This is part of an ongoing series of theater reviews of local high school productions, written by high school students appearnig on AnnArbor.com. This week, Skyline High School's Jonathan Jue-Wong (see bio at end of story) reviews South Lyon East High School's production of "The Phantom of the Opera."

When I entered the auditorium of South Lyon East High School on Saturday evening, I was not expecting to see a 500-pound, tarp-covered, “666”-labeled chandelier resting on the side of the stage. Nor was I expecting it to rise majestically over the audience on a professional fly system during the iconic overture, with 25,000 crystals shimmering and glittering in its splendid light. This stunning spectacle was just a prelude of what was to come in South Lyon East’s current production of "The Phantom of the Opera."

"Phantom" is a spectacular musical, seen by over 100 million audience members since 1986, when the show premiered in London. In 2010, the performance rights were released to U.S. and Canadian school groups for the first time ever. Director Donna Kupper was bold and ambitious in her decision to produce the immensely difficult show with a high school cast and crew.

"Phantom" is a haunting love story. It tells the dramatic tale of an ill-fated love triangle between the horrifically disfigured Phantom, his protege soprano Christine Daae, and the wealthy patrician Raoul. Christine is physically and psychologically manipulated by both the Phantom and Raoul, and the core dramatic conflict focuses on which man she will commit her heart to, amidst an environment of danger, intrigue, and even death. All of this is set in the fictional “Opera Populaire,” a glittering Belle Epoque Paris opera house.

The signature trademarks of "Phantom" are the lavish, complex Andrew Lloyd Webber score and incredible set-pieces. From a crashing chandelier, to a mechanical elephant, to a robotic gondola, "Phantom" is known for impressing audiences with its astonishing set-pieces. I was awed and impressed when I saw South Lyon’s production, which had all three of these set-pieces and even a few surprises. The striking chandelier was modeled off of the genuine Palais Garnier chandelier in Paris and smoothly rose, blinked and trembled ominously, and fell. The gondola, designed by Ron Weber and Matt Firestone, glided without a hitch through the fog effects.

In order to evoke the Belle Epoque late-nineteenth century setting, costumes and set design are essential for a successful "Phantom" production. Kupper was very fortunate to have a skilled and experienced production team. Costume designer Olga Blackford and her team of seamstresses were responsible for the gorgeous, period-accurate costumes. Set designer Al Chapin also did a fantastic job of designing effective and professional-looking sets. Especially nice were the elegant “managers’ office” set and the cold, severe cemetery - complete with a mausoleum, obelisk, and sculpted angels.

Some of the technical requirements of "Phantom" were not quite as excellent as the sets and costumes, however. Makeup design and application was in general barely noticeable, which detracted from the horror achieved by the Phantom’s disfigured face. Also, the heavy and cumbersome set challenged the running crew, and several long, black-out scene changes slowed down the show.

Regarding performances, some of the finest came from supporting characters. Carlotta Giudicelli (Grace Jackson), the “prima donna” resident diva of the opera house, was delightful, strutting around the stage with character-perfect haughtiness and poise and singing in an over-indulgent operatic style that neatly satirized coloratura sopranos. Monsieur Firmin (Eric DeBono), one of the two opera house owners, was amusing as well and very good with his comedic timing. He played opposite a delicate “Madame Andrea Firmin” (Renae Bowers). Ubaldo Piangi (Havard Sand) was endearing and comically sheepish as the awkward Italian singer and love interest of Carlotta.

Of course, the magnificent Lloyd Webber score and Charles Hart lyrics are two of the key reasons for "Phantom"’s longstanding popularity. The graceful Christine (Natalie Blain) and Raoul (Greg Jones) had superb voices, and their “All I Ask of You” duet, sung on a unique rotating bridge, was touching and affecting. However, it was shocking when the couple did not kiss at the dramatic top of the duet, and thus the romance was hard to believe.

Meanwhile, there were some pitch problems among other members of the cast, but the chorus was well-prepared and harmonized well in the “Don Juan Triumphant” rehearsal and “Track Down This Murderer.” The pit orchestra, under the musical direction of Barbara Graves, struggled with the musical requirements of Webber’s exceedingly difficult and sophisticated musical score - several passages of music in at least two numbers were cut.

Yet Kupper’s main goal for South Lyon East’s production of "Phantom" was “to get them as close to Broadway as possible - with my vision.” She was hoping for a production “as professional as we could (do).” South Lyon East’s Phantom was remarkably professional through many of its technical wonders, and the cast and musicians had clearly worked extremely hard.

Kupper was firmly interested in getting the details right; the show even featured authentic pointe ballet by American Dance Academy dancers, choreographed by Melva Zavisa. Wyatt Clement was energetic, running around and above the house to be everywhere as the omnipresent Phantom. The sets and scenery of South Lyon East High School’s "Phantom" are spectacular, soaring and shimmering in ways I did not think was possible for a high school to accomplish. The professional-quality sets and scenery of South Lyon East High School’s "Phantom" made it an unforgettable night of theatre.

The Phantom of the Opera runs this weekend, Friday & Saturday at 7 p.m., Saturday & Sunday at 2 p.m., at South Lyon East High School, 52200 W. Ten Mile Road, South Lyon. Tickets are $15 for adults and $10 for students and seniors.

Jonathan Jue-Wong is currently a junior at Skyline High School. He is a member of Ann Arbor Civic Theatre and has participated in the Skyline Theatre program in the past. He has performed in numerous productions there and elsewhere, one of his favorites being Moliere's "The Imaginary Cuckold." Since 2009, he has been a member of the International Thespian Society, Troop #7400. He is very interested in writing and journalism, and is considering a career in those fields.