The historic Sydney Opera House debut of Andrew Lloyd Webber's hit reminds us that the classics are classic for a reason Show If there was ever a production that is, for all intents and purposes, impervious to review, it must be Andrew Lloyd Webber’s The Phantom of the Opera, a pinnacle work in the field of popular musicals. In the hands of a capable company and mounted with flair and no fear of embracing the inherent melodrama, it cannot fail to impress. Really, if nobody falls off the stage, you’ve got a five-star experience on your hands. In a historic move, the Phantom is haunting the Sydney Opera House for the first time ever in 2022 – not to be confused with the five-star Handa Opera on the Harbour production from earlier this year. They are two separate stagings with different cast and crew, though Opera Australia is involved in both, not unlike their dual productions of West Side Story a few years back. We open in early 20th century Paris, naturally, and are introduced to the scenario when the now-aged Raoul, Vicomte de Chagny (Blake Bowden), attends an auction of ephemera from the Paris Opera. It’s Lot 666 (heh), a vast, reconditioned chandelier that descends over the attending audience before blazing to life. The spectacle sets his memory afire, and from there we are taken back to 1881, where opera ingenue Christine (Amy Manford) finds herself in the middle of a love triangle between the dashing Raoul and the titular Phantom (Josh Piterman, whose performance, both energetic and melancholy, has also been seen on the West End), a disfigured man who the company believe to be a ghost haunting the opera house. For all the play’s grandeur, the actual narrative is tightly contained – there’s the girl, her beau, and the tragic monster between them. Similarly contained is this production – with the Opera House’s Joan Sutherland Theatre almost bursting at the seams trying to contain production designer Paul Brown’s elaborate, rotating set – at times it feels like we’re looking into an impossibly intricate music box, which is fitting. Director Laurence Connor ups the gothic excess on this production – this is a Phantom wreathed in smoke and fog and spotlighted by silvery moonlight – and the brighter points of the story, such as the opening Hannibal production and second act banger ‘Masquerade’, serve to counterpoint the doomed romance at the heart of the story. The music is, of course, fabulous – a 27-piece orchestra brings all the sturm und drang you could want to the proceedings, with veteran music supervisor Guy Simpson pulling out all the stops (quite possibly literally), filling the theatre to the point where you’re just about drowning in the work’s gloomy, dreamy drama. It’s an overwhelming experience, and the only option is to surrender to Phantom’s chiaroscuro charms. Highlights are obvious – it’s hard to hold a candle to ‘The Music of the Night’, after all – and welcome. It is interesting to see how the story stacks up now in comparison to its 1986 debut. The times have changed and Christine’s relative lack of agency doesn’t quite pass muster, while in the 21st century the Phantom reads as much more predatory and manipulative than he did in previous decades. It’s not quite possible to imbue this story with modern sensibilities without some serious reworking, and so we inevitably default back to the classic but nonetheless problematic narrative beats. Still, producer Cameron MackIntosh seems to be at pains to show us that yes, we’re all aware that the Phantom is a bit of a groomer, even if we can’t quite address it directly without being at odds with the play’s actual aims. That might be the most difficult buy-in for contemporary audiences, and Phantom, like all classic musicals, demands we meet it at least halfway for it to work – and it does work if you’re open to its many dark delights. It’s been an interesting season for gothic theatre; while Kip Williams’ Strange Case of Dr Jekyll and Mr Hyde reveled in narrative and formal audacity, The Phantom of the Opera reminds us that the classics are classic for a reason, and there’s no point in trying to fix what isn’t broken. The Phantom of the Opera plays the Sydney Opera House until October 16, 2022. The reimagined production of Andrew Lloyd Webber’s The Phantom of the Opera currently playing at the Sydney Opera House is still spectacular – but it does depart from the original staging quite dramatically. So, it is important for audiences to leave any past experiences at the door and open their minds to a new interpretation. If they do, there are some rare and wonderful treats to be discovered. Yes, some elements of the epic spectacle have been abandoned, but there are visual treats aplenty with some wonderful details and character interpretations that bring their own reward – once you stop mourning the loss of all those floating candles. The publicity tells us it’s ‘bigger and better than before’, and while it may not actually appear bigger on the Joan Sutherland stage, there are some choices that have infinitely improved upon the original direction for this new century. Phantom of the Opera has been around for over 30 years, and it is certainly time for another take on one of the most popular and enduring works of modern music theatre. It is unlikely many readers will be unfamiliar with this story, but for the benefit of those newcomers, ‘the Phantom haunts the catacombs beneath the Paris Opera House. He’s man and mystery, a deformed genius. And in Christine Daaé, he’s found his angel of music: the young woman he would make a star. But how many lives will he sacrifice to make the music of the night?’ This version is less romantic than the original – but perhaps more real. The character of Christine is stronger and more confident. Less the ‘heroine-victim’ and more sure of herself as she finds her way through the expectations of the controlling men around her. She’s more than happy to slap Raoul when he’s being unsupportive, or challenge the memory of her dead father in her big Act 2 solo. Amy Manford balances the new acting requirements of the role with ease, and her pure vocal tone lends an exquisite clarity to the vocals, translucent as fine crystal when in her upper register. It’s a lovely new interpretation, and perhaps the core strength of this new version. It feels like many of the new choices subtly reference where the characters progress to in the sequel Love Never Dies. Blake Bowden’s Raoul is not as strong a hero figure as he once was. Bowden is confident and has some fine vocal moments, but the character becomes quite petulant and controlling at times, and he certainly deserves his slap from Christine in Act 2. The chemistry between them is erratic and it’s easy to see the self-absorbed drunk he will become later in the sequel. Hey if Marvel can have a universe – why not Phantom! But in the spirit of full disclosure, I have always been on the ‘Team Phantom’ side of this awkward threesome. These new character revelations continue with Josh Pitterman’s impressive Phantom. It’s a return to the more fragile, but no less moving, vocal tone of the original. This musical is haunted in Australia by its own ‘opera ghost’ of Anthony Warlow’s magnificent performance. But this production chooses a different path for the character. This Phantom is lighter, more emotionally damaged, and probably sitting somewhere on the spectrum, unable to process how people behave in the real world. At last we are able to believe Christine’s final kiss and (spoiler coming!) the reason why he cannot finally imprison her. Pitterman really comes into his own in this final scene, his vocals swelling to full strength, and it makes sense of all that has gone before. The highly experienced supporting cast and ensemble feature some fine comic work to balance all that angst. In particular Paul Tabone delivers a delightfully funnier Piangi, and Guiseppina Grech relishes the excesses of Carlotta. The orchestra is sumptuous and the ensemble sound rewardingly lush. Read: Exhibition review: Fantastical Worlds No doubt a great deal will be discussed about which version is ‘better’. It is much more productive to accept them as ‘different’. Paul Brown’s set is an incredible technical marvel and captures more of the intimate backstage spaces of the Paris Opera house. Yes, the staircase has gone but the choreography has been expanded, and the statues are exceedingly impressive. The descent into the catacombs had the audience gasping, and there are pyrotechnics for days! It is certainly not short on spectacle – it’s just of a different kind. That brings me to my only reservation for this production – the decision to retain the original costumes. Despite their exquisite beauty, it seems counterintuitive to still reference the original staging when you are steering your audience in a new direction. Several key costumes were changed anyway, notably in the ‘Masquerade’ number, so perhaps that decision was retrospectively found to be not the wisest. Give us more reinvention! I had the privilege of discussing the performance with both a seven-time groupie of the show and someone who had never seen it before. Both revealed they had been grinning with delight from ear to ear during the performance. Overall, it does feel like this production moves the work more from an opera into a musical. It’s lighter, pacier, more accessible and definitely more real. And for that, the bravery of the creative team should be applauded. Leave all thoughts of the world you knew before – and be haunted by a new kind of Phantom. ThePhantom of the Opera Cast includes Josh Pitterman, Amy Manford, Blake Bowden, Andy Morton, David Whitney, Guiseppina Grech, Jayde Westaby, Paul Tabone, Mietta White The Phantom of the Opera will be performed in Sydney until 16 October then tour to Melbourne from 30 October 2022. Is Phantom of the Opera worth seeing?It is a spectacular entertainment, visually the most impressive of the British musicals. Perhaps the most old-fashioned thing about it is it's a love story, something Broadway has not seen for quite a while. To say the score is Lloyd Webber's best is not saying a great deal.
How long is Phantom of the Opera Sydney?Approximately 2 hours and 30 minutes, including one interval.
What do you wear to the opera in Sydney?There's no real dress code for this event, you'll fit right in wearing smart casual. But, if you'd like to frock up, go for it! It's a special occasion, dressing up makes everything 100% more enjoyable. You'll be on your feet for a guided tour, there are over 300 stairs, so flat comfortable shoes are recommended.
What is special about Opera House Sydney?The Sydney Opera House constitutes a masterpiece of 20th century architecture. Its significance is based on its unparalleled design and construction; its exceptional engineering achievements and technological innovation and its position as a world-famous icon of architecture.
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Phantom of the Opera Sydney review
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