THE PHANTOM OF THE OPERA, Capitol Theatre, through July 11 (355-2787, group sales: 703-2068). Running time: 2 1/2 hours (one intermission).
Like a well-oiled machine — from the computerized pulleys for the half-ton chandelier to the pop-up candelabras deep in the Paris Opera House's underground labyrinth — "Phantom of the Opera" has slipped back into the Capitol Theatre with near-flawless precision.
Wednesday night's opening performance had a handful of glitches — nothing quite as disappointing as last year's no-show helicopter at "Miss Saigon," but enough to point out why touring productions the size of "Phantom" generally schedule a couple of "preview" nights before letting reviewers in the door. Even a show that's been touring for 12 years needs a short "shakedown" cruise before forging full-speed ahead. (In Salt Lake City, especially, singers need a day or two to acclimate their voices to the high altitude.)
This company is packed with exceptionally strong voices and talent — especially in the principal roles. But there were some minor sound and lighting problems. The Phantom's microphone failed at least twice during his Red Death appearance in Act 2's spectacular "Masquerade" segment. The sound was also murky during the early "Opera Ghost" note-passing bit, and it appeared that spotlights were having trouble focusing on Raoul and Christine during their duet on the opera house roof.
Beyond these small quibbles, however — and certainly beyond the production's expansive (and expensive) high-tech scenery — it's the music (and not just "The Music of the Night") that drives this production.
The touring cast doesn't require any tutoring by a resident Opera Ghost.
Gary Mauer, fresh from playing Raoul on Broadway, is perfectly cast as the deformed, outcast Phantom. Operatically trained Rebecca Pitcher is equally stunning as ingenue Christine Daae. (Mauer's real-life wife, Elizabeth Southard, plays Christine most Saturday matinees and Sunday evenings.) Tim Martin Gleason is both dashing and in fine voice as Christine's one true love, Raoul, the Vicomte de Chagny.
In Mauer, Pitcher and Gleason's more than capable hands, such familiar Andrew Lloyd Webber songs as "All I Ask of You," "Wishing You Were Somehow Here Again" and "The Point of No Return" literally soared.
Four other roles in the production lean toward "comic relief" — over-the-top diva Carlotta Giudicelli, hammy baritone Ubaldo Piangi and the opera house's new owners, Monsieurs Firmin and Andre — all beautifully played, respectively, by Kim Stengel, Jimmy Smagula, David Cryer and D.C. Anderson.
Conductor Glenn Langdon's 15-piece pit orchestra, including Salt Laker Ricklen Nobis, is in fine shape as well.
And patrons who flock to "Phantom" to revel in the vast array of scenery and props won't be disappointed. One of the more spectacular segments is "Masquerade," with 11 life-size mannequins filling in the crowd on the staircase of the Paris Opera House.
(Note: If you miss out on getting tickets for this stopover, closing July 11, the movie version is scheduled to make its debut around Christmas.)
Sensitivity rating: May be a little sinister and frightening for young children.
E-mail: ivan@desnews.com