Theater Review—

‘Phantom,’ On Stage By Musicals At Richter, Is A Tribute To Singing

By Julie Stern

DANBURY — Just to clear up any possible confusion, Phantom, “the American musical sensation” by Maury Yeston and Arthur Kopit being presented this month by Musicals at Richter, is not the Andrew Lloyd Weber Broadway bash. No razzle-dazzle pyrotechnics here, no crashing chandeliers, not even a helicopter invading the stage.

Rather, as a reworking of the Gaston Leroux “beauty and the beast” fable about the masked monster who dwells in the netherworld of the Paris Opera, and falls in love with the young ingénue, Phantom is a tribute to the power of music – in particular, beautiful singing.

To this end, Musicals at Richter has made the show center around Amy Congden in the role of Christine, the young farm girl who is recommended to the Opera by its influential patron, Count de Chandon.

This is an excellent choice because Ms Congden combines a wonderful voice with a charming stage presence. Devoid of any vanity or arrogance, she nonetheless captivates not only the Count, but ultimately the Company, the Public, and most especially, the mysterious Phantom, who emerges from his lair to give her the classical training she needs (on the understanding that she never see his face nor reveal his relationship with her).

In the Kopit version of the story, the Count hears Christine singing on the street and sends her to see his friend, the Manager, Gerard Carriere. Unbeknownst to him, however, Carriere has been fired, replaced through the scheming of the would-be diva, Carlotta, and her parvenu husband, Alain, who, as the new manager, is in a position to make his wife the star of every production.

Flora orders Christine to work as a maid in the costume department, from where she is rescued by the Phantom, Erik, who is so appalled by Flora’s bad singing that he teaches Christine to sing operatically and she is soon recognized for the great talent that she is.

When Flora sabotages Christine’s debut as Tatiana the Fairy Queen, Erik strikes back, and behaves as a phantom should. There is some killing – but it is tastefully done, rather than with Grand Guignol style excess.

The story of Erik’s origins is revealed, and he meets his end knowing that Christine does appreciate him, without her being forced to make any excruciating choices (as she does in the “other” Phantom).

Director Donald Birely has come up with an essentially light, fast paced show that keeps the audience entranced. Although the first act contains no less than 15 scenes, the action flows smoothly without getting bogged down in laborious staging. This is a story set in opera house, about who is the better singer and how she gets to be that way, and the singing carries the show.

In addition to Amy Congdon, Beth Bria does an excellent job as the evil Carlotta, mixing comic exaggeration with a genuinely strong and effective voice (when she isn’t tormenting the Phantom with her off-key scales, that is).

Geoffrey Weglarz makes for a very sympathetic Phantom, particularly when he and Christine sing the duet “Lessons.”

William Lamoureux brings real acting skills to the part of Carriere, and Zachary Sanders is convincing as the playboy Count, who falls in love with Christine and becomes a more serious person as a result.

The entire production is another highly enjoyable success in Richter’s long tradition of summer entertainment, and definitely worth a trip out to the golf course with your picnic basket.

(Weekend performances continue to July 23 at Richter Arts Center, 100 Aunt Hack Road in Danbury.

Call 748-6873 for curtain and ticket details, and also for reservations.)