Logan Moor – Courtesy of Beef & Boards Dinner Theatre. Used with permission.
If professional awards were given out at the conclusion of the Indianapolis theatre season, the list of nominees would surely include Logan Moore for Best Leading Actor in a Musical, Courtney Cheatham for Best Leading Actress, Suzanne Stark for Best Supporting Actress and Bill Book for Best Supporting Actor. With great enthusiasm, I make this estimation based on the sterling performances all four turned in Sunday in “Phantom” at Beef & Boards Dinner Theatre. Added to the list, of course, would be Eddie Curry for Best Director of a Musical and as a supporting actor in the show, he would probably also be nominated for his performance as well.
Playing to a packed house at the venerable 40-year-old dinner theatre, which is back in full operation, buffet dinner and all, the exemplary cast and technical team excelled under Curry’s deft direction. Given the fact “Phantom” is the first musical I have seen since March of 2020 when quarantine began, my judgment may be colored by the exhilaration and joy I felt experiencing musical theatre once again. That, plus the palpable excitement in the air from an energizing audience, just made for a thrilling evening at the theatre.
Before getting into the specifics regarding the production itself, it is important to point out that “Phantom,” with book by Arthur Kopit and music by Maury Yeston, is not Andrew Lloyd Webber’s “Phantom of the Opera.” Although both musicals are based on the 1910 novel of the same title set in the bowels of the Paris Opera House about a phantom fixated on soprano Christine Daaé, with whom he has fallen desperately in love, the differences between the two works are stark. Simply put, ALW’s is darker and paints the Phantom as a monster while Kopit’s portrayal is more sympathetic toward the tormented man with a tragic backstory, who despite his obstacles, manages to have a sense of humor. In order not to invite comparisons between the two scripts, I would recommend, as I did, you block out ALW’s version as best you can while watching Yeston’s take. Of course, it will be hard not to recall ALW’s more recognizable score, but I found Yeston’s had its own satisfying merits, perhaps not as operatic as ALW’s, but nevertheless, still grand, sweeping and romantic.
Now, back to the acting and singing. As a reviewer, it is easy to throw around superlatives when describing performances. It’s been a while since I have used the term “tour de force,” but in the case of Moore’s breathtaking, at times, and stamina-filled performance as the Phantom, I can’t think of a better way to characterize it. Having directed him myself in “Calder, The Musical,” and having seen several of his performances over the years, I expected a fine performance, but I was simply astounded by the caliber of this one. Vocally, he was simply astounding. Playing a character who has spent his entire life hearing great opera singers, Moore had to sound like one himself and he more than met the challenge. The passion he conveyed through his vocals was simply astounding and his acting performance was the most dimensional and nuanced I have seen in his already-auspicious body of work. If ever there were a role of a lifetime for Moore, this was it, his first title role, and he absolutely nailed it.
Cheatham, who played the Phantom’s beautiful love interest and rising opera star, Christine, also had to be convincing as a superb singer. She more than passed the test, not only for her vocals, but also for her acting turn as the sweet, charming and accepting ingenue who captures the Phantom’s heart.
Stark, whom I have seen previously in many character roles and often marveled at for her versatility and always-fine performances, did not disappoint in her role as Carlotta, the villainous, egotistical, mean-spirited wife of the opera house’s manager and the company’s star, who fashions herself a diva. Though a mediocre singer at best, she views her own talents as exceptional.
Suzanne Stark – Courtesy of Beef & Boards Dinner Theatre. Used with permission.
Book, who fits into the same category as Stark when it comes to excelling at character roles, does it again in this show as Alain Cholet, the spineless opera house manager, who buys his way into his position and turns a blind eye to his wife’s devious flaws and evil machinations.
I want to emphasize the remainder of the 20-member cast all contributed nicely to the effective storytelling that included well-executed dancing, choreographed by Ron Morgan and vocals overseen by music director and keyboardist Kristy Templet, who also oversaw the show’s superior six-piece band.
As for negatives, the actors’ French accents were inconsistent, at best, and there was a recognizable special effect that seemed incongruous, if not altogether ineffective. As a whole, though, “Phantom” shined due to its high-caliber production values one has come to expect at Beef & Boards. Responsible for the superb quality inherent in the show are scenic designer Michael Layton, lighting designer Ryan Koharchick, sound design Daniel Hesslebrock, costume design Jill Kelly Howe, wig designer Tim Hunt, technical director William Mollencupp, and stage manager Ed Stockman.
In sharing my observations about the show, I would be remiss if I did not mention that the buffet, which is obviously integral to the longevity and success of Beef & Boards was one of the best I have enjoyed in my many years of covering the Beef & Boards. The total effect of the deliscious dinner and show is a double treat. Together, they make for a substantial evening of entertainment, especially for those starved for the collective experience that only musical theatre can offer. I suspect “Phantom” is destined to be a hit, so one would be advised to reserve tickets now or miss out on the best show I have seen thus far in this young theatre season.
For “Phantom” tickets and information, visit beefandboards.com.
