The Phantom of the Opera at Sydney Opera House
Sydney has been blessed in recent times with some incredibly compelling musical theatre, including the likes of Tony Award-winning productions of Hamilton, Pippin and the incredible spectacle of the Moulin Rouge!. However, not many productions have captured the imagination quite like The Phantom of the Opera which has officially opened at the Sydney Opera House. The new production brings with it the sophistication and excitement of West End and Broadway, courtesy of producer extraordinaire Cameron Mackintosh and of course legendary composer Andrew Lloyd Webber in association with Opera Australia.
While there have been a few iterations of The Phantom of the Opera in Sydney over the years, including the most recent Handa Opera production on Sydney Harbour, none have played at the famous Sydney Opera House until now. Previous versions of the show also haven't benefited from the flair and allure offered by the new Cameron Mackintosh production, which has toured the United Kingdom and the United States to raving reviews. Mackintosh is no stranger to theatre in Australia. Not only is he part of the original creative team that conceptualised The Phantom of the Opera for West End and Broadway, but he has also brought a number of his hit shows to Sydney in the past. Most recently this has included his hit production of Mary Poppins, and of course, his rejuvenated production of Les Miserables in 2015, which was a massive success.
Much like Mackintosh's rejuvenation of Les Miserables, the creative team led by Andrew Lloyd Webber saw the opportunity to rejuvenate and re-rehearse the productions of The Phantom of the Opera on both West End and Broadway post-pandemic. A necessary refresh considering the London production had been running for over 37 years since its debut at Her Majesty's Theatre, not to mention being the longest-running show on Broadway taking up residency at the Majestic Theatre. For the most part, these shows remain close to their original form. The new Cameron Mackintosh touring production however makes some intriguing adjustments and updates, while at the same time building on the legacy of the original. This creates a more grounded story, with an ambience that is much more cinematic.
Both the original long-running productions in London and New York have been based on the direction of the renowned Hal Prince. The Sydney Opera House version, much like its touring counterpart, is based on the direction of Laurence Connor. The result is a more gritty, emotional and realistic version of the gothic romance, originally based on the written work of Gaston Leroux. Audiences can look forward to the fabulous original costume designs of the late Maria Björnson, in addition to the new immersive set design developed by Paul Brown.
Associate director Seth Sklar-Heyn takes the reigns of the show in Australia showing a remarkable understanding of the story, in addition to incorporating the reimagined visual style and blocking courtesy of Laurence Connor. This creates a seamless production with fantastic narrative drive and a tremendous amount of emotion, depth and heart. There is also slightly less magic, mysticism and ambiguity, but at the same time, the show still manages to feature all the wonderful illusions and special effects. This includes various onstage trickery including shadows, flames, surround sound and of course the opulent and mischievous chandelier that will keep audiences on their toes.
The Phantom of the Opera - Sydney Media Call
From the moment audiences step into the Joan Sutherland Theatre, they will be greeted with a sense of eeriness along with a simultaneous sense of wonder. The staging is amazing, miraculously transitioning from one setting to another as if by magic. Much of the credit for this aesthetic has to go to the lighting design courtesy of Tony Award winner Paule Constable. The real magic begins once the 27-piece orchestra begins the main overture. It is an incredible moment to witness as Andrew Lloyd Webber's haunting score takes flight and elevates the energy in the Joan Sutherland Theatre.
Musical supervisor Guy Simpson and musical director Anthony Barnhill are extremely well matched, as they combine to create an interpretation of the original orchestration that is heartwarming and emotional. The moving melodies set the stage for a collection of amazing songs including "Think of Me", "Masquerade", "All I Ask of You", "Wishing You Were Somehow Here Again" and of course "Music of the Night". Each song seems to be better than the last, as the epic tale builds to the ultimate crescendo in the 'Final Lair", a sequence overflowing with high drama and intriguing resolutions.
Josh Piterman takes on the lead role of the Phantom, made famous by Michael Crawford on West End and Broadway. He does so to great effect, bringing the Phantom's tortured persona to life with charismatic vocals and great emotional angst as he haunts the theatre. His experience in the role on London's West End has served him well, as he manages to make the ghoulish figure empathetic to the audience, challenging the audience's perception of the character while simultaneously pulling at the heartstrings. It is a fantastic achievement, clearly showing Piterman's passion for the role and a thoughtful creative process.
Undeniably the star of the show is the amazing Amy Manford, as she embodies the role of soprano and operatic ingenue Christine Daae. She brings a poise and grace to the role that is breathtaking to witness, along with a vocal range that is completely sublime. Her serene and yet highly emotional arias are accompanied by an incredible self-awareness of her movement and physicality, perhaps a side effect of her youth when she trained in rhythmic gymnastics. The result is a performance that has to be witnessed, not to mention well worth the price of admission. She embodies the role of Christine incredibly well, conveying a broad range of emotions, while at the same time emanating a unique aura and energy on stage that is tremendously compelling to watch. Her performance is heartwarming, emotional and authentic all at the same time. Stellar performers including the likes of Sarah Brightman and Sierra Boggess have arguably set the standard for the role in the past, however, Manford manages to make the role her own. She is also perhaps the most authentically cast actress to feature in the part for quite some time. In short, she deserves a lot of credit for taking the role to places above and beyond its original inception.
Blake Bowden also makes his presence felt as he steps into the role of Raoul, providing a formidable foil to the Phantom's calculated plans and lustful desires. At the same time, he emanates elements of charisma and regality along with a fabulous stage presence. Much like Piterman, his vocal abilities are also superb, demonstrating fantastic vocal control and offering different shades of tone in contrast to the operatic ranges of the Phantom. Opposite Josh Piterman's Phantom, he is very well matched, in addition to having a good chemistry with Amy Manford's depiction of Christine. The entire ensemble cast is also particularly fantastic, with notable mentions going to Jayde Westaby and Mietta White who play the roles of Madame Giry and Meg Giry respectively. They both have fantastic stage presence in their brief moments in the spotlight and are cast extremely well.
In summary, the new Sydney Opera House production of Phantom is a feast for the eyes, displaying wonderful colours and majestic designs along with haunting melodies and amazing performances. It is also incredibly moving and guaranteed to leave a lasting impression. Tickets are sparse, so get in quick. The musical has been the highest-grossing production at the Sydney Opera House for quite some time and for good reason. It is that good. After a nine-week stint in Sydney the production moves to the Melbourne Arts Centre on 30 October. Get your tickets now before it is too late. This iteration of The Phantom of the Opera is an absolute must-see!
