REVIEW: 'Phantom' at BDT

 All roads may lead to Rome, but not all worthy musicals come from Broadway or London. The U.S. has numerous vibrant regional theaters that develop and produce original shows. Andrew Lloyd Webber's Phantom of the Opera hit the big time through its London and Broadway blockbuster productions, but Arthur Kopit and Maury Yeston's American version of Gaston Leroux's 19th century potboiler melodrama is smarter, and ultimately more satisfying.

Boulder's Dinner Theatre's outstanding current production of the American version of Phantom reveals strengths and weaknesses that prove the show is eminently stage worthy and entertaining, but probably wouldn't have done well in New York anyway.

First of all BDT's production of the Kopit/Yeston version MAKES SENSE. Unlike the Andrew Lloyd Webber spectacle, care has been given to telling a sensible story, developing its characters, and articulating a theme instead of merely creating a series of moments and moods. It should come as no surprise that this literate version effectively translated into a television mini-series, something the Webber version could never have done.

A beautiful young song seller (Maggie Sczekan) is "discovered" by a wealthy count (Brian Jackson), and sent to the Paris Opera House to begin an apprenticeship. But the new owners of the Opera House (Joanie Brosseau and Scott Beyette) have fired the longtime and sympathetic manager (Brian Norber), and the jealous diva puts the prodigy to work making costumes. A mysterious Phantom (Markus Warren) privately polishes her musical gift and pressures the company to let her perform. Conflict arises, pranks take place, but the body count is low, because the Phantom isn't a monster, just a misunderstood outcast.

This is more Gothic romance than horror fiction, so the Phantom turns out to be a tragic hero with serious mommy and abandonment issues. His facial deformity is the least of his worries.

There are no plunging chandeliers, fire balls or other empty and pointless spectacle, although there are some very nice effects. It's great to see a show that has enough depth that it doesn't need to hide behind six or seven-figure production budgets.

On the other hand, the MUSIC of the Kopit/Yeston version is no match for Webber's. There really aren't any hit songs, and some tunes sound deceptively simplistic, like variations on running through scales. Audiences aren't likely to flock to iTunes to download the soundtrack. It's enjoyable, serviceable, and at times emotionally engaging music, but not particularly memorable.

I've never seen a shabby, sloppy or lazy performance at Boulder's Dinner Theatre. These are consummate professionals, at the top of their game, and they give it their all. It's great to see a combination of long-time favorites and new faces in the tightly-knit ensemble.

Phantom is an odd choice for a holiday show, but it definitely works as a mid-winter musical offering. It's dark, deep, brooding and richly rewarding. But come Spring I'm going to be more than ready for a light-hearted, light-headed offering, like the delightfully dipsy The Drowsy Chaperone, which plays at Boulder's Dinner Theatre February 24-May 13, 2012.

Phantom performs at Boulder's Dinner Theatre through February 18. Prices start at just $35, and include both the performance and dinner served by the stars of the show. Call 303-449-6000 or log on to www.bouldersdinnertheatre.com  for information and reservations.