School’s ‘Phantom’ Production Well Executed
By Mona Seghatoleslami
IF YOU GO Capital High School presents Phantom of the Opera at 7:30 p.m. tonight, Friday and Saturday and 2 p.m. Sunday. Tickets are $10 for adults and $8 for students. Advance purchase recommended. Call 348-6500.
Even at a dress rehearsal where paint was still being applied to sets and final musical cues were being confirmed, Capital High School’s production of “Phantom of the Opera” was captivating.
Director Kathleen Corbett, with support from assistant directors Michelle Legg and Hannah Toney, production designer Robert Haddy and musical director Bob Scott, has helped the students put on a show that is impressive and enjoyable.
The strengths of this production can be seen in two very different scenes:
In the song “Masquerade,” from the beginning of the second act, most of the cast is assembled for a costume party. The costumes, especially the intricately designed masks, are stunning. The lavish staircase set is a perfect frame for the scene. The cast delivers excellent choral singing, while also moving gracefully together, and the orchestra provides strong accompaniment and rhythmic intensity.
On the opposite end of the spectrum, at the end of the first act, the Phantom sings a bitter reprise of the love song “All I Ask of You.” He is alone on stage, and his performance is simple, yet emotionally powerful.
From the intimate to the grandiose, this production has captured the bittersweet romance, creepiness and fun of Andrew Lloyd Webber’s “The Phantom of the Opera.”
William Stuck has a compelling presence as the Phantom, both when he is on stage and when he is only a disembodied voice. He captures both sides of the Phantom; in the first act, he is a sad and sympathetic character, while in the second, he subtly turns more menacing.
Sarah Pauley stars as the young singer Christine Daae, the Phantom’s vocal student and the object of his affections. She sings beautifully. Her voice is light and clear and sounds particularly lovely in the middle and higher ranges. She also nails all of the unforgiving high notes the Phantom demands of his student.
The role of Raoul, Christine’s childhood sweetheart who renews his affections after seeing her sing, is a difficult character to make likeable as the Phantom wins most of our sympathy and attention. Joseph Ta acts well, emphasizing some of the kinder aspects of the character instead of the condescension sometimes brought to the role. His softer voice is sometimes overshadowed by those of Stuck and Pauley, though.
Several strong humorous performances bring some lightness to a show that is mostly rather dark and sad. Micah Atkinson perfectly captures the character of Carlotta Giudicelli, an over-the-top, pushy diva. She is very funny, and her voice has great depth and power.
Edward Frederick, playing her counterpart Ubaldo Piangi, also sings very well.
Robert Haddy and Cameron Burford are a lot of fun as the beleaguered theater managers Monsieurs Firmin and Andre. They deliver well-timed banter in pleasant baritone voices.
Other supporting roles include Erin O’Neil as dance mistress Madame Giry, Jamiela Isaiah as her daughter, dancer Meg Giry, and Tyler Johnson as the stagehand Joseph Buquet.
Andrew Lloyd Webber’s music for “Phantom” is very challenging, but music director Bob Scott keeps the orchestra on track and balanced. There was some inconsistent intonation in the first half, but it improved in the second. I was most impressed with how the musicians never overwhelmed the singers, while also not letting important musical lines get lost in the thick scoring. Adding to the musical and visual spectacle is a strong chorus and some graceful dancers.
The sets and costumes are engaging depictions of the grandeur of a 19th-century opera house, and the special effects create some truly startling moments.
Originally published by For the Gazette.
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