The Phantom of the Opera

As an avid musical lover, it has always been a personal point of shame to have never seen The Phantom of the Opera – on stage, screen or in print. While this has plagued me personally, it came as a blessing going in blind to Melbourne’s third season of Andrew Lloyd Webber’s masterpiece – which debuted way back when in 1986 on London’s West End. Without getting too over-excited or over-hyped, it’s safe to say I left Arts Centre Melbourne covered in tears, goosebumps and a whole lot of confetti.

Set in the late 1800s, the Paris Opera House is preparing for a new production. After its leading prima donna, Carlotta, is almost killed by a falling set piece, rumours fly that a ‘ghost’ is terrorising the theatre crew. Carlotta resigns and after some encouragement from Meg – the ballet mistress’ daughter – and a note from the mysterious entity that haunts the shadows around them, background dancer Christine Daaé steps up to fill her position. What starts off as an innocent recasting, turns into a traumatising tragedy between Christine, her new love Raoul and the haunting Phantom, whose obsession with Christine grows uglier by the day. As his jealously grows, so does the trail of destruction in his wake.

Cutting straight to the chase, The Phantom of the Opera is a spectacular, visceral, spine-tingling experience. Laurence Connor has directed an extraordinary piece of theatre that not only keeps up with Webber’s almost unattainable standards, but also breathes new life into a classic with fresh, local talent for a new generation of theatregoers. Amy Manford is astounding as Christine, encompassing her fragility, purity and terror so stunningly. Her Soprano vocal range with her renditions of ‘Think of Me’ and ‘Wishing You Were Somehow Here Again’ will have every hair in the room reaching for the chandelier ominously looming above them. Josh Piterman is equally as mesmerising, matching Manford’s vocal range while also evoking immense dread and darkness as the production’s antagonist. Blake Bowden, as Christine’s love and subsequently the Phantom’s rival, is every inch the leading man as Raoul. His duet of ‘All I Ask of You’ with Manford will not leave a dry eye in the house. Other worthy mentions; Giuseppina Grech is deliciously melodramatic as Carlotta and her comedy balances out the show’s more gothic tones; newcomer Mietta White is also a wonderful ray of sunshine as Meg, whose presence stands out even when blending in with the ensemble across the stage.

It goes without saying that every department of this masterpiece is at its top tier best. Scott Ambler’s choreography is flawless, David Cullen’s 27-piece orchestra is a beast that is utilised to its full capabilities, the late Maria Björnson’s majestic costume design is vibrant and Jill Parker’s redesigns are evident of Björnson’s legacy. However, it’s Paul Brown’s set design that truly defies belief – building a rotating Russian doll-esque set that transitions from towers to ships to graveyards in short, swift movements. His work in the show’s titular song is worthy of all the awards it will likely be nominated for.

As a Phantom novice a few days ago, Laurence Connor’s season is an unmissable experience that will likely have my Spotify and YouTube feeds flooded with the soundtrack for weeks and months to come. It is a mesmerising, spellbinding revival and it cannot be missed.

The Phantom of the Opera
Arts Centre Melbourne, 100 St Kilda Rd, Melbourne VIC 3004
Runs until Feb 5, 2023
www.phantomoftheopera.com.au

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