STAGE REVIEW : ‘Webber’ Comes In Loud and Unclear

Critics who write negative reviews always get taken to task for not informing their readers of what a presumably great time everybody else had at the show. So, before we go any further, let me tell you: the sold-out crowd in the maw of the Universal Amphitheatre seemed to be having a whopper of a blast with the “Music of Andrew Lloyd Webber” on Thursday.

Perhaps it’s because they loved guest star Michael Crawford. The Michaelmaniacs appeared to have transferred en masse to Universal City from their vigils at the Ahmanson, during Crawford’s reign as the Phantom in “The Phantom of the Opera.” Despite the amphitheater’s singular unkindness to this concert and the fact that, while he’s billed as “special guest star,” we didn’t see quite enough of him through the evening, Crawford did not disappoint them.

So much for the social features of the situation. Its presentational aspects fared much less well. To put it mildly, this concert has become a monster by playing the wrong venue. What had been a memorable traveling recital at the Shubert Theatre in 1989--when Sarah Brightman was the special star, working with the same music and most of the same songs--is now a much more crassly commercial event: a money-making sampler for convention halls, not to say county fairs.

This criticism is not about the music. If you didn’t love it a priori , you wouldn’t suffer the hurdles of traffic, parking and price to attend a concert bearing Lloyd Webber’s name. Under the energetic baton of conductor Paul Bogaev, the 37-piece orchestra is in exuberant spirit and form. The performance of the music is the best part of the evening. But not its volume.

Why amplify it to such shattering levels? The “Phantom” riffs felt Thursday as if the earthquake ride at the adjacent Universal Studios Tour was beneath our feet. Lloyd Webber is credited with supervising the concert (and was there at the curtain call), but even he must know that this is not exactly music to enjoy temblors by. There’s such a thing as feeling the music, but this is absurd.

This vote for loudness creates all sorts of other problems. The chorus of 12 (six men and six women) is fine as a group. Singing solo is another matter, particularly when it comes to the women. More often than not, they seem to strain, to compete with the orchestra. Outfitted in background-blending variations of black by Frank Krenz, they take undistinguished turns as Evita (“Evita”), Grizabella (“Cats”), Mary Magdalene (“Jesus Christ Superstar”), Christine (“The Phantom of the Opera”) and the woman in “Song and Dance.”

They shall remain anonymous.

Of the guys, only Ray Walker shows real stature in a selection from “Jesus Christ Superstar.”

Things improve dramatically when Crawford comes on just before intermission to do “Gethsemane” from “Superstar” (though his impeccable diction only points up the silliness of the Tim Rice lyrics). He, at least, is a vocal match for the orchestra, though his patter is both expendable and unneeded.

Crawford’s post-intermission “Phantom” selection, including his signature “Music of the Night,” negotiates the cavernous hall with ease. And an amorous moment as Raoul in “All I Ask of You” brought an audible tremulousness Thursday from the women in the audience. But, except for dyed-in-the-wool Crawford fans, there wasn’t much magic there.

What was missing from the moment is what’s missing from this concert: Intimacy--the romantically conspiratorial element of the real “Phantom,” played at the proper volume and behind the mask. Only with his exceptional rendition of “Tell Me On a Sunday” did the real and unchallenged Crawford wizardry kick in.

On the whole, though, it’s hard to believe that all that is substantially different from the concert at the Shubert 18 months ago is the gender of the special guest star.

Both stars are special, but the events don’t compare. Not even the tone of the music , more intent on knocking out the crowd here, than on standing on its own. With fewer seats to be sold, no doubt, the prices were also steeper at the Shubert ($35-$60) than at Universal ($34.50). But they bought a lot more class for the buck.

However, the situation changes Sunday when the show moves to Irvine Meadows. There, ticket prices range from $27.25 all the way to $252.

Caveat emptor.

“The Music of Andrew Lloyd Webber,” Universal Amphitheatre, 3850 Lankershim Blvd., Universal City. Today only, 4:15 and 9 p.m. $34.50; (818) 777-3931. Also at Irvine Meadows, 8800 Irvine Center Drive, Laguna Hills, Sunday-Monday only, 8 p.m. $27.25-$252 (714) 855-4515. Running time: 2 hours, 30 minutes.