This review is going to be biased.
It’s pretty much a sure bet that anything that has the word “phantom” attached to it will draw my attention. So, when I learned that Franc D’Ambrosio was coming to Washington to sing songs from the musical, I purchased a ticket.
Obviously, I did so in haste due to my excitement and did not realize that the program at Five Points Washington included other non-Phantom songs.
I must admit I was disappointed initially. However, as the night progressed, I found myself enjoying D’Ambrosio’s performance.
D’Ambrosio is touted as the “world’s longest running Phantom,” and I can understand why. He is a talented, professionally polished entertainer with many fine accomplishments tucked under his belt.
D’Ambrosio played Al Pacino’s opera-singing young son, Tony Corleone, in “God Father III.” He played another “Tony” in the pre-Broadway tour of “Copacabana.”
Saturday night, D’Ambrosio showed what he was made of, singing various styles of music from radio airwave medley’s, such as “Mack the Knife,” and ragtime tunes, such as “A Pretty Girl is Like a Melody.”
I found D’Ambrosio to be at his best when he sang emotionally charged songs that required him to carry long, high notes, such as “Bring Him Home” from “Les Miserables.” I know when a song strikes a chord with me because I get chills and break out in goose bumps, and such was the case while D’Ambrosio sang “Bring Him Home.”
It was impressive to next hear him sing the “Godfather” theme song, “Speak Softly Love,” in both English and Italian.
In between songs, D’Ambrosio told stories of his youth. His family emigrated from Italy and settled in the Bronx. His large family lived in an apartment above their bakery, and D’Ambrosio said they were the best-smelling family in the neighborhood.
As a lad, D’Ambrosio said he skipped school and snuck into theaters to watch people audition. He probably never realized at that time he would be the one on the stage in the future.
Saturday night, D’Ambrosio stood on a black stage, dressed in a black suit with a single spotlight on him. In the background, his musical director played piano. They were synchronized perfectly.
However, I felt the sound quality of the performance was not up to par. I don’t know if this was because I had a seat in the balcony, or if D’Ambrosio wanted his sound to mimic old-time radio, or
if it was simply a poor sound system. I wanted to be engulfed by D’Ambrosio’s voice, but I felt as if it was coming to me through a tin can. Perhaps I am too spoiled by surround-sound movie theaters.
