Above : Blake Bowden as Raoul and Amy Manford as Christine Photo credit : Daniel Boud
Every decent opera house needs a Phantom. Finally it is Sydney Opera House’s turn, with the enduring Andrew Lloyd Webber franchise to play until October 16. It is bringing new patrons to the iconic venue, creating huge ticket onsales and is a major tourism event for Sydney and NSW.
This production is a successful re-realisation of Phantom of the Opera, featuring a new design concept, reimagined by Andrew Lloyd Webber and creatives following a meeting of creatives in 2010.
The design emphasizes dark backstage sets, which morph to reveal the brighter Paris Opéra House interiors behind the brick. The audience will no doubt gasp again each time a staircase emergesdown to the Phantom’s quarters from the backstage brick wall.
The success of any production of Phantom of the Opera is greatly influenced by the onstage chemistry and rivalry for the fierce love triangle of The Phantom, Christine and Raoul, Christine’s fiancee. The chosen principals here do not disappoint, with dazzlingly secure vocal delivery, lithe physicality across, up and down the sets and energetic acting to support the tension.
Josh Piterman, former star of successful group The Ten Tenors and cast member of Phantom in London from 2019, brings passion, experience and energy to the lead role of The Phantom. His menacing entry and full range from villain to final broken man is believable and matched with a secure soaring tenor. His moments of super sweet falsetto tone are no illusion.
This Phantom’s big sing of a show and delicious, requisite riveting personality is valiantly matched in the troubled love tryst by Christine as played with elegance and strength by Amy Manford.
Above: Josh Piterman as The Phantom. Photo credit : Daniel Boud
Also with a background including Phantom in London’s West End, Amy Manford’s use of the stage and strength in movement plus resourceful, varied vocals make her quite the heroic Christine, pitted against the struggling Phantom.
Manford’s moment in the graveyard missing her father (‘Wishing You Were Somehow Here Again’) is a brilliantly layered building of emotion. There are great changes of pace and colour in use of her flexible voice as well as fluid traversing of the the stage at varied speeds.
The classic hit ‘Music of the Night’ is great Phantom fare here, sung with a myriad of colour from the pair. This song as with all the numbers, enjoys solid orchestral support to match. Christine’s tussle with the maniacal Phantom at the end through the premiere performance of The Phantom’s own opera is electrifying and believable.
Blake Bowden in the role of Christine’s love interest Raoul launches himself onto the Phantom stage in a well-characterised and warmly sung version of the role. He succeeds in so many ensemble moments and performs with great integrity and focus alongside Manford’s Christine. It is a ‘hear a pindrop moment’ when the high energy drops to hushed tenderness for ‘All I Ask of You’.
Jade Westaby’s Giry struts the opera house boards with powerhouse poise and severe black dress style. Her severe black form lifts many ensemble vistas and assists the narrative details. Her work in the several ‘note’ scenes is exquisitely timed.
Above: Jayde Westaby (Mme Giry) Mietta White (Meg) , Blake Bowden (Raoul) Giuseppina Grech (Carlotto), Andy Morton (M Andre), Paul Tabone (Ubaldo Piagi) and David Whitney (M Firmin). Photo credit : Daniel Boud.
The story and the high society opera season vibe at the haunted theatre also relies on the energy of the theatre owners Monsieur Andre (Andy Morton) and Monsieur Firmin (David Whitney). This pair give a wild rollicking ride of a performance, whether in moments of comedy, tension, plotting and parody with clarity of vocal and physical presence.
New or old fans of Phantom will love the ensemble numbers such as the lush ‘Masquerade’ opening Act Two. The depth of colour, opulent costumes as well as excellence of prop and scenic detail is staggering here. Movement from the dancers brings quality authenticity to the productions in the story and to the retelling of this theatre tale as a whole.
Buffo characters of diva Carlotta (Giuseppina Grech) and Ubaldo (tenor Paul Tabone) devour every moment of comedy or melodrama in the theatre pieces and backstage scandals. Their exerpt from the salon piece “Il Muto” is a true hit, one of the best I have witnessed in any version of Phantom.
Lovers of Phantom special effects will treasure the misty gondola scenes as well as The Phantom appearing in mirrors or vanishing. There are pyrotechnic flashes, small explosions as the Phantom warns Raoul and of course that legendary chandelier drop, which works well in just a vertical plane above the Dame Joan Sutherland Theatre seating.
Beautiful lighting effects in this production are a treat. Muted, hazy effects for outdoor scenes with statues or graves and the opening auction behind a scrim are stunning moments of subtelty. The larger, brighter hues of internal scenes are an exciting contrast to these and the murky labyrinthine theatre spaces and outdoor excursions.
Phantom of the Opera shines in our very own Sydney Opera House. Its newly-hued look and this cast’s vocal excellence will endear the classic success to existing fans and newcomers alike. Those who join the full houses will experience a very exciting, entertaining point of no return as they witness this everlasting stage phenomenon.
This Phantom Of The Opera is a co-production by Cameron Mackintosh, The Really Useful Group and Opera Australia.