'Phantom of the Opera' Is Still Phantastic After All This Time

music by Andrew Lloyd Webber directed by Harold Prince at the Wang Center through September 15

You've seen the newspaper ads. You've heard the radio commercials. You've probably even heard random people in the Square talking about it. It's been here before, and after much ado and praise, it's here again. You stop and wonder to yourself, "Is it really worth all this hype? Can any musical in existence live up to the expectations people have created for it? Most of all, is it really worth going through the hellish hassle called TicketMaster to get tickets to "The Phantom of the Opera?"

The answers, to all of the above questions, are as follows: Yes. Yes. And you bet your Mastercard or Visa.

Set in the glorious splendor that is the Wang Center, the latest production of "The Phantom of the Opera" to hit Boston lives up to--and beyond--the legend it has created for itself. From the magnificently ornate costumes to the familiar and crystal-clear melodies rising from the orchestra pit, the now world-famous production is still a breathtaking waltz into the heart of the most romantic lunatic that ever lived.

Although some may find the fact a bit disappointing, "Phantom" refuses to become a melodramatic, action-packed dance routine. It boasts neither the heart-wrenching moments of "Les Miserables," nor the mind-blowing special effects demonstrated in "Tommy." Rather, it relies solely on the strength of its music, and on the voices of its actors. Fortunately, since every member of the cast sparkles with talent, this sets the stage for a performance that could easily be enjoyed with one's eyes closed the entire time.

Even the minor characters are easy to appreciate. T.J. Meyers and Ian Jon Bourg draw many smiles and even occasional laughter from the audience as the perplexed and frustrated theater owners, Firmin and Andre, respectively. Carlotta, played by Kelly Ellenwood, makes and excellent egotistical prima donna. However, in this particular production, she seems more pitiful and needy than she does vicious and greedy. Her companion, Piangi (Stefano Fucile), possesses both a self-esteem and a voice pompous enough to match hers. Hating the two of them is still enjoyable, but not exactly a pleasure.

Olga Talyn's version of Madame Giry is another marvel to behold. Her simple presence as well as her voice breathes ominous foreboding, yet perfect control. Lawrence Anderson also gives a wonderful performance as Raoul--strong, yet not too over-powering.

But the true strength of the performance is drawn from its two central characters of Christine (Sandra Joseph) and the Phantom (Rick Hilsabeck), and rightfully so. Joseph's melodious voice reflects a variety of emotions as well as a wide range of musical talent. From enchanted protege to frightened secret lover to, finally, enraged victim, her version of Christine emits a perfect balance of both weakness and strength, and both rapture and terror.

As the title character, Hilsabeck is truly nothing short of phenomenal. The screaming, angst-ridden lunatic he portrays running around in the depths of a theater send chills down the spine of even the most placid audience member. Yet the same Phantom sings such rich, warm ballads of love to his kidnapped victim that the once-horrified audience, like Christine herself, is drawn to tears of pity. That Hilsabeck can evoke such compassion and adoration as well as inspire such fear as the tortured and love-starved Phantom is truly the mark of a genius.

What also makes this production of "Phantom" particularly delightful is the constant attention to details it demands. During Christine and Meg's haunting duo "Angel of Music," the ghostly ballet dancers practicing in the background delicately foreshadow the dramatic turn the play is about to take. The overjoyed expression radiating from Christine's face throughout her first performance number which, ironically enough, is a depressing song of lost love entitled "Think of Me," only added to the show's appeal.

Unfortunately, "Phantom's" only real drawbacks are its attempts at special effects. With a musical score of this caliber, stage tricks such as shooting fireballs and a chandelier falling in slow motion almost draw away from its dramatic power. The constant flashing of light as the chandelier rises to the ceiling during the overture is particularly annoying. Audience members may wonder whether they're at a monster truck show or an opera.

Nonetheless, Boston is extremely lucky to have such an incredible show within its city limits, even if it is for only a month. Brave the often-frightening prices demanded by TicketMaster for often-mediocre seats. The ambiance alone of "The Phantom of the Opera" is worth the high cost, and appreciating the musical talent it seeps with will more than pay you back. Go ahead and spring for the tickets. From the moment the chandelier rises to the instant the last note echoes off the stage, you too will be spellbound in wide-eyed wonder.