If you had listed The Phantom of the Opera (known by us “phans” as POTO), as the most difficult show for community theatres to present, I probably would have agreed. Yet, Ovation Theatre’s brilliant production, one of the first since the show closed on Broadway in April, proves it can be done. The production, which is running for four more performances at the Howard Brubeck Theater at Palomar College, is a must-see for those who can make the trek to the San Diego area.

Not only is the whole cast in the Ovation production made up of amateur performers, albeit with professional abilities, but many cast members are young people still in high school or college. They blew me away, in a very positive sense of the term.

For those unfamiliar with the origins of Andrew Lloyd Webber’s (ALW’s) most well-known musical, it is the second longest running musical in London’s West End (behind Les Miserables, which opened about a year earlier, in 1985). The book is loosely based on Gaston Leroux’s 1910 novel, which spawned numerous stage productions  and movies (including Lon Chaney’s famed 1925 horror classic). POTO’s New York version of the ALW blockbuster opened the year the first George Bush was elected president in 1988 and closed in April 2023 — the longest musical run on Broadway.

Lord Lloyd Webber’s version is more romance than horror, although there are some decidedly upsetting moments, including when the Phantom’s mask comes off to reveal the facial anomalies that he is convinced are keeping him from finding love. Also, the anonymous Phantom (whose name is Erik in the novel and in most other versions) has an extraordinarily unhealthy scheme for how to find a wife, which he implements when he realizes that the object of his desires, operatic ingenue Christine Daae, has fallen in love with Raoul, the vicomte de Chagny.

Even people unfamiliar with POTO know that a chandelier crashes to the stage at the end of act one (changed to the end of the story in the 2004 Gerard Butler movie version and in the 95-minute Las Vegas adaptation, which ran from 2006 to 2012). Quick spoiler, since I’m sure most people who are familiar with POTO are wondering: There is no chandelier crash in the Ovation production. Nevertheless, the fabulously designed chandelier has other special effects that I won’t reveal -- effects that are pretty darned impressive. I doubt any audience members will feel cheated when they see this chandelier in action.

This production uses musical tracks rather than a piano, electric keyboard, or instrumental combo. I am not usually a fan of tracks; I’d prefer a single keyboard or a small combo for most shows. However, I doubt that POTO, with its lush orchestral swells, could ever be performed satisfactorily with any fewer than fourteen instruments, the number currently used in the West End production. The Brubeck Theater’s top-notch sound system and the tracks’ own quality provide pure-sounding musical accompaniment that contributed greatly to my enjoyment of the show, despite a few minor glitches. As a musical bonus, the Phantom, Christine, and Raoul sing the trio version of “Wandering Child,” which is more complex than the duet version that includes only the Phantom and Christine. Some musical directors might have played it safe and stuck with the “Wandering Child” duet, but musical director Scott Gregory obviously realized that his three leads could beautifully perform the more impressive, three-voice version of the song.

Despite director Pamela Laurent’s need to eschew some of the special effects that the Broadway show made famous, she uses lighting (designed by Jake Jordan and Matt Novotny), sound (sound operation by Connor Fine), and clever staging to accomplish what Hal Prince used pyrotechnics, crashing chandeliers, and a huge budget to make memorable. Still, there are pieces of stage business in this production that caused me to wonder, as I have wondered before, “How did they do that?” Part of the joy in attending this presentation of POTO is expecting a pale substitution of particular effects, only to find that something magical happens on stage at those moments. (I will not give away the surprises).

The original show is heavy on ballet, but this version uses even more of it to creatively replace particular special effects. (The choreographers are Natalie Nucci and Reka Gyulai). For example, as the Phantom steers his boat through the foggy underground lake in the Paris Opera House (an impressive scene both in this production and in the original), the Broadway version had candelabras rise out of the water. Here, dancers holding candelabras provide obstacles for the Phantom to steer through as he guides the boat. The result is breathtaking.

The physical aspects of the Brubeck theater provide a wonderful palette for the designers and director to work with. There are raised side entrances to the stage that provide the perfect location for the managers’ box and the famous Box Five, which the Phantom demands be kept available for him. As I indicated earlier, the sound and lighting capabilities are also impressive, providing the designers with ample opportunities to replace the Broadway pyrotechnics with blinking lights.

The staging emphasizes safety without sacrificing artistry. For example, instead of a drop crashing near Carlotta at the very beginning, the lights goes out suddenly, leaving the opera house stage in total darkness — pretty darned scary for a diva in the middle of an aria, but with far less likelihood of injury to the people on stage. The scenery is cleverly constructed, and its main features successfully evoke the original, through the designers’ own fresh interpretations. (Set designs by Mary Sullivan, prop designs by Patrizia Audino). I was also impressed with the artistic value of the scenery — small, lovely set pieces that the cast can move. In the title number, characters are already singing on one part of the stage, while other cast members are moving the organ into place elsewhere. The unorthodox set pieces and scene changes work brilliantly.

The costuming (costume coordination by Bryn Hamson, Karen Moreland, and Martina Sullivan), makeup (designed by Maya Hamson), and wigs (wig team Evelyn Berry, Katie Stapko, and Mary Sullivan) are extraordinary, not just for a community theatre production, but for a professional show as well. I do not know if some of the costumes are borrowed from another company that has performed The Phantom of the Opera. However, even the new costumes are amazing in their detail, such as those in the Masquerade number. And it’s not just the detail – the production’s costumes are a feast for the eyes. The scene with the IL Muto fake opera has terrific costumes and hairstyles, as well as being an absolute hoot.

Saving the best for last, the acting, singing, and dancing are fabulous – there are no weak links in the cast. As I indicated above, most of the performers are young, although others, such as Brian Imoto (who plays Piangi), are closer to middle age. I find it amazing that college age students Evelyn Berry (Christine), Nick Siljander (the Phantom), and Jack Stuhley (Raoul) can give such thoroughly professional performances. Sage Taylor, who plays Madame Giry with the perfect mix of poise, grouchiness, and fear, has apparently just graduated from high school. Katie Lawrence (Carlotta) has a top-notch operatic voice and superbly interprets the role of the diva that Christine calls an “evil woman.” The other featured performers are also abundantly talented; the ability in this cast runs deep.

The actors and director Laurent do not play it safe when it comes to dramatic interpretations and creative bits of stage business. In some spots, the performances are almost identical to those of the professionals who have come before in New York, London, and on tour. In others, Ms. Laurent has come up with something extraordinary, such as the candle ballet. She and Ms. Berry employ a unusual creative moment in Don Juan Triumphant – most productions make it unclear exactly when Christine notices that the Phantom has replaced Piangi, but here, it is obvious that she notices immediately. There are plenty of other fresh interpretations, including the Phantom’s behavior in the final lair scene.

I do have a few nitpicky complaints: It is difficult to determine who has been murdered during IL Muto and even during Don Juan Triumphant. I’d have preferred having someone yell the victim’s name to tell the audience who it was. Also the lighting and sound glitched in a few spots the night I saw the production. Most were minor, but the sound interruption in the last few seconds of the show was definitely annoying.

Yet, despite these minor criticisms, I thoroughly enjoyed every minute of the show. After my unhappiness at the Broadway production’s closing, it  helped my “spirit start to soar” to see it again so soon. I’m sure not the only Phantom Phan who feels this way.

The cast and crew are too large to name everyone, but an accompanying photo shows the list from the program.

For information about the theatre company and the show, go to www.ovationtheatre.org. There are four more performances, including a new one added on Thursday, August 10th at 7:00 pm. The other three performances are on Friday, August 11th and Saturday, August 12th, also at 7:00 pm, and on Sunday, August 13th at 2:00 p.m. Tickets are available at ovationtheatre.ludus.com.

The show takes place at Palomar College’s Howard Brubeck Theatre, 1140 West Mission Road, San Marcos, CA 92069, near San Diego. The drive took a bit more than an hour-and-a-half from the Coachella Valley over the white-knuckle inducing Route 74, but it takes somewhat longer on the freeway. Either way, the trek is well worth the time.