with a dash of innocence), spirit and a compelling need to love. Filip’s golden voice fills the room with glowing melodious music that surely does enchant the Phantom (and audiences). From her “Melodie De Paris” and her charmingly sincere “Home,” we quickly relate to her. This is the best performance by Lara Filip that I’ve witnessed. She anchors the show and sings magnificently. Her “My True Love” was heart wrenchingly beautiful.
Phantom has excellent supporting performances including a terrific comic villain Carlotta played by Naomi Landman. Cholet by Daniel Waters was a hoot. Jim Sherman was excellent as Gerrad Carriere. Kenneth Z. Kendall, playing the Count de Chandon, humorously nails his “Who Could Ever Have Dreamed Up You.” The ensemble dances and sings effectively in John Nasca’s vivid period perfect costumes.
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Ultimately Phantom demands a polished, charismatic lead. Peter Oyloe, a 2007 Jeff Citation Award recipient for Best Lead Actor in a play—for Equus, demonstrates his amazing vocal range as the Phantom. Oyloe combines his commanding stage presence with a warmly human vulnerability generating empathy, even sympathy as the tortured, half-mad genius. Oyloe conveys the Phantom’s obsessive yearning for beautiful music to give order and meaning to his life. His chemistry with Lara Filip’s Christine is authentic. From his anthem song “Where in the World,” Oyloe places his mark on the Phantom. His duet “Home” with Christine demonstrates their mutual love for music. The music lessons are deftly presented in the wonderful tune “You Are Music.” It soars as both Filip and Oyloe reach the heavens with that melodic song.
In act two, Peter Oyloe combines his acting talent and his fine enunciation with the riveting and difficult character song “My Mother Bore Me” in which the Phantom emotionally sings his life story. Oyloe nails the song in a most moving and affective theatrical moment. We care and are saddened by the torture the Phantom suffers. Oyloe demonstrates his talent as a vocalist who understands how to convey the heart of a lyric. Maury Yeston, who was present at the opening performance, called Peter Oyloe “a real find who’ll have a wonderful career.” Yeston also loved Lara Filip’s outstanding singing. Maury Yeston is most supportive of the work of Porchlight Music Theatre as evidenced by his presence at the shows opening.
Come see this Phantom, (know as the “smarter” Phantom),“ it’ll leave you teary-eyed. The expectations were high for Phantom coming off the success of Porchlight’s Ragtime. Walter Stearns’ bold casting and ambitious staging here delivered a most enchanting musical theatre event that lived up to all the hype. Come see why this classical styled Phantom is so popular with audiences. Even if you like Lloyd Weber’s Phantom of the Opera (as I do), there is so much story, compelling characters, and hauntingly original music in Kopit & Yeston’s Phantom that one can easily enjoy both shows.
There is something magical and enduring about Yeston’s Phantom that most be experienced to be fully appreciated. Lara Filip and Peter Oyloe certainly contribute to the mystique with their tour de force performances. Don’t miss this rare gem.
Highly Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: September 16, 2007
Jeff Recommended
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