It’s not possible to have a terrible time at “The Phantom of the Opera”. It’s one of those musicals where you leave the show humming the music. You might have already seen the musical before years ago but this one is worth seeing not only for its punch as high-gloss entertainment and rekindling the fondness for the musical story but also to admire the refreshed decorative and artistic staging enriched in rococo opulence set at the Sydney Opera House. There is no better venue that gives Andrew Lloyd Webber’s music every chance to impress, even for a younger generation.
As a gothic backstage melodrama, the “Phantom” is Andrew Lloyd Webber’s story of an old-fashioned romance of beast meets beauty between the Paris Opera House phantom (Josh Piterman) and a chorus singer named Christine Daae (Amy Manford).
There are plenty of light and shade moments, and the artistic staging direction transitions seamlessly from grey sombre darkness to the gold and shimmering glory of the Paris Opera House. The stage is draped with layers of rich Victorian theatrical curtains, heavily tasselled velvety curtains, backdrops of all antiquated styles and then constantly shuffles their configurations so we may view the opera house’s stage from the perspective of its audience, the performers or the wings. We are taken to the opera house roof, with its cloud swept view of a twinkling late night Paris, and the subterreanean lake where the Phantom travels by gondola to a baroque secret lair. The lake, awash in dry ice fog and illuminated by dozens of candelabra, is a masterpiece of a resemblance of the vision of hell.
Aside from the magnificent set changes, the evening’s peaks are the Phantom’s entrances, the masked ball (”Masquerade”) that opens Act II. The Phantom’s appearances are also eagerly anticipated, not because he’s really scary but because Josh Piterman acting gives ”Phantom” most of what emotional heat it has. His face obscured by a half-mask, uses a booming, expressive voice and sensuous hands to convey his desire for Christine. His Act I declaration of love, ”The Music of the Night” – in which the Phantom calls on his musical prowess to bewitch the heroine. Stripped of the mask an act later to wither into a pitiful sight while clutching his beloved’s discarded wedding veil. And of course, that chandelier moment we all know if we’ve seen the musical before is sure to impress.
This production includes a 37 strong cast and 27 piece orchestra, making it one of the largest musical productions ever in Australia.
The Phantom of the Opera, now showing at the Sydney Opera House until October 16 before making its way to Arts Centre Melbourne from October 30, delivers on a stunning new staging and scenic design, Maria Björnson’s iconic original costumes and many special effects including a spectacular new realisation of the show’s chandelier.
Directed by Laurence Connor with choreography by Scott Ambler, set design by Paul Brown, Tony Award®-winning original costume design by Maria Björnson, lighting design by Tony Award-winner Paule Constable and sound design by Mick Potter, The Phantom of the Opera has music by Andrew
Lloyd Webber, lyrics by Charles Hart (with additional lyrics by Richard Stilgoe), book by Richard Stilgoe and Andrew Lloyd Webber, orchestrations by David Cullen and Andrew Lloyd Webber. This new production is overseen by Matthew Bourne and Cameron Mackintosh.
Cameron Mackintosh’s spectacular new production of Andrew Lloyd Webber’s The Phantom Of The Opera is directed by Seth Sklar-Heyn and is presented by Opera Australia in association with The Really Useful Group.
For tickets, head to www.phantomoftheopera.com.au
See.Taste.Do attended the opening night of The Phantom of the Opera at the Sydney Opera House as guest of Lucky Star Media
All stage photography is taken by See.Taste.Do as is the copyright of See.Taste.Do
