BRHS Drama staged three shows of Andrew Lloyd Webber’s “The Phantom of the Opera” May 1-2 in the school’s auditorium. A small cast of 13, determined to perform Broadway’s notoriously difficult classic, aligned with the vision of Director Dr. Mary Miller, to remind us that only those who aim for more, achieve it. Eighteen scenes, two and a half hour shows, rigorous stage cues, lavish sets, extravagant costuming, and technically demanding lights and sound, the show is known as a “character in itself” for its engineering aspects alone. This writer tips her hat to the often unsung heroes: Kolton McKenney, Autumn Therrien (stage crew), Bryson Hersom and Garrett Carter (lights, special effects) and Susie Taylor (stage manager, costumes) for the best-developed back-house BRHS show in years. Add to this, the ambitions of Miller and Lee Pangburn on the club’s new sound system, the performers' commitment to an operatically challenging score and the physicality inherent in the exacting show, and something truly magical occurred in Boothbay. Seniors Kora McKenney (Gilles André) and Matthew Little (Richard Firmin) left their shoes on the stage, a theater tradition that represents leaving a piece of yourself on the stage, gesturing a deeply moving final performance.

The show was not a “Jr.” version. It was intended for mature performers, and Miller culled the story down to its core before stepping aside to let her actors make the show their own. And they did.

Jayden Coulombe (Phantom) is not new to the stage, but his owning it is; simply put, a seminal performance. His powerful opera made countless hours of singing in his garage worth it. Aware of his body, his acting was exceptional for someone whose face is hidden by a mask. Animalistic undertones, jealousy, musical brilliance and isolation – Coulombe delivered an A-game that stemmed from deep understanding of his character. “Phantom shouldn’t be seen as a villain but as an antagonist; villains are traditionally evil people, but an antagonist opposes the main character, not necessarily evil. Phantom wants compassion and seeks it with misunderstood frustration,” said Coulombe. “Phantom’s a smart guy, an inventor and composer. He has gifts to offer the world, but everyone sees his face and thinks he’s a monster. Christine listens to him and gives him the affection he deserves, which he mistakes that as genuine love. But, he's not in love with her the way Raoul is. Phantom just wants compassion.”

The club was excited to welcome the return of super soprano Annielyn MacKusick (class of 2016) in the role of Carlotta. MacKusick diva’d as divas do, providing needed comic relief while delivering the musical’s best singing. “It was so much fun to take this stage again,” she said. “I enjoyed working with these students tremendously. I hope generations continue to embrace the arts as a vital means of creative self-expression. Own it and have fun!”

Adaline Barter (Christine) could not have taken a more pressure-filled role, stepping into her voice and the spotlight with steeled nerves and the vulnerability required to pull off Christine’s compassionate character. John Cooper (Raoul) has that special sauce all stage performers want. Even when it’s not his scene, you can’t help but watch him. His shy undercurrent vanished sometime after Friday night’s performance and before Saturday’s matinee. It isn’t often you get to see a star being born in front of you, what a treat this young actor is. Samantha Colby (Madame Giri) was superb delivering the story’s wisdom and advancing the plot. Colby is well-suited for leading roles and her future in the club is filled with excitement.

Emma Scott (Meg Giri) delivered a breakout performance complete with acrobatics, singing and a poignant moment at the story’s end when she finds the Phantom’s discarded mask. Isabel Fanslau was excellent as ballet dancer Ida, and Hersom contributed many roles to the success of the show: spotlight, stunt man, auction assistant, hired assassin, and Reyer, the overbearing voice coach.

Always the hardest paragraphs to write, four seniors said goodbye to the club with this performance. Hailey Babineau (Piangi) was delightfully funny as Carlotta’s sycophant husband, managing to get laughs even as a dead guy. Chloe Joneth (Mary) has been with the club five years, starting in eighth grade. “It’s hard to pick a favorite show, 'Grease' and 'Frozen' are at the top of the list, and 'Newsies' was my first show – it’ll always hold a special place in my heart,” she said.

Not enough can be said about the chemistry between Kora McKenney and Little. They’ve known each other since kindergarten. “When you see each other every day for most of your life, you don’t have to work too hard to give off an old married couple vibe,” said Little about his stage dynamics with Kora McKenney. “We saw that there were two grumpy business managers in the show, and immediately set out begging Mrs. Miller for the parts. Like, every day, we begged to be given those roles,” said McKenney. The audience was glad she did. They were sensational. McKenney came out of her shell with great authority and acting genius – holding one’s own on the stage with Little is a tall order. Little is an actor's actor, naturally comfortable across a broad spectrum of emotional display, though, often cast in comedic roles. Playing Donkey in “Shrek” was his favorite BRHS role, and for McKenney, this show’s role was her favorite. McKenney plans to pursue theater as an elective at Southern Maine Community College where she plans to study health and human services. Little is keeping his options open at University of New England where he plans to study marine biology. “Hamilton” tops both their performance wish lists; Little has memorized 90% of the raps for the role of Alexander Hamilton, and McKenney knows all the raps for the King George role. “I want to say thanks to the community for showing up and supporting us,” said Little. “Those are my parting words – thanks, for everything.”

Music by Webber, lyrics by Charles Hart and Richard Stilgoe. Book by Stilgoe and Webber. Based on the novel “Le Fantôme de l’Opéra” by Gaston Leroux.