Theater Reviews : Fullerton’s ‘Phantom’ Has Spirit of the Original

When Andrew Lloyd Webber was putting together his “The Phantom of the Opera,” playwright Arthur Kopit and composer/lyricist Maury Yeston were putting together their own version. Hands down, in the future, the Kopit-Yeston “Phantom” will be the more revived.

For starters, Kopit went back to the original novel by Gaston Leroux, a powerful drama contrasted with the simplistic fluff of Webber’s coloring-book take on the goings-on at the Paris Opera. And Yeston provided a very listenable score, often quite powerful and totally original (unlike Webber’s, in which “Music of the Night” comes uncomfortably close to “Brigadoon’s” “Come to Me, Bend to Me”).

Furthermore, the Kopit-Yeston version is effective without the grand spectacle of Webber’s, as is proven in this top-notch production by the Fullerton Civic Light Opera at Plummer Auditorium. (Which isn’t to say that this show lacks spectacle of its own. The chandelier falls with explosive force--only one example here that theatrical legerdemain needn’t be elephantine to work.)

Gary Gordon’s direction is energetic and neatly balances the changes in rhythms from the play’s comic asides to its poetic romanticism and tragic overtones. Lee Kreter’s musical direction has the Broadway sound and feel, and Lee Martino’s fluid choreography helps, particularly in the flashback that describes Phantom Erik’s origins and his life in the catacombs beneath the Opera. Young Erik’s (Jonathan Lyons) first view of his grotesque face at age 9, reflected in a subterranean pool, is heartbreaking.

But it is the two leads, Robert Patteri as Erik and Victoria Strong as Christine, who give this staging its muscle and blood. Both have vibrant voices that provide Yeston’s melodies with memorable power and dramatic force. Strong is admirably contained in a role that could be overdone in less capable hands, and Patteri seamlessly blends Erik’s sensitive, boyish naivete, his passionate adoration of Christine, and his unnerving anger at his misfortunes. Patteri also gives Erik a telling sense of humor, often missing in the Phantom’s makeup.

*

Randy Gianetti’s volatile Count Philippe de Chandon doesn’t have the high style he might have; nor is he interesting enough vocally to make his duet with Christine the valentine it should be, and Richard Comeau’s Minister of Culture is little more than a silly caricature.

But Jack Ritschel’s solid and thoroughly detailed Carriere is an important presence. As Carlotta, the faded, unconsciously ludicrous woman who would be a diva, Jan Duncan stands out by keeping the character funny without acting funny, a neat trick. And Hank Wilson and Jamie Snyder are excellent as, respectively, Alain Cholet and Jean-Claude.

* “Phantom,” Plummer Auditorium, Chapman and Lemon streets, Fullerton. Thursdays through Saturdays, 8 p.m.; Sundays, 2 p.m.; Sun. Feb. 26, 7 p.m. Ends March 5. $13-$27. (714) 879-1732. Running time: 2 hours, 40 minutes.

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Robert Patteri: The Phantom (Erik)

Victoria Strong: Christine Daee

Jack Ritschel: Gerard Carriere

Randy Gianetti: Count Philippe de Chandon

Jan Duncan: Carlotta

Hank Wilson: Alain Cholet

Jamie Snyder: Jean-Claude

Richard Comeau: Minister of Culture

Jonathan Lyons: Young Erik

A Fullerton Civic Light Opera production of the musical by Arthur Kopit and Maury Yeston, directed by Gary Gordon. Musical direction: Lee Kreter. Choreography: Lee Martino. Lighting design: Donna Ruzika. Special effects: Rick Helgason. Production stage manager: Donna R. Parsons.