Packs a visual punch, but loses itself in grandiosity.
The Phantom of the Opera, produced by Opera Australia and Handa Opera on Sydney Harbour, is a decadent but limited production of the Andrew Lloyd Webber classic. Directed by Simon Phillips, it’s replete with the eye-catching grabs that makes Handa productions so popular, and the production’s bold and vibrant design outwardly reflects a rich, layered world. But when one looks deeper, there is unfortunately less on offer.
The Phantom of the Opera follows a masked, reclusive genius (Jake Lyle) residing underneath the Paris Opera House. His fixation with Christine Daaé (Amy Manford), a young soprano, turns her into a star and him to desperation, complicated by Christine’s blossoming love for Raoul (Jarrod Draper). The love, jealousy and obsession creates the perfect fodder for gothic romantic tragedy.
Phantom sells itself on extravagance, which is best seen through its design. The cast move across the grand stage in a range of intricately designed costumes, beautifully designed by Gabriela Tylesova. The outfits are nothing short of stunning, from colourful corsets to sparkling tailcoats. Through them, the grandeur of Webber is on full display. Even the cast’s hair seems larger than life, with manes perfectly styled and striking wigs. Just as beautiful are the set pieces also designed by Tylesova. Those include a lush staircase, velvet tiered seating area (the musical is largely set in the Paris Opera House theatre) and the enormous chandelier featured in the production’s decades-long seasons around the world.
Yet, it’s what’s around the stage that adds an oomph. Booming voice-overs command audience attention. An indulgent fireworks display ends the first Act. On the front of the stage, space has been made for the small gondola from the original set design, which the cast use to move across the story’s locations. Most impressively, the team have incorporated fire in the set, providing literal and performative flare. It’s also a useful touch during Sydney’s cold snap.
Musically, the production ultimately works. The orchestra, courtesy musical supervisor Guy Simpson, clearly enjoy Andrew Lloyd Webber’s music. They play with gusto and energy and are the show’s soul. On stage, the performers eventually find their voices. Despite being technically proficient they are initially drowned out by the orchestra’s spirit. Fortunately, when they decide to match such spirit, they shine. Lyle’s singing in the numbers ‘The Point of No Return’ and ‘All I Ask of You (Reprise)’ are powerful, as is Manford’s performance in ‘All I Ask of You’; both are delightful to listen to. Also of note is ‘Masquerade/Why So Silent…?’, the second Act opener performed by the company.
However, on a broader level, the performances don’t quite land. The connection between Christine and the Phantom is lacking, resulting in neither character reaching their emotional peak. This affects Draper’s performance as Raoul, given his role in the love triangle. Their collective storyline plays second fiddle to the next big solo, fire display, or costume change.
The supporting cast are bogged by unclear direction, seeming unsure whether to lean in to the musical’s grandeur or its humanity. The balance between the two is a difficult one to strike, and the ensemble eventually decide that going more for the former is appropriate. It’s the correct choice given the design, but one that is made too late and renders the production’s more subdued moments quite static. A notable exception to this is Giuseppina Grech as Carlotta, whose immediate and ongoing decision to play the prima donna character as a snooty, snarling caricature is charming. She is the highlight of the show. Props must be given to Brent Hill and Martin Crewes as the Paris Opera House’s managers, and Daniel Belle as Ubaldo Piangi, the Opera House’s leading tenor, for following Grech’s lead.
Ultimately, The Phantom of the Opera offers audiences visual potency at the cost of the show’s emotional core. The design is spectacular – as it sets out to be – but the feeling is not always there. There should be more behind the mask.
