‘Phantom’ Reveals Refreshing Change

Arthur Kopit and Maury Yeston’s “Phantom” was given its Southern California premiere by Musical Theatre West in 1993, and the company is reviving that staging as the second production in its new home at the Carpenter Performing Arts Center in Long Beach.

For those who are only familiar with the Andrew Lloyd Webber version of “Phantom,” the Kopit-Yeston musical holds some interesting surprises. Kopit’s book is stronger romantically than Lloyd Webber’s, more suspenseful and contains an original score by Yeston. It’s the kind of show one can sit back, relax and sink into.

There are problems with this production, but they’re mainly technical. The loud gratings of moving scenery between scenes perhaps can’t be helped, but they do detract from the action. Flying scenery arriving seconds too late also detracts from the smoothness of the staging.

Outside of those minor grievances, director Gary Gordon’s staging is well set up, particularly in his casting. Aligned with Todd Helm’s fervent musical direction, particularly in the second act, Gordon keeps things moving at a good clip, lets the soft moments simmer, and allows the melodrama to explode at the right times.

The major roles are well-acted, not always so in the case of musicals, and vocally they are all top-notch. That’s particularly true of Perry Stephens, as Erik, the Phantom. His rich baritone seems held back most of the time, to good effect, but when necessary, Stephens fills the auditorium in fine style.

Although she is inclined to be a bit brittle at big volume, Karen Culliver is equally effective as the naive and talented Christine, for whom the Phantom lusts.

As ousted director of the Paris Opera, and also Phantom/Erik’s father, Jack Ritschel’s stolid intensity fits the character to a T. He’s particularly effective, along with Stephens, in the powerful Act 2 scenes between father and son. As the villainess Carlotta--the comic relief in the show--Lucy Daggett is very funny, especially when her songs require her to prove she’s a bad singer, which is a very neat trick for a good singer to pull off.

The man you know Christine is going to wind up with, the charming Count Philippe de Candon, is played by Danny Michaels with savoir-faire and a very solidly rounded characterization.

Hank Wilson is bumblingly amusing as Carlotta’s wimp of a husband, and the Act 2 ballet describing the Phantom’s birth and childhood is nicely danced by Chad Everett Allen and Ruth Fentroy; the adolescent Erik is touchingly and effectively portrayed by young Erik Altemus.

*

“Phantom,” Carpenter Performing Arts Center, 6200 Atherton St., Long Beach. Thursday-Friday, 8 p.m.; Saturday, 2 and 8 p.m.; Sunday, 2 and 7 p.m. Ends Sunday. $15-$35. (562) 985-7000. Running time: 2 hours, 40 minutes.

Perry Stephens: The Phantom

Karen Culliver: Christine Daee

Danny Michaels: Count Philippe de Candon

Lucy Daggett: Carlotta

Jack Ritschel: Gerard Carriere

Hank Wilsonl: Alain Cholet

Ruth Fentroy: Belladova

Chad Everett Allen: Young Carriere

Erik Altemus: Young Erik

A Musical Theatre West production of Arthur Kopit and Maury Yeston’s adaptation of Gaston Leroux’s novel “The Phantom of the Opera.” Produced by Paul Garman. Directed by Gary Gordon. Choreography: Lee Martino. Musical direction: Todd Helm. Scenic design: David Mitchell. Lighting design: Raun Yankovich. Costume design: B Modern. Wig/hair design: Debbie Wilson. Special effects: Rick Helgason. Production stage manager: Lisa Palmire.