PHANTOM REVIEWER
www.jlabax.com/Phantom/

That certainly is a lot of conflict and resolution to pack into a three-hour production, but Mr. Wehman's rendition blends the necessary elements of romance, tragedy, hope, despair and even comedy beautifully. Despite the show's length, each scene runs smoothly from one to the next keeping the audience entranced until the final curtain.
Phillip Peterson is extremely animated as King Arthur. He effortlessly executes this character's complex transitions from comedy to tragedy to triumph. We truly feel his inner turmoil as he is torn apart by the two people he loves most in this world. He also has a pleasant voice and exceptional chemistry with Guenevere, They both become more endearing with the passing of each scene. Of particular delight is their eloquence in "Camelot" and "What Do the Simple Folk Do?"
Julie Keough is simply enchanting as Lady Guenevere. She is attractive and expressive, displaying a delightful enthusiasm for adventure, which makes us understand why both Arthur and Lancelot love her. With her beautiful soprano voice, she performs "The Lusty Month of May," "Take Me to the Fair" and "Before I Can Gaze at You Again" with an inventive style and flair. It is touching to watch her last goodbyes to Arthur on the battlefield. Her desperation, sorrow, and remorse are unmistakable in her request to see forgiveness in Arthur's eyes.
As the self-assured Lancelot, Russell Rowland makes his entrance singing "C'est Moi," captivating the audience with his vibrant baritone voice. At the end of the joust after resurrecting Sir Lionel, it is spine tingling to watch as he turns away and then glances back at Guenevere, no longer concealing their love. He is believable and sincere in "If Ever I Would Leave You" and "I Loved You Once in Silence." Though we know there must be consequences for their actions, we want to save them somehow and solve their dilemma.
Pat Anthony-Aleman is mirthful and intuitive as Pellinore. Drawing laughs from the crowd seems to come naturally as his expressions speak before even his words. His entrance is particularly comical when he walks on stage looking a bit disheveled and confused, in the midst of the tragedy that is about to unfold, his character lightens the tension and is a delight to see.
Portraying the evil and appallingly nasty Mordred, Christopher M. Stewart, outdoes himself in "The Seven Deadly Virtues." Particularly notable is his performance in the scene with Morgan Le Fey, where he offers her treats to detain Arthur for the night. Watching him unleash his malevolent plan makes you want to boo him right off the stage. "Fie on Goodness" is also a marvelously exuberant number performed fiercely by Stewart and the other knights.
Kimberly S. Kuehl delivers a solid performance as Morgan Le Fey. She convinces us that she wishes Arthur no harm, but any of us who love chocolates and candy can identify with her choice to comply with Mordred.
The costumes were a visual spectacle, especially King Arthur's and Guinevere's capes, which sparkled brilliantly, reflecting light from the stage. The knighting ceremony was bursting with color and radiance. The sets were artistic and appealing, but not overly extravagant.
Technically speaking, the performance had very few flaws. Scene changes ran smoothly and lighting added some nice dramatic effects, especially during "Guenevere" in Act II. By and large the sound projection was good, with the exception of some mikes fading in and out. I particularly noticed this during many of Guinevere's scenes in Act I.
Overall, my experience at The Riverside Center has been pleasant and enjoyable. The theater itself is nicely decorated, and seats about 450 people. At the time of this review, the house was almost full and the audience seemed to appreciate the show as much as I did. For an evening, that includes dinner and entertainment, it is first-rate.

Published: 11/28/2003