BrightSide Theatre’s “Phantom in Concert”/Photo: BrightSide Theatre
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“Phantom” by Arthur Kopit and Maury Yeston was being produced around the same time as Andrew Lloyd Webber’s “Phantom of the Opera,” but Lloyd Webber beat them to the punch, resulting in a lesser-known but well-received version more closely based on the original novel by Gaston Leroux. Now, the Phantom stalks the catacombs of Naperville in “Phantom in Concert,” presented by BrightSide Theatre through January 18 at the Madden Theatre. The “in Concert” refers to the format; not a full-fledged stage production, instead with singers dressed in black set on risers surrounded by a small yet mighty chamber orchestra. In between songs, the actors engage in dialogues and soliloquies that flesh out the narrative, which delves deeper into the backstory of the Phantom than the Lloyd Webber version.
In an introduction to the show, BrightSide artistic director Jeffrey Cass says that they had considered doing a full-fledged theatrical production of “Phantom,” but budgetary constraints led to a choice between scrapping the project or just presenting the music. They chose the music. This “Phantom” is very operatic, has a variety of melodies (as opposed to Lloyd Webber’s repeating motifs) and sophisticated harmonies.
In the Madden Theatre’s intimate setting, the music is strikingly intense. Emily Lewis as female lead “Christine” is marvelous—singing across multiple registers, her transitions from note to note feel like velvet sliding across your eardrums. Lewis nails the “small-town girl in the big city” trope with wide eyes and apprehensive gestures, like when she meekly seeks employment from Cholet (Stan Austin), the kind-hearted owner of a theater, or naively falls for a deception by his duplicitous wife and fading starlet, Carlotta. Julie Ann Kornak plays the latter with vivacity, and her rich soprano vocalizations sugarcoat the character’s smoldering resentment at having to compete with Christine. A duet between Christine and suitor Philippe (Joe Moerschel) is the optimum blending of voices and absolutely drips with passion.
Caden Cole plays the titular Phantom like an anxious teenager, but one with a smooth baritone voice. While this Phantom lacks the debonair and spookiness of other iterations, he does come across as more human—particularly before the finale, in a heartbreaking scene between him and his estranged father, Gérard (Michael Rivera). After being discovered by Christine, he gives her music lessons, and is at first standoffish, but his irate personality begins to melt away as their melodies intertwine. Although the program cites the period as the 1880s, Cole’s performance could be a template for a new, more modern portrayal of the Phantom.
For fans of the property, there are plenty of reasons to experience “Phantom in Concert.” More backstory is given to the characters, especially the Phantom himself. The ending is not cryptic and provides a sense of closure to the story. The entire ensemble is a delight, and the sound design, though a bit hot at times, does not let a single note escape the sweeping harmonies. Music by Yeston has less pop music-inspired hooks than Lloyd Webber’s version but excels in form and melody. A new Phantom stalks the streets of Naperville.
BrightSide Theatre presents “Phantom in Concert” through January 18 at Madden Theatre, 171 Chicago Avenue, Naperville. Tickets are $37-$42, available at brightsidetheatre.com.
