Music of the Night
This musical production has music and lyrics by Maury Yeston
and book by Arthur Kopit, based on the very good novel, “Phantom of the Opera”
by Gaston Leroux. It is directed by Jon
Kretzu, musical direction & conducting by Valery Saul and choreography by
Sara Parker. It is produced by Stumptown
Stages at the above space, 1111 SW Broadway (4th Floor), through
October 15th. For more
information, go to their site at www.stumptownstages.org.
This story has been through a few incarnations, including
the famous Tony-award winner of a few years back. Of course there was the silent, very
effective version, with Lon Chaney, Sr., in the 20’s, the 40’s one with Claude
Rains, the 60’s with Herbert Lom and an awful one with Robert Englund later
on. Of course it is really a remixing of
the Beauty and the Beast story, also by a Frenchman. This one goes more into the back-story of
Erik. But the actual book has never been
truly explored on stage or screen, as it includes a major character, cut from
subsequent versions, called simply, the Persian. I recommend reading it.
This musical is not as memorable as its big brother but does
have some good songs, terrific singers and a great chorus. It is also told in a bit of a lighter tone
(although a couple of characters do actually get killed). It seems the Paris Opera House has a ghost who
dwells, they say, in the underground mazes of the theater. If you appease him, then things will run
fine. The rules are simple, he has to
have his own private box, approve the singers and selection of operas for the
Season, and never enter his domain. Pretty
straightforward, I’d say. If all is to
his liking, then the Season will run smoothly.
But, at this juncture of the story, the old manger of the
house, Carriére (Gregory Brumfield), is being forcibly retired by their
demanding diva, Carlotta (Elizabeth Hadley), and her mousey husband, Cholet
(Sean Dodder), now the new manager. But
on the horizon is a fresh, young street singer, Christine (Laura McCulloch),
who catches the attention (and the eye) of Count Philippe (Jesse Studenberg), a
wealthy benefactor of the Opera, and directs her to be hired by them, which she
is but as a costumer, not a singer.
This does not please Philippe, nor Erik, the Phantom (Pip
Kennedy), who has heard her sing and is also smitten with her. And if Erik is displeased…well, look
out. A couple of murders happen, some
disruption of the Opera operations, a kidnapping and finally Erik is forced to
take matters into his own hands…and it will not be pretty. More I cannot tell you without ruining the
story but know that, as I said, some of Erik’s past is revealed.
The simple staging by scenic designer, Demetri Pavlatos, to
turn such a small space into a variety of playing areas is quite clever. And the beautiful costumes, especially for
the ladies, by designer, Margaret Louise Chapman, are amazing. Lighting designer, Mark LaPierre, has some
very expressive lighting, both for mood and set areas. Choreography in such a limited space,
especially of the chorus numbers, by Parker, is very effective. Saul and her orchestra do justice to the
score and do not overwhelm the singers.
Kretzu has done a remarkable job of casting, and developing an expansive
story into compact surroundings, allowing our imaginations to create the rest.
I don’t know how, Kirk Mouser (Managing Artistic Director),
finds all these remarkable singers for his productions, but he does it well. McCulloch as Christine has a voice that would
blow the top off the stage. “Home” and “You
Are Music” (w/Kennedy) being her highlights.
Truly a gifted young lady. Hadley
also was quite impressive as her foil, being both sad and humorous, as well as
an accomplished singer. “This Place Is
Mine” being a standout number for her.
And Brumfield, as the ex-manager, has one of the best numbers in the
show, “You Are My Own,” great voice and a very touching song. And, as mentioned, the chorus numbers are also
very impressive.
I recommend this show.
If you do see it, please tell then Dennis sent you.
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