Paliku Theatre resurrects Hawaii’s ‘Phantom’ love affair

KANEOHE—The Phantom of the Opera is a spooky story. Which is fitting as we slide into the season of All Hallows Eve, Samhain, and Dia De Los Muertos. 

For those still hoping to sing once again with the Phantom, and don’t have tickets, fret not. The Paliku Theatre performance of the Broadway classic has been extended through October 23. And while reserved seats have sold out, each show will have 40 temporary seats available to those in person at least one hour before showtime.

The show is a big budget production brought to life by a talented, local cast and crew. Phantom is a tale of man’s inhumanity to man. And of man’s (and woman’s) ability to be humane and to find compassion even in the darkest hour.

The story’s latest incarnation on Oahu’s Windward side is guided by director Ron Bright and features costumes by Evette Tanouye Allerdings, who won a Pookela award for last year’s The Velveteen Rabbit at Paliku Theatre. While technically sound, and pulsing with difficult dance numbers, Phantom takes some unexpected risks, but is anchored by an amazing orchestra that will keep Hawaii’s audiences engaged.

Andrew Lloyd Webber’s original Phantom compositions feel like a sort of classical/pop fusion, but never did much for me personally. Nevertheless, the orchestra, under the guidance of musical director Clarke Bright, executed perfectly at Paliku Theatre.

The singing in Phantom was spectacular as well. Particular praise goes to the voices of our leads, Miles Wesley and Lydia E. Pusateri, playing the Phantom and Christine Daae, respectively, as well as Jaime Blu Craycroft in the role of Carlotta.

While the skill level of the dancers was also truly impressive, it was a shame that some of the dance numbers were so out of sync that one had to wonder if it the choreographer was actually going for a cannon effect.

One of my favorite dance scenes, however, was The Masquerade. Although the choreography was simpler than many of the other dance numbers, it was also the most visually stimulating moment in the show. This is a testament to the fact that complicated is not always better. I was a little distracted by the fact that a monkey character was unmasked while every other actor on the stage, including the lead characters, were all in masquerade. Despite that minor detail, this scene was just delightful. Particularly engaging was the moment toward the end of the scene, when the entire cast turned eerily toward Christine Daae, illustrating her lonely and precarious position at this point in the play. Well done!

I was also delighted by the three bawdy powdered wig characters who appeared between scenes in the first act. They were wonderfully refreshing both visually and energetically.

In a musical with such demanding dance and song, it is usually the acting that suffers. And while Pusateri and Wesley were excellent vocally, their chemistry together did not sizzle.

It’s in the Labyrinth Underground that we experience the rich, dark emotion that has given Phantom it’s staying power. Wesley’s voice is as impressive as his biography. His portrayal of the archetypal Phantom is technically perfect. Yet it felt almost as though he and his counterpart were just going through the motions. I wanted them to give me more than passionate lyrics and repetitive gestures to convey the ecstatic tension between their characters.

It is not until her duet with Raoul on The Roof of the Opera House that the character of Christine comes to life. Although she was on stage with Kyle Malis, it was here that Pusateri conveyed Christine’s mixed emotions toward the Phantom. Both Pusateri and Malis found their moment to shine in this scene. The audience was able to catch a glimpse of the inner struggle of the artist, vacillating between her creative world. Here, Christine manifests in her strange relationship to the phantom, and her desire for safety and peace, which Raoul represents for her. 

Special nods of appreciation, acting-wise, should go to Douglas S. Scheer in his role as Richard Firmin, who possessed an ease and presence in his character that made every scene he was in a pleasure to be a part of. And to Jaime Blu Craycroft who, in the role of Carlotta, was absolutely satisfying both to watch and to listen to. Granted, the part of the spoiled prima donna is a much simpler role than that of the tortured ingenue, which Pusateri had to wrestle with. But Craycroft pulled it off deliciously. And she knew how to work that wig! (Unfortunately most of the other wigs worn by the company were downright distracting, not the least of which was Pusateri’s, which seemed to be wearing her rather than vice versa.) Also, Marlise Ahuna and Madison Eror as the mother and daughter pair of Madame and Meg Giry, were excellent in their key supporting roles.

My least favorite scene had to be the Graveyard. For this I cannot blame Ron Bright, nor the cast.  In fact, I honestly can say that this was my least favorite scene 20 years ago when I saw the Phantom of the Opera performed by a stellar Broadway cast in San Francisco. It seems extraneous, repeating the same sentiments we have already heard and adding no forward motion to the story.  There is also a tension that is broken by taking the characters, especially the Phantom out of the Opera House altogether just for this one strange scene.

Congratulations do go to Ron Bright as well as his designers, stage manager, and technical crew for fantastic work on the technical end. The chandelier, the boat, and the labyrinth could not have been easy or cheap to pull off. And then there’s the almost tragic irony of the giant elephant, which is so sweet and lovely and makes such a brief appearance. My hope is that I will see this elephant again, perhaps in a First Friday gallery walk, or, even better, ensconced in a public place as a permanent art installation.

There were some technical conventions that were confusing, however. But if the audience does their part and employs their suspension of disbelief it’s easily remedied. When the Phantom’s mask is wrenched off and his gruesome face revealed, we are let down ... what is it? The supposedly grotesque face underneath the mask looks like a few bandages. We need to see something horrible to evoke the proper emotional reaction, or don’t let us see it at all. Also, in Beyond the Lake, the figure of the woman in white, presumably Christine Daae’s reflection, left us wondering ... as did the first dead body which fell to the stage. I wasn’t sure if it was supposed to be a real person or just a warning.

I have to admit to also wondering what someone would get out of doing such a complicated, budget intensive production, which requires such a large company, when it has already been done professionally around the world. Where’s the artistic discovery in that? But judging by the turn out and positive community feedback, while I may not be completely alone in this query, I am definitely outnumbered by folks who are either hardcore Phantom or just love a classic and will throng to see it again and again. I saw Phantom on a Wednesday night and the company played to a full house. I guess the proof is in the pudding!

Kudos to the musicians, the singers, and the large ensemble cast for the immense amount of effort that goes into pulling off such a spectacular piece of theater. Every single actor, musician, and dancer played their role with presence and dedication. If you have never seen Phantom of the Opera live, go see it at Paliku Theater. This local production does it justice.

For tickets and more information, visit www.hawaiionstage.com.