Review: THE PHANTOM OF THE OPERA at Broadway At The Hobby Center

THE PHANTOM OF THE OPERA opened in London's West End during 1986, and has remained there in Her Majesty's Theatre and subsequently on Broadway at the Majestic Theatre ever since. It holds the distinction of being the longest running Broadway show of all time, as well as the most financially successful entertainment event to date. The popular musical features melodic compositions by Andrew Lloyd Webber with additional lyrical contributions from Charles Hart and Richard Stilgoe. The story is an adaptation of the original novel by Gaston Leroux with hints of an earlier musical treatment by Ken Hill which tells the story of a romantic triangle between dancer/singer Christine, her noble suitor Raoul, and the titular Phantom who haunts a Paris Opera House.

PHANTOM's power has always resided in the magic of the show being a technical marvel with crashing chandeliers, misty boat rides, hundreds of candles, and pyrotechnic flashes everywhere. Tours of the show often have a hard time competing with what audiences have come to expect from the original visions seen on Broadway and the West End in theaters that have been adapted for the demands of the Phantom. But no worries for ticketholders here! This "new vision" currently at the Hobby Center in Houston features inventive sets by Paul Brown. It debuted in 2013, and comes with a 54 piece cast plus orchestra along for the spectacular ride. It is one of the largest tours ever mounted and it keeps the spirit of the first production alive. Apparently it was overseen by original producer Cameron Mackintosh, and includes some of the original design concepts by the late costumer Maria Bjornson.

The strength of this incarnation of PHANTOM OF THE OPERA lies mainly in the cast, anchored by three impressive leads. Chris Mann plays the Phantom, and he is best known to audiences as a contestant on the second season of NBC's hit THE VOICE. The classically trained singer from Wichita came in fourth on that show, but here he clearly triumphs throughout the performance. His Phantom is strong in voice, and he nails both the singing and acting with equal parts technique and passion. It states this is his dream role, and it's hard not to see why. He's a powerhouse in all the moments that is called for from him. He soars, and he is easily the reason to grab a seat for this one. Katie Travis as Christine can pull off both the operatic sequences as well as the more pop music moments that hide in the score. She's onstage almost the whole time, and her throaty delivery impresses for the most part save for times when her lower register has her quieter than usual. She's an impressive actress who sells the idea of a woman torn between a man and a monster easily. Finally there is Storm Lineberger who gives a good reading of Raoul, the male romantic love interest who is given not as much to do as his paramour and her spectral stalker. He is solid enough, even when he is outshined by the far flashier Phantom. The supporting roles are equally well filled, and the chorus is nothing short of amazing. Jacquelynne Fontaine relishes every last note as the opera diva Carlotta, and she stands out among the rest of the cast. The singing from all of the ensemble is well executed, and the choreography zings by gracefully. They create the whirling dervish of an opera house gripped by fear and panic effectively.

On the technical end of things, the sets are well done with an inventive spinning music box appearance throughout. They take full use of two stories and spin around the different locales with ease and fluidity. Stairs appear from nowhere, the opera house erupts in flames, and the Phantom's misty layer pops out of the murk. This may be a tour, but it never feels scaled down with the scenery and technical effects except in one notable case. About the only disappointment may be the signature chandelier that appears in the show. It's pretty, but it never comes crashing down towards the audience at a dangerous rate. Instead it shoots flames and flickers, shaking but looking pristine and high above us at an all too safe distance. It does extend down a bit towards the audience, and it's gorgeous to look at. The Phantom effects come off well, including shadowy figures everywhere and flames blasting out where appropriate.

The costumes are credited to original designer Maria Bjornson, and they do look true to the source to a degree. Still, much of it looks new. Definitely the Masquerade looks have changed significantly, most notably with the Phantom who no longer appears in the expected Red Death outfit. Christine's numerous looks are kept faithful, but she is occasionally seen in new interpretations as well. I wonder how they can credit a woman who passed away in 2002 when there are clearly new additions and reimagining of several scenes. In truth though, all the choices work whether new or old.

Broadway at the Hobby Center has brought Houston one of the best touring versions of PHANTOM OF THE OPERA out there, and it notably soars hitting most all of the notes we demand. Audiences should have an absolute blast at this one. They will get to see a wonderful interpretation of the Phantom from Chris Mann who proves he is more than just a reality television phenomenon. The tech is magical, the costumes are beautiful, and the cast is up to the challenge. The only shortcomings come from the logistics of taking this production on the road, and having to tone down certain things such as the crashing chandelier. You won't notice though, because in the end this one works well enough to satisfy your cravings for the music of the night. During the climax with the Phantom, Christine, and Raoul battling it out for each other's love, the audience was spellbound and believers. It's certainly worth a visit to the Hobby Center this year to see!

PHANTOM OF THE OPERA runs through November 29th at the Hobby Center for the Performing Arts downtown. It is presented by Broadway at the Hobby Center. Ticketing information can be found at www.thehobbycenter.org/ . Tickets are limited at press time for all remaining shows.

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