THEATRE REVIEW:
“PHANTOM OF THE OPERA” at the Civic
Theatre & “SUDS” at the San Diego Repertory Theatre
KPBS AIRDATE:
(MUSIC: “Phantom” organ chord opener)
Oh, those
famous “Phantom” chords. Ominous. Portentous.
Repetitive. Nothing has done
more to promote the sound of an organ since the roller skating rink. And now, at long last, the masked man is
close enough to.... skate to. You don’t
have to drive to
If you’re
already a Phantomaniac, have no fear.
This is no scaled-down, watered-down road show. The disfigured one is here at the Civic
Theatre in all his phantasmagoric glory.
Accompanied by his 10-foot-high, 1000-pound falling chandelier, one
elephant, 141 candles rising from the floor, 22 scene changes, 36 performers,
16 musicians -- all carted in on 20 48-foot semi trucks. You won’t miss a trick. And basically, it’s all trick and shtick.
As you may be
able to surmise, this isn’t my favorite show, and Andrew Lloyd Webber isn’t my
favorite composer. He typically has one
major number per musical, and he beats it to death till you can’t help but
remember the damn thing. In fact, you
only wish you could get it out of your head.
Maybe “Phantom” is his biggest blockbuster because it’s got about three
songs which are done and re-done to distraction. But this production is incredibly well sung.
The cast is
really first-rate. As the musical
monster, Rick Hilsabeck may not have the knock-you-outta-your-seat charisma of
Michael Crawford, but he’s easily got as good a voice, pure and sweet and
crystalline. He’s also a very lithe and
sensual Phantom. As Christine, the
object of his perverse affections, Sarah Pfisterer is a delight: pretty, agile and vocally perfect.
The ensemble is
musically robust, with full support of all the costumes, scenery and
techno-wizardry you could ever want.
Trouble is, it’s heavy on trimmings and light on the main course. Like inventive, non-derivative music; decent
dialogue; and characters that, besides the Phantom, have more than two
dimensions. As I’ve always said, they
just don’t write ‘em like they used to.....
But it’s here, and it’s ours (for a time), and I guess you’ve just gotta
see it at least once.
Now this is
your third opportunity to see another light-weight musical, home-grown, but
filled with vocal talent and songs you can’t seem to forget. “Suds, The Rocking ‘60s Musical Soap Opera”
has just been extended once again at
the San Diego Repertory Theatre. The
original version debuted at the Rep in 1987, then it went to the Old Globe and
Off Broadway, and now it’s the opener for the Rep’s 20th anniversary season.
Like its
kissing cousins, “Forever Plaid” and “Beehive,” you don’t come to this show for
the story line, a goofball affair about a young fluff ‘n fold laundromat worker
who’s suicidal after being dumped by her boyfriend on her birthday. Enter three guardian angels to rescue her
from drinking liquid bleach, and teach her a little about love. Mainly, though, it’s about the music,
wonderful songs ranging from “It’s My Party” to “You Can’t Hurry Love,” and the
deeply meaningful “Do Wah Ditty Ditty.”
(“Suds,” under, “Do Wah Ditty”) That about says
it all....
But the show is
lively, often funny, and very well sung by four super-talented folks who keep
you in a whirling spin-cycle for two hours. It may be mindless, but it’s good
clean fun, and you don’t feel as if you’ve been hung out to dry.
(MUSIC: Out
with “Suds” Finale)
I'm Pat Launer, KPBS radio.
©1995 Patté Productions Inc.