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WPCNR CENTERSTAGE. Review by John F. Bailey. October 11, 2007: The first time you hear Kate Rockwell’s shimmering and haunting voice as Christine Daee, you are enchanted. Your first sight of Aaron Ramey as Westchester Broadway Theatre’s new Phantom of the Opera commands you with his magnetism, machismo and tortured soul. Together their romantic chemistry deliver an emotional Phantom that never lets go of your heart and builds to an emotionally draining climax you will not soon forget. It was a Phantom Night! Driving rain. Lightning in the sky, fitting for a return of the Phantom to the Westchester Broadway Theater. Tonight the lightning was on stage!

Aaron Ramey, The Phantom, and Kate Rockwell as Christine, the lovers of WBT’s new Phantom. The Phantom is ferrying Christine across the lagoon in Act II. The two performers bring out the best in each other. Photos by John Vecchiola, Courtesy, WBT
Phantom, arriving at WBT this week is not the Phantom of Broadway fame. It’s greater. You leave The Phantom of the Opera as seen on Broadway, and you’re talking about the effects and the great songs. When you walk out into the night after WBT’s Phantom, you’re talking about the incredible voices of Ms. Rockwell and Mr. Ramey, made to sing with each other. You’re overwhelmed by the power of a classic denouement. Ms. Rockwell and Mr. Ramey’s voices blend. They soar. Their duets touch deep into the soul. The electricity of them crackles in the theatre as the fate of the doomed couple is played out in what for one night, the WBT becomes the Paris Opera House.
Kate Rockwell assumes the adult role as Christine Daee, the opera ingenue in Maury Yeston’s and Arthur Kopit’s Phantom. Known as a finalist on NBC’s Grease: You’re the One that I Want, Ms. Rockwell, after seeing her tonight, should never rock and roll again. She is born to play the Christine role, and all the great musical roles, for that matter. In the program notes, she described Christine as her dream role. Well she gave it all she had tonight. As did her debonair Phantom.

Christine is Discovered, singing her own songs on the streets of Paris. From this opening number, Ms. Rockwell captures you and never lets you go.
Ms. Rockwell has it all: range with a confident finesse and control, flowing, sparkling out into the theatre; essence: this woman takes you from the depths of pity to the height of hope to the “stuff that dreams are made of,” with her stop-you-in-your-tracks voice; credibility: her sense of movement, her expressions, her warmth and way with the lyricist’s words, make hers a voice that you will fall for too, as Eric, the doomed Phantom does.
You never tire of hearing Ms. Rockwell and you‘re going to hear her a lot.

Aaron Ramey creates a Phantom any woman would fall in love with. He is a mystery man. His Phantom as created by the writer Arthur Kopit, is a person, not a cutout. From his first appearance, you sense the contradictions within. Tortured. Lonely. Needy. Enigmatic. Roguishly attractive. Every woman loves this kind of guy. His voice commands. The power baritone articulates raw rage, anxiety, desire, pity, despair that grips you, makes you care about him. Ramey creates a monster, unbalanced, but with a heart, who captures Christine’s heart. Here they perform “Lessons”
When he hears Christine Daee for the first time , she is putting away costumes at the opera house. He is taken by her voice because, as you will learn her voice reminds him of his mother. He offers to teach her and train her voice. And Christine’s love for him grows. Is it his air of mystery? Is it what he teaches her? Will we ever know?
His duet with Ms. Rockwell at the conclusion of Act I, “Home,” and again with her in the beautiful “You Are Music” (such a true song) are magical and well-acted too! You hang on their every phrase.

After a patron of the opera hears Christine sing on the streets of Paris in the opening extravaganza, he suggests she join the opera for singing lessons. However the opera has just been purchased by the Diva, Carlotta, (above) played by Sandy Rosenberg with Cruella De Ville menace and comic grotesqueries, who plans to sing all the lead roles herself. Carlotta persuades her husband Joseph (Gary Marchek) to dismiss Gerard Carriere, played by James Van Treuren who has been protecting Eric (The Phantom) for years while Eric has lived in the catacombs of the Opera House. The audience will discover why in the melodramatic conclusion.

Van Treuren and Ramey perform an amazing duet in Act II that will not leave a dry eye in the house. Van Treuren is a terrific WBT standby whom this reviewer saw step in as understudy a role in the WBT production Kiss Me Kate, when the lead could not go on. He was so seamless in going on that night, this reporter did know the difference. He handles his scene with Eric when they both sing “You Are My Own” with such elan, pathos and again, credibility holding his emotional own against the tortured Phantom. It is one of the most emotional scenes you will see.
Act II of this Phantom takes a great Act I to a higher level, simply lifting you up. Most musicals, the second act is just a wrap-up. Not this show. Act II, you have to fasten your seatbelts for action, hold tight to your heartstrings, and pine with the star-crossed Christine and Eric.
There is plenty of action in this Phantom. After Eric the Phantom takes revenge for Christine’s disastrous opening night as The Fairy Queen, he takes her to his lair beneath the opera house.
There the two perform their most touching duet, Ms. Rockwell singing My True Love, and Mr. Ramey delivering (to thunderous lasting ovation), My Mother Bore Me, and Christine. This sequence is a tour de force of emotion for Mr. Ramey and the audience paid homage!
Ms. Rockwell duets well when she does not have her stage soulmate, Mr. Ramey as her foil.
She performs a coquettishly Cole Porteresque number with the handsome opera patron after her big debut at The Bistro at the end of Act I. At the Bistro, her singing is carefully choreographed by the Phantom, her mentor. Her foil is the debonair Michael Padgett as Count Philippe, who is smitten with her peformance. Together they sing, “Who Could Ever Have Dreamed Up You”. I loved this song and Cole Porter would loved to have written it
The Chase is On.
And then the chase for the Phantom is on. Into the catacombs. Into the catwalks. Across the lagoon under the streets of Paris. Across the ingenious tricks of staging put together by the resident geniuses at WBT, George Puello and Steven Loftus with lighting effects that create a Bistro, the Opera House, explosions, and of course, the flying chandelier, thanks to Lighting Designer Andrew Gmoser.
This production of the Phantom ran for nine months at WBT in 1992. This new version is fast-moving. With no lulls. A realistic book with real dialogue, not just a bridge between songs. The songs in the show fit in nicely with the book and all are appropriate and complex. You have to listen carefully to get the words, but so commanding is the style of Mr. Ramey and Ms. Rockwell and their outstanding company, you do.
My companion who saw the original version of this show in 1992 thought it was as good, and better than the original.
I commend the orchestra tonight, a little larger than the usual WBT ensemble, with twelve musicians including Musical Director/Conductor Patrick Kelley. This orchestra delivered soundtrack interludes to punctuate the drama of the action, much like a movie soundtrack — with a just-right decibel level that did not overwhelm the stage action. They gave you strings, reeds, bass, a completely different sound that created the feel of opera. They were so good they blended , meshed and laid a musical bed that offered the show to the audience, not overwhelmed it.

Christine is discovered at The Bistro in Act I, while the Phantom, her Svengali, looks on from the balcony.
For more on Phantom, which plays through Thanksgiving, and returns again from December 27 through February 9 at the WBT, go to their website at www.broadwaytheatre.com. Or call 914-592-2222.
This is one of the few shows that got a thunderous ovation at the conclusion of the first act.
I loved this Phantom.
So did its composer and lyricist, Maury Yeston.
The WBT Producer and Co-Owner Bill Stutler introduced Maury Yeston, as a guest of the WBT on press night. Mr. Yeston at intermission was heard and seen by this reporter, shaking his head in admiration, saying
“That girl is just terrific.”