At times - many times - in Friday night's Green Bay Symphony Pops Concert at the Weidner Center, the charm was so thick that it could have been sliced and sold by the pound.
Take the encore, at 9:45: For the first time anyplace, singers Brad Little and Christiane Noll blended songs they individually sang on Broadway. Little was Raoul, singing "All I Ask of You," in "The Phantom of the Opera.."  Noll created the role of Emma, singing "Take Me As I Am."
These two have high-caliber weapons for voices.  Combined with the vigor of the orchestra, conducted by Bridget-Michaele Reischl, the two drove notes to the heights - and pulled the audience of 1,500 from the seats for a rousing ovation.
As with last year's appearance by Little, this was no average pops concert.
Little is a big guy.  He's got an exciting voice.  He's dashing, manly and romantic. He was a huge hit as The Phantom in two long runs at the Weidner, and he's terrific singing other stuff.
The attractive Noll is excellent opposite him, being playful and being able to match Little's firepower. This was especially so in "Music of the Night" from "The Phantom of the Opera."
The Green Bay Symphony has a wonderful time sharing in the excitement, adding colorful medleys from "A Chorus Line" and my "Fair Lady."
Little wowed in, among other songs, the emotional "This is the Moment" from Jekyll & Hyde."
Noll soared in the romanticism of Sigmund Romberg's "One Kiss" and was kittenish/sexy in George Gershwin's "S' Wonderful," with symphony president Kenneth Ciak on stage gamely playing her catnip.  Being musical theater folks, Little and Noll also acted out the songs.  Talk about s'wonderful. This was.

Brad Little of “The Phantom of the Opera'' fame returned Friday night to the Weidner Center, knocked off a few “Phantom’’ tunes and left. NOT.

Not, not, not. His show with the Green Bay Symphony was filled with surprises. It was clever — along with being a master stroke for the symphony to engage him.

About 1,900 people heard the concert. Most had seen him in “Phantom’’ during the mega musical’s two stands at the Weidner ($8 million gross ticket sales).

Little played off his star power locally. He generated electricity from the get-go.

He arrived in his Phantom mask and cape, beneath which was the No. 4 jersey of Brett Favre. To “New York, New York,’’ he tailored a tune about old Green Bay. One line was about being at “Lambeau with bratwurst and beer.” When he was done, a big cheer rose. It was the first of many.

Behind him were veteran Broadway conductor leading the orchestra, which rolled with the fun flow of the evening.

“Phantom’’ was not to be around again until the very end. By then, the scope of Little’s big talent had been revealed. Huge cheers met:

• “This is the Moment,” from “Jekyll and Hyde,’’ the next show he’ll be in. Friday, Little was bewhiskered because he came in from playing Che in “Evita.’’ The song was another in which he let loose his big, lush, studly voice.

• His serenading a woman from the audience with “If Ever I Would Leave You’’ as well as her daughter in Cincinnati. He had a telephone hooked up to the stage. The daughter wasn’t home at the time, but she got a splendid recorded message.

• Singing with his brother, who inspired his career, calling him up from the audience for a gallop through “All for the Best.’’

• Teaming with Andrea Wiltzius, a University of Wisconsin-Green Bay student (gorgeously dressed, with a voice to match) in “People Will Say We’re in Love.’’

• Having dinner served to him on stage while Pippin led the orchestra in dinner music, Gershwin’s “S’Wonderful.’’

It was a wonderful concert. Little was charismatic, and the hall bristled with life.
 
 

The title role of "The Phantom of the Opera" is a dream job for many theater actors. But for Brad Little, that dream has been a reality for the past three years.

"It's an amazing role to sink your teeth into," Little said in a phone interview. "Andrew Lloyd Webber is the king for writing great male roles."

First appearing as Raoul in "Phantom" on Broadway, Little's other Broadway and national tour credits include "Cyrano The Musical," "Fiddler on the Roof" and "Anything Goes," He has won international acclaim for his portrayal of Jesus in the European tour of "Jesus Christ Superstar" and Tony in "West Side Story."

The actor returns to Green Bay next week for the month long run of "The Phantom of the Opera" at the Weidner Center at the University of Wisconsin-Green Bay. He performed the title role during the first run of the "Phantom" at the Weidner, in April 1997.

Little has been in the theater business for as long as he can remember, since his father, Paul J. Little, a retired professor, called upon him for as many child roles as possible. The native Californian, who has lived in New York the past 15 years, is quick to credit this character he portrays as his best yet.

The role, however, is not one without exhaustive preparation. Trying to continue to be healthy, in the mist of lack of sleep and constant travel, Little and other performers rely on the love of theater as motivation. "The reward of actually being up there and performing is amazing. It's everything physically straining, but most of all, it is emotionally straining. It's difficult not to let the emotions ride you so much that it doesn't affect the performance," Little said .

With all Little puts into the role, audience members seem to take away with just as much, captivated by his portrayal of the Phantom. Many people were entranced by his performance in its last run at the Weidner, anticipating not only the return of the production as a whole to Green Bay, but the return of Little as well, sure to give another unforgettable performance.

While "The Phantom of the Opera" production is in Green Bay, Little plans to spend most of his time in Algoma, where he will be staying. Trying to acquire as much rest as possible, he will pass his time here fishing or golfing.

"I would love to go to a Packer game," the avid fan said, "but I would be afraid that I would scream my voice out. I could do probably do this role with a sprained ankle, but I know that I can't do it without my voice." Packers games seem to be somewhat of a conflict for the cast, according to Little.

"We are having trouble finding places to live with many of us having to stay 40 minutes away. You know it's Packers season when you have to do that."

Not to worry, the headaches, weather changes and allergy afflictions are still worth it to Little.

"This theater (Weidner Center) is one of the more beautiful places that we've played; we are anxious to return."

Without looking at the numbers, Little believes this is the quickest the production has been back to a city.

"We were pleasantly surprised with the response we received in Green Bay. We have played Milwaukee, Chicago and Minneapolis so we didn't know if it would be a successful run," he said. "It was so successful that we are coming back so soon. In my mind, I can't recall a city that we came back to so quickly because of its success."

Successful to say the least, agrees Tom Gabbard, executive director of the Weidner Center.

"It takes confidence of the producer of the show," Gabbard said . "They actually contacted us within four months after the first engagement closed. They looked at their plans and Green Bay was at the top of their places to return."

With this large of production, "Phantom's" attraction is no wonder, enticing veteran theatergoers to continue to see the performance over and over again, while bringing people into the performance for the first time. As far as the future goes, Little has been on the road for three years and is "looking forward to hanging up the mask."

"But as everyone says in theater, you never really leave the 'Phantom,' it always stays with you, and I would definitely come back."

Little plans to spend some long-overdue quality time with his wife, actress Barbara McCulloh. The couple just celebrated their anniversary. Most recently, Little finished recording "Brad Little Unmasked," his debut CD of Broadway music, which will be on sale at the Weidner Center throughout its run.

What is on tap for future roles? Little commented without hesitation. "I would love to play Billy Bigelow from 'Carousel,' and a dream of mine despite the difficulty would be portraying Jekyll from 'Jekyll and Hyde.'"
 
 

With The Phantom of the Opera, you start with The Phantom.

The touring company of the megahit melodrama playing at the Weidner Center has a stalwart "angel of music" of "creature of the night" - your choice - in Brad Little.

With strong gestures and voice to match, Little packs a powerful emotional punch that shapes the production.

Yes, the show is ga-ga opulent and spectacular - the eye-filling chandelier crashes, a golden angel
flies and set pieces move magically.

But it is the pain of broken-hearted Phantom that pulls you in and gives flesh to the technical tricks and sumptuous surroundings.

In his lair, trying to tempt his beloved Christine, the disfigured Phantom is at his most compelling - and Little at his most magnificent.

Little's well-developed treatment of the song The Music of the Night is totally enveloping. "Sweet intoxication," indeed.

And when Christine and the smitten Raoul commit their love in All I Ask For You, The Phantom's
anguish reaches full volume.

Kimilee Bryant is an alluring, touching Christine.  She has a gorgeous voice, pressing it to the limits at times.  Through the convoluted complexities of the finale, Bryant delivers a clear thread of tenderness.

As opera diva Carlotta, Julie Schmidt is a delight. She blends comic airs with vocal fireworks.

Jason Pebworth is a worthy Raoul, though Friday he didn't fully sell his passion for Christine.

Composer Andrew Lloyd Webber's colorful music is handsomely performed, from the romance to full-tilt intricacies of the seven-voice Notes/Prima Donna let loose in the office of the Paris Opera House.

Singing aside, the show is delicious for the eye, starting with the gilded statuary of the stage arch.  Lavish costuming in the early Hannibal scene and the second-act opener, Masquerade, are stunning.  Also impressive are trips to The Phantom's lair, including crossing the candle-adorned lake in a boat.

The cast runs deep in talent, with rich voices filling the stage.

It's important to note the Weidner Center organ is not used because producers want to keep the sound as close to the Broadway version as possible.  That's too bad, because the company organ pales by comparison.