Patti D’Beck’s masterful interpretation of this timeless musical classic (Phantom based on the novel The Phantom of The Opera by Guston Leroux) will leave you breathless. As I sit back contemplating the phenomenal performances by the leading man and delightful gentleman Patrick A’Hearn as well as astonishing Quinn Vogt-Welch, I see myself emerged once again into the world of this dark love story.

The play is set in Paris at the turn of the 20th century. The story begins with the introduction of Christine Daee, played by the captivating Quinn Vogt-Welch, as seller of songs in a late afternoon on the Avene de l’Opera in Paris. Amongst the people walking nearby her voice is heard by the Count de Chandon, played by Nathaniel Austin Mason. He tells her that her voice is fantastic but for opera it may need some training, so he sends her to Gerar Carrie, who is played by the notable Robert Beard. So once at the Opera House she discovers that maybe she’s not the first to have ever been forwarded to the theater and that maybe her dreams have not come through just yet.

The costumes designed by Gaye Law are nothing short of Broadway, much like the leading roles in this amazing production. The sets, designed by Aaron P. Mastin and dressed by Barbara Cochran and Stefannie Smith, will make you feel the tone and emotion in every scene. With quick, impressive and sometimes very creative scene changes the show flows masterfully. Senior Audio Technician Joshua Watson has done an extraordinary job with sound playback and distribution. I highly doubt there was a single spot in the Riverside Theater that audio didn’t travel perfectly and without any type of feedback.

The Riverside Center Dinner Theater is a lovely place and with one fantastic group of the most attentive and courteous staff I’ve had ever had the pleasure to meet. From the minute you walk into the Riverside Center, you can almost feel that majestic feeling that only wonderful productions have. The staff, the ensemble, the leading actor and production team at the Riverside Center Dinner will guarantee you have not only a wonderful experience dining, but a living memory of absolute brilliance.

Director’s Notes

The story of the phantom of the opera has been a fascination for millions of people since it first appeared in print. The original novel was written by Gaston Leroux and published in 1911, followed by a silent film with Lon Chaney released in 1925 and later re-release with a “talkie” soundtrack in 1929. As the character of Phantom has continued to enthrall the public, a list of new versions keeps appearing. These include films in 1943, rock-and roll variation called Phantom of the Paradise. 1984, Ken Hill’s stage spoof toured England. Then Andrew Lloyd Webber’s version debuted in London in 1986 and on Broadway in January 1988. The Webber film version followed in 2004.

Riverside Center is presenting the Arthur Kopit and Maury Yeston version. A Kopit TV miniseries (non-musical) aired in 1990, and the Kopit-Yeston musical debuted in Houston in 1992. In 1983 composer lyricist Maury Yeston and librettist Kopt, after winning several Tony Awards for Nine, decided to collaborate with director Geoffrey Holder. At that time Mr. Holder held the rights to Gaston Leroux’s The Phantom of the Opera. Yeston and Kopit decided to place the emphasis on characters’ relationships instead of spectacle. They wanted the audience to learn more about the Phantom’s origins and thus help to clarify his motivations. While they continued to work, the copyright lapsed in Europe and became in the “public domain.” And once Andrew Lloyd Webber’s version became such a hit, Kopit, Yeston and Holder abandoned their project.

However, Kopit did sell his treatment as four-hour, non-musical miniseries, telecast in 1990 and actually filmed in the Paris Opera House itself, starring Charles Dance, Teri Polom and Burt Lacaster. Due to the enthusiastic response, the Kopit-Yeston musical version Phantom was mounted in 1991, resulting in well over 170 productions worldwide, including a multi-year in Germany. This musical has become one of the most successful in history without having first played Broadway. We are delighted to present you this version – Phantom.

Photo Gallery

Photos provided by Riverside Dinner Theater

Cast

• The Phantom: Patrick A’Hearn
• Christine Daee: Quinn Vogt-Welch
• The Count De Chandon: Nathaniel Austin Mason
• Gerard Carriere: Robert Beard
• Cholet: Jason J. Michael
• Carlotta: Andrea Kahane
• Jean-Claude: Steven L. Thompson
• Inspector Ledux: Michael R. Colby
• Belladova (ballet): Christin Barksdale Pristas
• Belladova (Vocals): Mary Anne Furey
• Young Erik: Max Nicholson
• Ensemble: Sydni Bornschein, Zach Bullock, Melynda Burdette, Catherine Cata, Thomas Cleary, Lee Cooper, Autumn East, Mary Anne Furey, Temple Hammen, Carol Hagy, Richard Halenda, Meg Kenny, Jeffrey Kyer, Jonathan Litalien, Kendall Mostafavi, Max Nicholson, Josh Otten, Christin Pristas, Andrew Prowant, Rachel Simpson, Analisa Wall, Tyler Wilson.
• Ensemble Swings: Nancy Collie-Beard, Rebecca Law, Rachel Shrader, Samuel Elton , Ian Stearns

Production Team

• Producer/Artistic Director: Rollin E. Wehman
• Associate Artistic Director: Patrick A’Hearn
• Production Director: Patti D’Beck
• Associate Director: Valerie Accetta
• Music Director: Jason J. Michael
• Scenic Design: Aaron P. Mastin
• Costume Designer/Coordination: Gayle Law
• Lighting Design: Phil Carlucci
• Properties Coordination: Kylie Clark
• Set Dressing: Barbara Escamilla Cochran
• Set Dressing: Stefannie Smith
• Production Manager: Carole Shrader

Disclaimer: Riverside Dinner Theater provided two complimentary media tickets to ShowBizRadio for this review.

You know that feeling and taste of a home cooked meal, that particular taste that makes you feels at home. Not to say that a luxurious meal at five-star restaurant is somehow less than that, it’s just that a home cooked meal has that personal familiar touch. And so does Joseph and The Amazing Technicolor Dreamcoat I love the feeling of being taking by a story I know nothing about, so I went into that theater without any preconceived notions of the piece. Intentionally, I avoided reading anything about it, not even pictures. I even managed to get there at exactly at 8 o’clock, so my mind wouldn’t wonder and read something about the show. I wanted to be taken by surprise, and I was.

The show is based on a story from the Bible and it begins with the narrator (Marie Wakefield) as she makes her way across the middle aisle of the audience to the stage singing, as a choir of children wearing plain shirts of different colors joins her on stage. She then tells the story of Joseph (Hunter Bales) who enters stage right, rocking out a classic MacGruber haircut and a pair of stylish “weezer” black horn rimmed glasses, instantly making him a memorable character. He joins the narrator and with the magic of a Disney musical, boom! You’re taken into the world of Joseph’s biblical story.

The story of Joseph begins with his father Jacob (Teddy Gron) whose facial expressions had me geeking out during the whole show and his other eleven brothers each with his own noticeable personality. Jacob, who favored Joseph, buys him a technicolor coat (coolest coat EVER). But I digress, Joseph’s brothers are jealous of him for his coat, (honestly, who isn’t?!) so they strip him from the coolest coat ever and sell him to a group of Ishmaelites as a slave and they take him to Egypt. There Joseph is the slave of Egyptian millionaire Potiphar (Lee Blount). When Mrs. Potiphar (Shelagh Roberts) makes some very sexy Egyptian advances (it’s PG, calm down folks).

The show’s dance routines, choreographed by Adrienne Magnuson, are absolutely enchanting. They run all over the spectrum, from jazz, to Broadway to an amazing leg twitching Elvis. Joseph gets caught and is sent to jail. Depressed, Joseph sings “Close Every Door” and truly shows his singing abilities, but his spirits rise when he helps two prisoners put in his cell and he understands their dreams. One cellmate, the Baker (Christine Tankersley), will be executed, but the other, the Butler (Maria Ciarrocchi) will be returned to service. And cue “Go, Go, Go Joseph” yaaaay, confetti, good times, good time, yeaaah.

The Narrator (Marie Wakefield), whom never ceases to amaze the audience with her stage presence, talks about forthcoming changes in Joseph’s fortune because the Pharaoh (Michael Page), who’s acted in the style of Elvis Presley, and I mean down to a tee, is having dreams that no one can interpret. So Joseph interprets the dream as seven plentiful years of crops followed by seven years of famine. An astonished Pharaoh puts Joseph in charge of carrying out the preparations needed to endure the impending famine, and Joseph becomes the most powerful man in Egypt, second only to the King (both figuratively and literally).

Did I mentioned how sweet the costumes, make-up, and lighting were? Well, pretty sure I just did. It’s clear from the moment the show begins to pick up momentum that a lot of thought, heart and hard work have gone into the production of this play, from the hand-made costumes, to the intense sets and the amazingly hand painted backdrops.

The spirit of the show is driven by its quirky and very talented ensemble cast, everyone in the show, no matter how small of a role, shined on stage. Even some of the adorable children in the choir were taken by the magic going on stage. The theater could use a new PA system, because a few times during the show it was a bit difficult to hear the actors over the band. And the band, by the way, was great. Overall, the show is an absolute great time for the whole family. Not for a second do you forget you’re watching a local theater production, but through the show’s performances and the very talented cast you believe every word and lyric sang in the show. If you love musicals, Bible stories, and “home-produced” awesomeness; do not miss Joseph and The Amazing Technicolor Dreamcoat.

Director’s Notes

“We all dream a lot..if you think it, want it, dream it, then it’s real. You are what you feel.” These are the words that invite you into a tale of Biblical proportions.

First conceived in 1968 as a commissioned cantata (a vocal composition with instrumental accompaniment) by Colet Court students, Tim Rice and Andrew Lloyd Webber, Joseph and the Amazing Technicolor Dreamcoat evolved throughout the years to become the beloved musical it is today.

What makes Joseph such an endearing and timeless piece enjoyed by performances from Children’s groups to Broadway is the basic message of perseverance and following ones dream.

I want to thank the production staff, cast and crew for turning this dream into a reality.

“May I return I return to the beginning, the light is dimming….any dream will do.”

John C. Waldron
Director

Photo Gallery

Photo 1	Photo 2
Photo 3	Photo 4
Photo 5

Photos provided by Aldersgate Church Community Theater

Cast

• Narrator: Marie Wakefield
• Joseph: Hunter Bales
• Jacob: Teddy Gron
• Reuben: Levi Meerovich
• Simeon: Joseph Cooney
• Levi: Austin Harlow
• Naphtali: Joseph Artabane
• Issachar/Pharoah: Michael Page
• Asher/Baker: Christine Tankersley
• Dan: Harry Juricic
• Zebulon: James Woods
• Gad: Melanie Bales
• Benjamin: Caroline Austin
• Judah: Dominic Owusu
• Wife/Ishmaelite: Corey Leigh Latta
• Wife/Ishmaelite/Mrs. Potiphar: Shelagh Roberts
• Wife Butler: Maria Ciarrocchi
• Wife: Kristen Otto
• Wife: Laura Juricic
• Wife: Morgan Vaughan
• Wife: Karli Eddinger
• Potiphar: Lee Blount
• Children’s Chorus
  • Rachel Lenora Baker, Brendan DeBie
  • Janan Gokturk
  • Leah Juricic
  • Anna Rizzi
  • Lucy Roberrts
  • Isabella (Bella) Carucci
  • Ali DiZinno
  • Olivia Hays
  • Emily Lyon
  • MacKenzie Rivera
  • Gabriella Woods
  • Cassie Cope
  • Danielle Duvall
  • Daniel Juricic
  • Jenna Martin
  • Ellen Roberrts

Orchestra

• Music Director: Jeff Taylor
• Assistant Music Director, Accompanist: Cathy Manley
• Flute/Clarinet/Alto Sax: Bob Greene
• Violin: Steve Natrella
• Guitar: Tim Casey
• Bass: Jack Coulter
• Percussion: Nick White
• Drums: George Huttlin

The Production Crew

• Executive Producer: Bill Austin
• Assisted by: Hannah Lau
• Co-Producers: Leighann Behrens and Corey Leigh Latta
• Director: John C. Waldron
• Music Director: Jeff Taylor
• Assistant Music Director/Accompanist: Cathy Manley
• Youth Choral Director: Karli Eddinger
• Stage Manager: Marg Soroos
• Assistant Stage Managers: Hannah Lau, Leighann Behrens
• Set Design: Mary Hutzler, Lauren Tucker, Valerie Wohlleben
• Assisted by: Marg Soroos, Jim Hutzler
• Set Decoration/Dressing: Marg Soroos
• Props: Judy Kee
• Props Assisted by: Jayn Rife, Orron Kee
• Light Design: Michael Page
• Light Technician: Kate Kershaw
• Sound Design: Colton Thomas
• Sound Technician: Sarah Bowman
• Special Effects: John C. Waldron
• Costumes: Jennifer Corl
• Makeup: Bette Williams, Jennifer Corl
• Assisted by: Leah Hays
• Hair: Jennifer Corl
• Dance Choreographer: Adrienne Magnuson
• Fight Choreographer: Adrienne Magnuson
• Wardrobe: Georgia Harlow
• Publicity/Marketing: Cndy F. Cole
• Assisted by: Amy Hurd, Bill Austin, Lori Rulapaugh, Bailey Center, Barb Baker, Howard Soroos, Lyndsay Austin
• Webmaster and Tickets: Lori Rulapaugh, John Rulapaugh
• Photographer: Herreracampbell Photography
• Casual Photos: Howard Soroos, Barb Baker
• Usher Coordinator: Julie Pfister
• Concessions: Gerry and Jennifer DeBie
• Opening Night Caterer: Benny Robles, Ronnie Hardcastle
• Tech Dinner: Shirley Bolstad, C.J. Mikowski
• Box Office: Michelle Vaughan, Jean Vita, Kacie Greenwood-Eckman

Disclaimer: Aldersgate Church Community Theater provided two complimentary media tickets to ShowBizRadio for this review. ACCT also purchased advertising on the ShowBizRadio.com web site, which did not influence this review.