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Steve Barton

Steven Neal Barton (June 26, 1954 – July 21, 2001) was an American actor, singer, and renowned for originating the role of , Vicomte de Chagny, in the original West End production of Andrew Lloyd Webber's in 1986 and its subsequent Broadway premiere in 1988. Born in , as the youngest of three children to Tom and Mary Barton, he was raised in , and graduated from Nederland High School in 1972. Barton attended the on multiple scholarships, where he majored in theater and trained in , performing in over 30 university productions and joining the Austin Civic Ballet as its first male dancer for three seasons. Early in his career, Barton moved to , where he built a strong reputation in musical theater, originating the role of in the Vienna production of (1983) and appearing in European stagings of (Munich) and ( and ). His performance as Raoul in earned critical acclaim for his voice and charismatic stage presence, and he later succeeded as the Phantom on from March to December 1990. Barton continued to star in major productions, including the Beast in the European premiere of (, 1995) and Count von Krolock in the world premiere of Dance of the Vampires (, 1997), for which he won an IMAGE Award, Europe's equivalent to the . He also appeared on in (1993) and made television guest appearances on soap operas such as Another World and . In his personal life, Barton was married to choreographer Denny Berry, his college sweetheart, with whom he had a son, ; he was also survived by a brother, , and a sister, . He died suddenly in his apartment in , , at the age of 47 while preparing for a recording session; his death was initially attributed to heart failure, though a subsequent report by the local ruled it a .

Early life and education

Childhood and family background

Steven Neal Barton was born on June 26, 1954, in . He was the youngest of three children born to and Mary Barton, with older siblings Betty and Tommy. The family enjoyed a modest Southern upbringing, reflecting the working-class of mid-20th-century and later Texas communities. In his early years, the Bartons relocated from Hot Springs to , due to his father's business opportunities, where Steve spent much of his childhood and became a "naturalized Texan." This move immersed him in the small-town environment of , attending local schools as an honor student. He graduated from Nederland High School in 1972. The family's strong affinity for music played a pivotal role in his formative years, leading to piano lessons that ignited his initial passion for performance. These early musical experiences, combined with participation in local school activities, laid the groundwork for his lifelong dedication to the , fostering a creative outlet in his Southern surroundings.

University training and early influences

Barton enrolled at the in 1972 on multiple scholarships, majoring in and while also studying voice and . His coursework emphasized practical training in , , and movement, with degree requirements that included classes to build performers' physical conditioning. These studies built on his childhood roots in and , where early exposure to and local had sparked his interest in the . Throughout his undergraduate years, Barton honed his multifaceted skills through extensive involvement in campus productions, appearing in more than 30 shows with the UT Department of Theatre and Dance, UT Opera Theatre, and Ballet Austin. Notable roles included in West Side Story (1972), in Camelot (1972), in Othello (1974), and in (1976), which demanded versatility in dramatic acting, vocal performance, and choreography. Extracurricular dance work with Ballet Austin further refined his technique, as he joined the Austin Civic Ballet (now Ballet Austin) as its first male dancer for three seasons, exposing him to classical and modern forms that influenced his later stage presence. These experiences not only strengthened his resume but also instilled a collaborative central to his artistic development. After departing UT Austin in 1977 without completing his degree, Barton relocated to to pursue professional opportunities in , , and . This transition reflected his ambition to apply his university-honed abilities on international stages, marking the start of his career as a full-time .

Performing arts career

Breakthrough roles in musical theatre

Steve Barton's breakthrough in musical theatre came with his casting as Raoul, Vicomte de Chagny, in the original West End production of Andrew Lloyd Webber's The Phantom of the Opera, which premiered on October 9, 1986, at Her Majesty's Theatre in London. Trained as a dancer from his time at the University of Texas, Barton brought a distinctive athleticism to the role, performing intricate sword fights and balletic movements that highlighted Raoul's heroic physicality alongside the production's elaborate choreography by Gillian Lynne. The rehearsals were marked by significant technical challenges, including difficulties with the chandelier drop and other special effects, which delayed previews and required the cast, including Barton opposite Michael Crawford as the Phantom and Sarah Brightman as Christine, to adapt amid frequent adjustments. Critics and audiences acclaimed Barton's performance for his clear, strong voice and charismatic stage presence, which infused with romantic intensity and emotional depth, particularly in duets like "." His vocal delivery was noted for its resonant quality and seamless blend with the score's operatic demands, earning praise as a standout in the original . Barton's tenure in lasted until early 1987, establishing him as a in Webber's oeuvre. Barton then transferred to the Broadway production at the Majestic Theatre, opening on January 26, 1988, where he reprised to similar acclaim, solidifying his international reputation. This move marked a pivotal step in his career, bridging West End innovation with success and showcasing his versatility in a role that combined , , and dance. In 1993, Barton took on the lead role of the imperious Boris Lermontov in the musical The Red Shoes at the , stepping in during previews to replace and originating the part in the production's short run of five performances. Directed by with choreography by Lar Lubovitch, the show drew on the 1948 film classic and allowed Barton to leverage his background in a dramatic, authoritative portrayal, though the production faced mixed reception overall.

International stage performances

After the Broadway production of The Phantom of the Opera, Steve Barton returned to , where he continued his prolific career in , particularly in German-speaking countries. He starred in major productions, showcasing his skills as a singer, dancer, and actor across diverse venues in , , and . In 1996, Barton took on the physically demanding of the in the German-language Die Schöne und das Biest (Disney's ) at Vienna's Raimund Theater, a that highlighted his background through elaborate scenes and choreography-heavy sequences. The following year, he originated the of the charismatic von Krolock in Jim Steinman's Tanz der Vampire () at the same venue, performing from October 1997 to January 1999 and earning acclaim for his commanding presence in the show's intricate ensemble and gothic staging; for this , he won an IMAGE Award, Europe's equivalent to the . This , a German adaptation of the film , allowed Barton to leverage his choreography expertise in -intensive numbers like the "Tanzsaal" scene. Barton continued his international work into the late 1990s and early 2000s with appearances in other European musicals, including a guest performance in at the Starlight Express Theater in , , in 1998, where he joined the cast for televised segments emphasizing high-energy roller-skate . In 2000, he was cast as Dr. Jekyll/Mr. Hyde in the German production of at the Musical Theater , though recurring knee injuries from earlier roles limited his involvement to rehearsals and initial previews. These engagements in non-English productions demonstrated Barton's adaptability to German-language demands and cultural nuances, contributing to his enduring popularity in despite physical challenges that eventually curtailed his performing career.

Directing, choreography, and teaching

Choreographic contributions

Steve Barton's dance training at the influenced his early career in , where he contributed to in regional theaters during the late 1970s and early 1980s, often blending techniques with musical theater. His wife, choreographer Denny Berry, collaborated on some projects. However, specific credits remain sparsely documented in available sources. In the late 1980s, Barton served as assistant choreographer for the Vienna production of Cats. Following his performing career, he occasionally returned to creative roles in smaller European venues, though details are limited.

Teaching and mentorship roles

In the later stages of his career, following European performing roles in the mid-1980s, Steve Barton focused on educational contributions, sharing expertise in musical theater with emerging performers in the United States and . Barton served as a guest lecturer and masterclass instructor at the in the early 1990s, covering vocal technique and stage movement. In March 1991, he and his wife Denny Berry conducted master classes on campus, culminating in public student performances for faculty and Littlefield Society members. To support young talent, Barton and Berry established the Steve Barton and Denny Berry Endowed Presidential Scholarship in Theatre and Dance at the in 1992, funded by a $25,000 contribution from The President's Associates matched by $12,500 through the Regents' Endowment Program (totaling $37,500 as of 1992) to aid outstanding students in the College of Fine Arts. An additional Steve Barton Endowed Presidential Scholarship in was later established in his honor.

Personal life and death

Marriage and family

Barton met dancer and choreographer Denny Berry while both were students at the University of , where they connected through shared involvement in theater and programs. They married in 1978 and shared a professional overlap in musical theater, with Berry serving as a dancer in the original Broadway production of during Barton's tenure as the title role. The couple had one son, Edward, born in 1984 during Barton's engagement in Vienna with the production of Cats. Edward was raised amid the family's relocations tied to Barton's international performances, initially in the United States and later in Germany as Barton pursued roles in Europe. Berry continued her career as a choreographer and dance supervisor, including for North American tours of The Phantom of the Opera, while managing family life alongside Barton's demanding travel schedule for stage productions. Edward later pursued music, writing songs and touring with the band Diecast.

Circumstances of death

Steve Barton died on July 21, 2001, at the age of 47, in his apartment in the Stonegate suburb of Bremen, Germany. He was in the country at the time to record for Stella Musicals and had been preparing for an upcoming role as Jason in a production of Medea at the Pittsburgh Public Theater later that year. German authorities, through the district attorney's office, officially ruled the death a suicide, as reported by The New York Post on August 3, 2001; however, the method was not publicly disclosed. An initial announcement from The Phantom of the Opera press office and Barton's publicity agents attributed the cause to heart failure. Barton's publicist, Michael Staringer, stated that while Barton had a history of substance abuse issues, they were under control at the time of his death. Barton was survived by his wife, choreographer Denny Berry, and their son, . His family and friends have consistently maintained that the cause was , viewing the suicide ruling as coincidental and unrelated, and they requested privacy regarding the circumstances. No was performed, and official records listed as the cause.

Notable works and recordings

Principal stage credits

Barton began his professional stage career in , making his breakthrough in the 1983 Vienna production of , where he originated the role of and served as dance captain. His performance in this German-language production, which ran at the , showcased his skills as a singer, dancer, and , contributing to the show's successful European adaptation. In 1986, Barton originated the role of , Vicomte de Chagny, in the West End premiere of Andrew Lloyd Webber's at Her Majesty's Theatre, opposite as the Phantom and as . He performed the role through 1987, earning acclaim for his charismatic portrayal of the romantic hero, with critics noting his "elegant " and stage presence in a production that became a long-running hit. Barton reprised in the 1988 Broadway transfer at the Majestic Theatre, joining the original cast from January 26, 1988, to September 1989, where he performed over 700 shows alongside Crawford and Brightman initially. Barton continued as Raoul in select engagements, including the 1989 Vienna production of Das Phantom der Oper at the from May to June, marking the show's European expansion, and brief stints on the first U.S. national tour in 1989 and 1991. In March 1990, he transitioned to the title role of in the production, replacing Cris Groenendaal and performing until December 2, 1990, amid challenges from a injury; his interpretation emphasized the character's tormented vulnerability. Later in his career, Barton starred as Boris Lermontov in the original Broadway production of at the from December 16 to 19, 1993, stepping in after and bringing dramatic intensity to the role of the domineering impresario in this short-lived musical. He originated in the 1992 world premiere of Six Wives and took on Fred/ in a 1994 Goodspeed Opera House revival of . Returning to Europe, Barton played the Beast in the 1995 Viennese production of Die Schöne und das Biest (Beauty and the Beast) at the Raimund Theater from December 1996 to June 1997, and originated Graf von Krolock in the 1997 world premiere of Tanz der Vampire (the European version of Dance of the Vampires) in Vienna, a role that highlighted his commanding baritone and became one of his most celebrated late-career performances. Earlier off-Broadway work included Prince Paul in the 1989 Merrimack Repertory Theatre production of The Anastasia Game and Bellini in the 1996 world premiere of Mirette.

Television and film appearances

Barton made a guest appearance on the American soap opera Another World in 1994, portraying the character Bailey Thompson across multiple episodes. This role marked one of his rare forays into daytime television, leveraging his stage-honed dramatic skills in a narrative centered on interpersonal drama in the fictional town of Bay City. In 1992, Barton appeared in the German crime series Tatort, taking on the guest role of FBI Agent Mike Haller in the episode "Kinderspiel," directed by Peter Patzak and broadcast on ORF in Austria. The episode, part of the long-running anthology series, involved investigators tackling a case of juvenile delinquency in Vienna, where Barton's character provided international investigative support, showcasing his versatility in a non-musical, suspense-driven format. Barton contributed voice work to the animated series in 1990, voicing the father in the episode "Alexander and the Terrible, Horrible, No Good, Very Bad Day," an adaptation of Judith Viorst's children's book with music by . Airing as a 30-minute special, the production featured Barton's performance in musical segments that highlighted family dynamics amid comedic mishaps, drawing on his experience to infuse warmth and expressiveness into the role. No additional film credits or voice roles have been documented in his career.

Discography highlights

Steve Barton's discography primarily consists of cast recordings from major musical theatre productions in which he starred, along with posthumously released solo collections featuring his vocal performances. His most prominent contributions are to the original cast albums of The Phantom of the Opera, where he portrayed Raoul, Vicomte de Chagny, showcasing his tenor voice in romantic duets and ensemble numbers. The 1986 original London cast recording of The Phantom of the Opera, released by Polydor, captures Barton's debut in the role alongside Michael Crawford as the Phantom and Sarah Brightman as Christine Daaé. Notable tracks include his solo lines in "Think of Me" and the duet "All I Ask of You," which highlights his clear, emotive delivery in the show's lyrical ballads. This double album, produced by Andrew Lloyd Webber, became a commercial success and earned acclaim for preserving the production's operatic style. Barton reprised Raoul on the 1988 original Broadway cast recording, also released by Polydor, maintaining the core principals from London with slight adaptations for the American production. His performances on tracks like "All I Ask of You" and "The Point of No Return" emphasize the character's heroic resolve, contributing to the album's status as a benchmark for Broadway soundtracks. The recording, which debuted shortly after the show's New York opening, solidified Barton's international profile in musical theatre audio documentation. Beyond , Barton featured on the 1988 studio of , performing as Steve Baker on the triple album. His contributions include ensemble pieces like "" and "," reflecting his versatility in Jerome Kern's jazz-influenced score. This release, directed by John McGlinn, is noted for its fidelity to the 1927 original and Barton's grounded in supporting roles. In 1998, Barton led the original Vienna cast recording of Tanz der Vampire (the German adaptation of Dance of the Vampires), portraying Graf von Krolock on Polydor's double CD. Key tracks such as "Totale Finsternis" and "Die rote Zora" demonstrate his commanding presence in the rock-opera style, with the album achieving strong sales in and influencing subsequent international productions. Barton made guest appearances on various compilations, including the 1992 Cole Porter Centennial Gala Concert recording on Teldec, where he performed "Night and Day," and Phantom-related specials like the 2004 Broadway's Fabulous Phantoms on Rhino, featuring his archival tracks from the original cast albums. These selections underscore his enduring legacy in tribute contexts. Posthumously, Stage Door Records issued Only for a While in 2009, a solo album compiling Barton's interpretations of standards like "Someone Like You" from the musical of the same name and "Puttin' on the Ritz," drawn from European radio and demo sessions. The 2010 follow-up, Encore: The Private Collection, includes rarities such as "Beloved" from Emma and duets with Angelika Milster, offering insight into his cabaret and pop influences outside Broadway. Both releases, limited to 500 copies each, preserve lesser-known aspects of his discography.

References

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