Social outcast. It's a role Brad Little plays with relish as the star of "Phantom of the Opera." It's a role Little would have loved to relinquished in real life.

As the masked miscreant lurking in the catacombs of the Paris Opera House in Andrew Lloyd Webber's acclaimed musical, now playing at the Fox Theatre, Little unleashes a spectacular reign of  terror on stage. But as a boy growing up in Redlands, Calif., Little was terrorized himself by his peers.

"I was beaten up every day after school...I was a loner, or at best a follower.  I didn't have many friends, " says Little.
Unlike the phantom, whose hideous facial deformities make him a freak, Little was ostracized because of an invisible demon -dyslexia. The learning disability made it impossible for Little to master the world of the printed word, no matter how hard he tried.

"In the second grade, I couldn't distinguish 'house' from 'horse.' I confused 'th.' with 'wh.' I stumbled over any word that had five letters or more.  I was a failure when it came to 'Run, Spot, run,' "Little says.

And in those days -Little is in his 30's- neither the teachers at Mariposa Elementary School in Redlands  nor Little's parents knew how to help a child struggling to learn to read.
"No one -not even my father, who was a college professor -could diagnose the problem.  By the time I was in sixth grade, I was only reading at a second-grade level, though my math skills were at a 12th-grade level,"  says Little.

Unfortunately, it wasn't just Little's literary background that suffered.  Like many kids living with untreated learning problems, Little's dyslexia led to emotional problems such as low self esteem.
"I was so frustrated, so angry. Tears would fly down my face during tutoring sessions.  I thought I was just stupid" says Little. "I had a neighbor, a  boy my age named Mark, who was severely retarded.  He drooled.  My mother used to tell me that 'Mark was special.' So when I wound up in a special education program myself, I was completely confused.  I didn't have Mark's strange behaviors or physical characteristics.  I didn't know what was wrong."

And that's why, now that Little is a star - he has appeared in European tours of "Jesus Christ Superstar" and "West Side Story" as well as Broadway's "Phantom" (he played Raoul), "Cyrano the Musical," "Fiddler on the Roof" and "Anything Goes" - he makes it a point to take time out from touring to talk to students with learning disabilities.

In St. Louis, where "Phantom" is playing at The Fox through Sept. 26, Little spent an afternoon at the Churchill School, a private school in Ladue that serves high-potential kids 8 to 16 years of age with diagnosed learning disabilities. In between regaling his audience with stories of stage calamities, like when his phantom cape got caught in an elevator, and his friendship with Maya, a cheetah he met at the Cincinnati Zoo, Little imparted a life lesson it took him a long time to learn: You are not alone.

"Do you know what I used to do when we had to read aloud in class?" he confessed to the students.  "My teacher would ask each pupil to read one paragraph in a story.  I would count the students ahead of me in my row, figure out which paragraph I was going to have to read, and try to memorize it do that when it was my turn, no one would laugh at me. Trouble was, the teacher  invariably would tell the girl in front of me , 'Go on, read another paragraph.' Then I was sunk."
His anecdote hit home; waves of laughter rolled across the school's auditorium.

Little says it wasn't until he landed the role of the phantom that he got the nerve to "come out of the closet" about his dyslexia.

"I suppose I had a natural affinity to the character; I knew what it was like to feel ridiculed," he says.  "And my wife (actress Barbara McCulloh) encouraged me to speak out.  She told me I had an opportunity to touch somebody out there with the same problem."

So how did Little go from a pre-teen with terrible self-esteem to a self-assured, highly regarded stage actor?  When he was in ninth grade, his father accepted a teaching position overseas and Little's family spent the year in Europe.

"My dad read to me a lot, and I was accepted by the college kids we met.  I learned - and I fit in," says Little.  "When I returned to southern California, I was scared to death to go back to my own school.  So I went to a  high school with a program called 'SWAS' - 'school within a school' - with a more hands-on approach. They allowed oral instead of written test there. Within a year, I went from a 1.5 GPA to a 3.6 GPA."

Simple academic success was not Little's only salvation. Finding a label for his problem - his mother realized he had dyslexia after watching a Phil Donahue television segment about it - helped.  But discovering and nurturing  his musical talent was key.  As a high school freshman, he was accepted into the top-echelon choir.  He also began landing the lead roles in school musicals.
"I found my niche.  And suddenly, to my surprise, I was not only accepted by my peers, I was actually looked up to by them. The word 'special' took on a whole different connotation for me - now I had a 'special talent,'" He says.

Not that his dyslexia was conquered; far from it. Taking the PSAT's was "an absolutely terrible" experience, says Little.  "I watched everyone around me frantically  turning through the pages, and I  just bawled. I couldn't get through it," he says.

So Little eschewed college aspirations and headed first to Los Angeles, where he worked in local theatre, and then New York, where he quickly landed a job in "They're Playing Our Song."
Nowadays, Little finds ways to compensate for his slow reading.  He has a phenomenal memory and relies on tape recordings his wife makes to learn his lines in a script.  He also has an uncanny ability to hear something and sing it right back.

"I don't read music - I can't! I listen to the melody and then study the words instead," he says.
Most of all, Little has found acceptance.  He is finally at peace with who he is - dyslexia and all.
"You know, my wife is a Phi Beta Kappa - book smart. But she's learning disabled when it comes to anything logical, like electronics. We all have our quirks - mine just happens to be some kind of page-to-eye-to-brain communication problem," he says.

"when someone ask me how it feels to read backwards now, I'm not ashamed.  I just laugh and say, 'How should I know? I don't know what it feels like to read forward!'" 

When it comes to "The Phantom of the Opera," "lavish"  isn't a compliment, simply a description.

The popular, award-winning Andrew Lloyd Webber musical opened at the Fox Theatre Friday night with its famous extravagance in full flower.  Webber's lush score meanders aimlessly, and lyricist Charles Hart displays all the wit of a rhyming dictionary ("head/dead," no less).

The show's acclaim rest largely in the hands of production designer Maria Bjrnson, a woman who evidently was told yes, money does grow on trees.  The period costumes for the large cast are breathtaking , even if part of what takes your breath away is the realization that their overall cost probably equals the budget of, oh say, several small welfare institutions.  The moody set, darkly lighted by Andrew Bridge, is an extravagance of 19th-century romantic decadence, replete with velvets, candles, dan golden statues in poses you wouldn't want to explain to Ken Starr.  And of course, there are all those stage-stoppers: the disappearing acts, the elephant, the menacing chandelier.

It is gorgeous, no question.  But the point of staging is to illuminate the story.  Here, it covers it over.  There's so much going on peripherally, the audience has to dig for the small, but tender, story hiding under all the frou-frou, visual and musical.

So do the actors.  This company boast a cast short on big names but long on talent.  A version of "Beauty and the Beast," "Phantom" is the story of a brilliant musician and inventor who's face is so hideously malformed that he hides in a world of masks and darkness, underneath the Paris Opera House.  When he falls in love with an innocent soprano, Christine, he uses all his power to advance her career and win her love.  Her voice may belong to him, but her heart belongs to a dashing nobleman, Raoul.  In the last, and most powerful scene, the three of them are brought together; someone's heart has  to break.

Amy Jo Arrington, making her professional debut, is a lovely Christine, especially in the touching solo she sings at her father's grave, "Wishing You Were Somehow Here Again."  This moment seems relatively simple compared to everything else, maybe because here Christine is more than somebody's puppet; she expresses nothing but her feelings.  (At some performances, Megan Starr-Levitt plays Christine.) Jason Pebworth, graceful physically and vocally, is an appealing counterpart as Raoul.

In the title role, Brad Little dominates the production with his voice and sense of pent-up longing he condenses into a few well-choosen gestures: a protectively hunched shoulder, a glamorous but self-effacing sweep of a cape.

There are also good performers in smaller roles: Jennine Jones, Steven Stein-Granger, Julie Schmidt, David Cryer and Richard Reardon.

The test that "Phantom" ultimately will be judged by is how it fares when it is performed without all its luxurious trappings .  Will it work strictly in terms of music and story?  Or will it seem gauche and dated, a chestnut from mega-musical years that seems charming at best (think "No, No, Nannette") and ar worst ridiculous (think Floradora girls).  "Phantom" may not pass that test - but it won't face it for many years to come.

For two years, Brad Little has played the Phantom in the "Music Box" National Touring company of The Phantom of the Opera.  His performances exude grace, confidence, ease and finesse, and has made him a bona fide musical theatre star. Brad ha his own website, his own "Phan" club, and now, his own solo CD, "Brad Little UnMasked" - an impressive repertoire for this charming, generous and modest celebrity.

The Phantom of the Opera is probably the most recognizable modern musical, containing the most coveted of leading male roles.  One would assume certain pressure comes with playing the Phantom, but not so with Brad. He admits that he doesn't read reviews, but focuses on brining the "best of Brad Little to this role". Brad's best comes from a five-year relationship with the production, playing most male roles as a swing in the Broadway production, and then playing "Raoul" opposite Davis Gaines' Phantom before taking over the lead in the touring production. "Watching Gaines' performance for years definitely fed into my soul" says Brad who used this performance as the basis for his own interpretation.  Interestingly, Brad claims that all Phantoms are essentially doing Michael Crawford's version.  "He created it, he went through the whole process,  so in a way, we are all doing Michael's show."

But having seen Phantom from every angle, Brad has a unique and educated insight into the musical and the Phantom himself which allows him to make the role his own.  An extraordinary voice, captivating acting skills and special touches (a mesmerizing flurry of his cape, a flashing toss of his hat - which Brad confesses is a legitimate Southern Californian Frisbee toss) all trademark his performance. But it is his Phantom's emotions and motivations which display the depth of his portrayal.

Brad's Phantom appears confident, yet borders on insanity. These are two intriguing characteristics which Brad likes to bring to his interpretation. "I like think of my Phantom not so much as confident as calculated. My Phantom has practiced and practiced 'The  Music of the Night' scene with that mannequin in the mirror, and his lair is where he is the most comfortable". To enhance this effect, Brad never takes his eyes off Christine.  My attention is always focused on her and I have staged everything so that Christine will fall in love with me.  This is my calculated plan".

But the insanity surfaces when the Phantom's plan goes haywire.  "When he loses control, the monster side of him comes out - an irrational, dangerous side". This leads to the murders the Phantom commits.  Surprisingly, Brad claims that the Phantom is not entirely to blame for his heinous acts.  "It's all very innocent, not malicious.  In the Phantom's mind, all those killings are rational because all he sees and knows in life is opera where murders are a means to an end - in his case, Christine."

In fact, Chrisitne is one of the reasons that his performance is constantly changing and growing.  "It changes drastically based on what Christine I am playing opposite.  She can be hard, pitiful understanding, and even teacher-like to the Phantom. Ultimately, she dictates what the Phantom does in a performance."

Though Brad says that creatively he would never tire of playing the Phantom, it can be difficult physically.  "My body hurts from doing the show, doing the same physical moves night after night." This especially true after the final lair scene .  "I come off of that last scene and I'm completely drained. It's also quite emotional and can take you for a real spin.  But it's also a lot of fun and that's why I'm in theatre - to get to the height of those places."

I saw Brad Little's Phantom four times last month and he was spectacular.  But try to tell Brad that, and he's quite humble.  He explains, "When I first took over this role, I wanted to be the BEST Phantom.  But you come to realize that's impossible with this role. " No matter how much any performer puts into the Phantom, Brad claims "It has nothing to do with us.  It's the role.  People love this role. It has nothing to do with how talented you are - as long as you have the generic goods, the role is going to sell.  So I've given that up now I basically say 'this is what I have to offer, I hope you enjoy it.'"

Indeed we do. And as for Brad's modesty, I would argue that that it is HIS stunning performance as the Phantom that makes all the difference in the world.
Brad's CD, "Brad Little UnMasked" is available exclusively through his website at
www.bradlittle.com.

Kristine Kulage is a freelance writer for Intermission Magazine in St Louis. She is also the webmaster for Broadway performer Ron Bohmer. You can visit Ron's site at
www.ronbohmer.com
 
 

With a sweep of his long, black cape, a toss of his hat and an entrancing wave of his hand, the amazing Brad Little becomes the Phantom of the Opera, commanding the stage and enthralling audiences at the Fox Theatre through September 26.  The most successful musical of all time, The Phantom of the Opera is on it's third engagement  in St. Louis and, as always, gives every reason to celebrate.  The story of the disfigured, tortured romantic soul who haunts the Paris Opera House and falls in love with a young soprano, The Phantom of the Opera has come to define excellence in modern musical theatre, breathing new life into the genre.
The Fox Theatre was made for musicals like Phantom.  The ornate beauty of the interior of the Fox serves as an extension of the production's lavish sets, placing the audience in the Paris Opera House.  The extravagant scenery, gorgeous costumes and stunning visual effects are exactly what audiences have come to expect from Phantom.  But the show's magic and appeal extend beyond the superficial, for underneath all the glitz  and visual excess the heart of a tragic love story filled with passion and pity, horror and beauty. The boat gliding through a sea of candles, the enormous "Masquerade" staircase, and famous rising and falling chandelier may be the delicious sugar coating of this musical, but the dramatic tale of love and loss easily shines through all the glamour.
Making her professional debut, Amy Jo Arrington is one of the finest Christines I have seen.  She not only possesses a beautiful voice, but her superb acting is especially convincing when showing a Christine who is uncontrollably drawn to and repelled by the elusive Phantom.
Hidden beneath the mask, Brad Little is a seductive, confident and powerful Phantom.  His performance is suave and physical, angry and passionate.  Yet audiences pity him because of the tender vulnerability that he displays. His love is obsessive yet beyond his control.  Like Chrisitne, the audience is constantly under his romantic, mysterious spell.  I found his gripping performance especially intriguing in scenes when his portrayal almost almost borders on insanity (e.g. his scream after he hears Chrisitne and Raoul singing "All I Ask of You").  Most importantly, he has finely crafted his performance and made the Phantom his own.  His rich, gorgeous voice is perfectly suited for the powerful ("The Phantom of the Opera"), tender ("The Music of the Night"), and passionate ("The Point of No Return") songs.
Indeed, his "Music of the Night" soars to the upper balcony and is the finest I've heard from a Phantom here at the Fox.  His performance alone make the production of The Phantom of the Opera not to be missed.
For more information or to order tickets, call 534-1111.  Plus don't forget to pick up an October issue of Intermission Magazine for an exclusive interview with the remarkable Phantom himself, Brad Little!
(www.bradlittle.com)