The Phantom of the Opera
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https://opera.org.au/productions/the-phantom-of-the-opera-melbourne/
Date Reviewed: 04/11/2022
The Phantom of the Opera opened at The State Theatre Melbourne on the 4th of November. Cameron Mackintosh’s reinvention of this 30-year-old musical is an auditory and visual feast that is infused with mystery, passion, and intrigue throughout performance.
The prologue opens to a ruined Palais Garnier that is used as a makeshift auction house where various memorabilia from the Opera’s past are being sold, and one of the bidders is the much older Raoul, Vicomte de Chagny (Blake Bowden). In no time we find ourselves at the Opera Populaire as the stage transitions into a glamorous and bright dress rehearsal of Hannibal. During rehearsals, a falling sandbag almost kills the prima donna, Carlotta (Giuseppina Grech) and there are rumours that this is the doing of “the opera ghost”, Carlotta refuses to sing and Christine Daaé (Amy Manford) steps in her place. After the first show, Raoul, a patron of the opera house, congratulates Christine on her performance, and they soon realise they are childhood friends. When he invites her for dinner, she refuses and tells Raoul that her teacher, “The Angel of Music”, would not allow her. So, the unfolding of the deadly love triangle between Christine, Raoul, and The Phantom (Josh Piterman) begins.
When Christine disappears with the Phantom and they sail into his dimly lit lair, the crushing chords of the theme song reverberate throughout the theatre. Time and time again, this music creates an instant emotional connection with the audience, it is hypnotic. It seems that from the time he was introduced to the world by Gaston Leroux in 1910 in his French novel, Le Fantôme de l'Opéra, the ghost continues to live with Lloyd Webber’s music. In addition to the music, perhaps what makes this story immortal are the familiar human themes. Some of which include the curious relationship between love, rage, and sacrifice. Who has not experienced unrequited love and the gamut of emotions that follow? And who has not wanted to hide their face behind a mask for their sadness, shame, or pitiful behaviour?
This production is powerful under the skilful direction of Laurence Connor and a cast of exceptional soloists. Josh Piterman embodies the phantom with his presence through his display of passion, vulnerability, menace, and a voice that surpasses all expectations. It is easy to fall in love with Amy Manford who portrays Christine Daaé so naturally. She is striking to watch and has a powerful yet smooth soprano voice to match. Blake Bowden develops a confident, masculine, and charming Vicomte. The complete cast, the ensemble, ballet chorus and orchestra are, in a nutshell, superb.
Paul Brown’s magnificent set design give the stage versatility with creative contrasting scene transitions such as between the jaw-dropping opulence of the masquerade ball and the Phantom’s clandestine lair. Central to the stage design is the iconic chandelier that represents both magnificence and destruction. It weighs one tonne and features over 6,000 beads. The sophisticated design also launches three fireworks and includes forty smaller firecrackers! Paule Constable’s lighting create an ambiance of magic, emphasising elements that should and should not be seen. For example, in scene 1 the combination of the lighting and the fog machine creates a dreamlike effect and an illusion that Phantom’s lair is expansive. The lighting, the timeless music, and Maria Bjornson’s costume designs add to the show’s spellbinding atmosphere. Likewise, the sound is another unseen and yet critical element to get right, Mick Potter has done it brilliantly.
If you think that you already know the story and heard the music, don’t rob yourselves the opportunity to witness extraordinary theatre.
Reviewed by Irena Begelfor