STAGE REVIEW : In 100 Shows, New Phantom Gains in Power and Stature

One hundred of anything may not be more than an arbitrary benchmark, but in the case of Davis Gaines, for whom tonight will mark the 100th performance as the Phantom in “The Phantom of the Opera” at the Ahmanson Theatre, it is one way of marking maturation in the role.

When Gaines opened in the show last April 30, inheriting the mask from Michael Crawford without benefit of previews, he had seemed overanxious. He was straining where he needed to be sexy, pushy where he needed to be strong. But the vocal poignancy was there. So was the potential.

Now all has fallen into place. Gaines is giving a modulated and sensual performance that captures the Phantom mystique without overplaying its hand. The development is subtle but steady. He is vocally powerful, but physically restrained, leading up with ease to the final, climactic confrontations.

Three months ago, emotions were over the top, particularly in the graveyard scene in Peros. Now we sense the Phantom’s torment between the notes, as much as we hear it within them. The lovesickness of “Wandering Child” is both tentative and coiled. And it lunges with blind fury when Raoul arrives, disrupting not only the Phantom’s dazzling verbal manipulation of Christine, but thwarting his grander scheme of seduction as well. The scene has become a highlight of the show.

Not that this comes as much of a surprise. Even in his early performances, it was clear that Gaines, who had played Raoul in the Broadway production, only needed time to find the right emotional perspective. His portrayal is narrowly aligned with that of Crawford--an obvious choice among few that at least serves the phantasy’s intent to titillate.

Quite aside from one’s appreciation for the Andrew Lloyd Webber extravaganza (or lack of it), this Ahmanson edition of “The Phantom” deserves an award for maintenance. In the two years since it opened, it has lost none of its sumptuousness, spit or polish.

Dale Kristien, who’s been with it from the start, has grown steadily as Christine through three changes of Phantoms (Crawford twice, Robert Guillaume and now Gaines) and a couple of Raouls (Reece Holland who opened in the role, Michael Piontek who plays it now). She’s this “Phantom’s” anchor and absolute mistress of the part.

It is good then to report that a confident, unpressured Gaines has become a worthy match. But for those inclined to attend next week, be aware that Gaines won’t be there to stop the show. He’ll be in London cutting a record album of Broadway showstoppers for EMI.

* “The Phantom of the Opera,” Ahmanson Theatre, 135 N. Grand Ave., Music Center. Tuesdays-Saturdays, 8 p.m.; Thursdays, Saturdays, Sundays, 2 p.m. Indefinitely. $32.50-$50. (800) 762-7666. Running time: 2 hours, 35 minutes.