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Leads triumph in
DHT’s passionate,
dramatic ‘Phantom’"Phantom," at Diamond Head Theatre 8 p.m. Thursdays through Saturdays and 4 p.m. Sundays through June 11, except June 8. Tickets: $10-$40. Call 734-0274.
By John Berger
Special to the Star-BulletinSOME of the names are the same but the story is different in the Diamond Head Theatre production of "Phantom." The program notes explain that Gaston Leroux's 1891 novel, "The Phantom Of The Opera," has inspired at least "four classic movie versions, two contemporary movie adaptations, three television specials or miniseries, two satirical takes, one play with music and two Broadway musicals."
This version, written by Arthur Kopit with music and lyrics by Maury Yeston, is the third musical version to be staged in Honolulu. Fans of the macabre and the romantic will find that director/ choreographer John Rampage and his cast do a fine job with it. Three strong leads make this a memorable show.
Kopit opens his version of the story with Christine Daee (Melissa Short) singing on the streets of Paris. Christine's voice catches the interest of Philippe, Count de Chandon (Jeffrey Banks), a wealthy patron of the Paris opera. He gives her a note of introduction to the director of the opera, Gerard Carriere (Mike Galizia). Unfortunately for Christine, Carriere has been forced to retire. The new power broker at the opera is the arrogant and ambitious Carlotta (Mary Chesnut).
Carlotta doesn't want to do anything for beautiful young Christine, certainly not arrange voice lessons for her as Philippe requested in his note to Carriere. However, when Carlotta learns that Philippe is a wealthy patron of the company she makes a place for Christine in the costume department.
From his sanctuary in the catacombs beneath the opera house the Phantom (Larry Paxton) finds his tranquillity shattered by the grating voice of Carlotta and his dreams of love everlasting stirred by the voice of Christine as she sings to herself while sewing and repairing costumes.
The Phantom becomes Christine's mentor and protector. He falls in love with her and places his dreams for the future on the outcome of their relationship.
Kopit then adds backstory revealing the circumstances of the Phantom's birth and that he was named Erik, his brilliance and expertise as a voice instructor, and his subsequent life in the catacombs. Kopit's Phantom is neither a fiend nor an obsessed stalker but rather a scarred and lonely man who hears in Christine's voice the sound of his salvation.
"Phantom" becomes a dramatic triangle, but this time with Christine, the Phantom, and Carriere as the primary characters. Philippe appears once as Christine's suitor but is otherwise a secondary character.
Christine eventually wins Erik's heart. After repeated requests she persuades him to remove his mask then recoils from him in horror. Erik eventually says sadly to Carriere, "She just asked a little too much of me."
Set aside memories of other versions of the story and "Phantom" is a triumph for Paxton and Short. Yeston's score doesn't include tunes an audience goes home singing but there are several dramatic numbers that Paxton and Short bring to beautiful impassioned life.
Short makes a great impression. She's flawless from her first song ("Melodie de Paris") and is perfect opposite Paxton. "You Are Music" is their big number together and serves well as the romantic highlight of the show. They make a striking couple throughout.
Paxton delivers an outstanding performance as the Phantom. He has the voice, the presence, and the charisma for the role. Yeston's songs tell much about who the Phantom is and how he views the world around him, but Paxton uses his body to convey much of the trauma of the disastrous unmasking scene and does so perfectly.
Galizia is a strong and commanding presence throughout. He becomes the focal point as the narrator in " The Story of Erik" and is even more impressive in a tearjerking duet with Paxton, "You Are My Own."
Chesnut plays nicely over the top as the villainous Carlotta. It takes a lot of talent to deliberately sing badly and Chestnut pulls it off beautifully.
Kanoa Goo (young Erik) distinguishes himself with a heart-rending performance in "The Story of Erik."
Banks looks like a handsome man about town but never establishes Philippe as a serious threat to the Phantom when it comes to winning Christine. The Phantom wants her; Philippe doesn't appear to care.
Paul Guncheon (set design) has created a marvelous version of the opera house and the catacombs beneath. Dawn Oshima (lighting design) does a striking job accenting key figures throughout the show. Credit Kathleen Kamakaiwi (makeup and hair design), Sukey Dickenson (costume design) and Vincent Green (props master) with fine work as well. Sound problems were noticeable but mostly gone by intermission on Friday.
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