There has certainly been much written and spoken about the Green Bay run of Andrew Lloyd Webber's "The Phantom of the Opera" at the Weidner Center which continues for little more than one month. But has all the hoopla set audiences up for a disappointment? Or will this engagement meet the incredibly high expectations fueled by the press?
The tour, presented with direction by Tony Award winner Harold Prince with original sets, costumes, and choreography, employs several veteran Broadway performers.
Kimilee Bryant is stunningly beautiful as the haunted Christine Daae and incredibly talented vocally. The demands of this role could easily ravage even very experienced sopranos, but not Bryant. Her Christine is tender and touching, yet imbued with an inner strength.
Her lover, Raoul, is ably played by Jason Pebworth. Pebworth is dashing in looks and in fine voice. After years of work as an understudy, he has stepped masterfully into this role.
One character role commanded the stage: that of Madame Giry as portrayed by Mary Setrakian. Though Giry is a smaller part, she is vital. Giry's strength and dignity were consistently forward in the characterization.
Quite enjoyable were the two "stars" of the Paris opera. Carlotta and Ubaldo Piangi. Julie Schmidt has played a totally refreshing Carlotta. She did not allow the role to become a caricature, and her stunning voice is free of the throatiness one often hears in the part. Steven Stein-Grainger was fun as Piangi, but he seemed at times to stretch a bit simply for a laugh. His tenor is pure and smooth.
David Cryer and Richard Reardon are a fitting pair as the new managers of the Paris opera. Reardon in particular has a fine grasp on characterization.
As in any cast there can be weaknesses. One of these here is Diana Gonzalez as the young dancer Meg Giry. Gonzalez seems unable to hold her own vocally with the cast. Perhaps the casting department was searching for a "Dancer who can also sing."
And what of the Phantom? Brad Little has some incredible shoes to fill when most of the audience associates the role with Michael Crawford. But Little need not fret. He is absolutely marvelous.
This portrayal if the tragic "monster" created by his disfigurement and rejection by society is heart-wrenchingly real. One forgets he is a vengeful murderer in their sympathy for his love for Christine and his passion for music. Little's "Music of the Night" is mesmerizing - so subtle when soft and so soaringly powerful when loud. He uses not only his voice, but his hands to draw us in and manipulate us, just as the Phantom does Christine. This man exudes talent and class from curtain through the final bows. His make-up is a bit too red, looking like he was recently disfigured rather than having lived years in this manner. But that is not enough to diminish this once-in-a-lifetime portrayal.
The company is strong, harmonization is light When the cast sings the production numbers, one must sit up and lake notice.
The orchestra is obviously talented (one must be to perform Webber's music) but a bit subdued. One waited for the first organ chords to wash over and encompass, but they simply did not have that type of power. Perhaps a bit more volume is in order when the orchestra plays alone. The spectacle that audiences are seeking is present in the flash of beautiful costumes, and the impeccable set design. Particularly wonderful is the masquerade scene with its glitter and color. Rich curtains are used throughout the show. One must see the mirror in Christine's dressing room and, of course, the famous lake with candles under the opera house. So is the hoopla correct? Is the Phantom a must see event for northeast Wisconsin? Can this tour live up to the hype? In a word: Yes. In another "absolutely!"