The Show that Started It All
Phantom of the Opera at Gammage Auditorium
**** (out of *****)
Mark S.P. Turvin
(w) 965-1021  (h) 894-5443
I can be reached for comment via e-mail at: mspt@asu.edu

	In the early 1980's, Phantom of the Opera, along with Les 
Mis, established the 'spectacle' trend in the West End and on 
Broadway. These are big budget, big star, big set, big ticket 
price shows that are meant to dazzle. Theatre people and critics 
tend to look down on these kind of shows. At their heart, they 
tend to be a lot of sound and fury, signifying nothing. The most 
recent production of Mr. Webber's Joseph and the Amazing 
Technicolor Dreamcoat at Gammage bears that out. But Les Mis and 
Phantom, in retrospect, are much better crafted shows than the 
imitators that have come since, making them the best of this 
particular genre. If Mr. Webber gives the people what they want, 
who's to fault him? Obviously not the audiences that flock to this 
show. With Phantom, he was at his best, and this production 
justifies his audience admiration and subsequent theatre snob 
scorn. 
	Making it's triumphant return to Phoenix, Webber's Phantom 
has once again taken over Gammage Auditorium with much fanfare and 
hullabaloo. During this holiday season, it's more chic to say 
"I've got tickets to Phantom," than "I've got tickets to the 
Suns." What is it that makes this show such an instititution? The 
only way for a person to know is for them to experience it for 
themselves. At least this reviewer heartily believes that.
	Hal Prince, Broadway's mega-director, has put together a 
touring company that is nearly as spectacular as his original 
Broadway production. He has peppered it with talent that is, in 
some cases, even better than his original. He has directed it so 
that the occasional textual flaw in the piece is still visually 
interesting. With great scenic and lighting design by Maria 
Björnson and Andrew Bridge, a great cast headed by Sarah Pfisterer 
as Christine, Lawrence Anderson as Raoul and Rick Hilsabeck as a 
somewhat vocally weaker Phantom, great direction, and Webber's 
flawed but emotionally-packed score, it's hard for a critic to 
justify telling people to steer clear of a show. Others may find a 
way, but I, for one, have no intention to.
	Sarah Pfisterer as Christine Daaé, the Phantom's obsession, 
is a better performer, both in acting and vocally, than the famed 
Sarah Brightman. Her vocal diction is clear and she hits the 
difficult high notes without any fear or trepidations. As her 
love, Raoul, Lawrence Anderson is a powerful actor and singer, and 
is many times better than a second male lead has any right to be. 
If Webber's score had given him the chance, he might have stolen 
the show away from the Phantom. This role, though, is meant to be 
a second fiddle, and Mr. Anderson never really gets that chance.
	As the Phantom, Rick Hilsabeck is a great actor, and a weaker 
vocalist. Acting-wise, he outshines Michael Crawford's muggings in 
the role. His tormented portrayal of the shunned Phantom who goes 
to desperate measures to win the love and affection of his vocal 
student is emotionally charged. His singing was more hesitant, 
though, and lacked some grace and assurance. Despite these 
waverings, his presentation was still a joy to wach and did little 
to hinder the production.
	The rest of the cast was vocally impressive, and overcame the 
weaknesses of the script and score very well. Perhaps sensing 
Webber's problems with group numbers where three or more 
performers are singing seperate thoughts in unison, the actors 
were able to indicate their thoughts and feelings where the words 
and music failed them.
	Ms. Björnson's set and Mr. Bridge's lighting never overwhelm 
the performers, but never fail to send shivers up an audiences 
spine. The famed 'chandelier' may be a bit of a disappointment to 
an audience member who is expecting Lucas and Spielberg, but the 
candle and candleabra-filled Phantom's lair and the boatride 
getting there deserve applause for their mastery. Martin Levan's 
sound design failed in Gammage, though probably not for any fault 
of his own. The only true letdown of the evening was the 
orchestra, which goofed on many occasions, and seemed out of sync 
with the rest of the show.
	Critics will always call this and other spectacle shows 
"fluff" and the "death knell of Broadway theatre," but despite all 
of the dire pronouncements, the audiences still plop down the big 
bucks to see these shows in droves, and fortunately, touring 
companies like this one continue to give the audience everything 
they pay for.

Production Details:
Phantom of the Opera by Charles Hart and Andrew Lloyd Webber
Gammage Auditorium, Tempe
965-3434
December 18-, 1995
$15.50-$45

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