The Phantom of the Opera: a review by Victor Grynberg
A season virtually sold out before opening night was a definite indication that the local audience was expecting something special from the first Sydney Opera House staging of this mega-hit.
Earlier this year, we had all been thrilled by their staging of the show on Sydney Harbour.
Opera Australia certainly didn’t rely on the laurels of the Andrew Lloyd-Webber musical and pulled out all punches to deliver a knockout production.
I’ve been fortunate enough to enjoy this wonderful show since its premiere in London, and subsequently in New York with Michael Crawford and locally with stars like Rob Guest and Anthony Warlow who went on to perform the Phantom role in London’s West End.
This time the role of the Phantom was played by Australia’s Josh Piterman, who debuted in the role in Cameron Mackintosh’s restaging in the West End in 2019.
He is now starring in this particular production now being premiered in Australia. Many people unfamiliar with Josh’s name may well have seen him earlier in his career when he was part or The Ten Tenors. With a wonderful score at his disposal, his rich tenor voice soared over the Joan Sutherland Theatre in a thrilling way. “The Music of The Night”. Bravo.
Not to be outshone by the Phantom was an amazing Amy Mansford as the young soprano Christine Daae, the love interest of both the Phantom and Raoul, the Count.
Amy, who is described as Australian-American, has already played this role also on the West End, so it doesn’t come as a surprise how brilliantly she sings and performs.
Her duets, in particular, are remarkable for the musical intensity and purity of voice. The title song,” I Remember” and the electrifying “The Point of No Return “should be recorded for posterity. As indeed should the whole production.
The third leg of the lead trio is Blake Bowden as Raoul the Count. Another local Blake’s excellent performance both with vocals and acting meant he was just as excellent as Josh and Amy.
His duet of “All I Ask of You” with Christine was just superb as was the famous trio of “ Angel of the Music” with the Phantom and Christine.
A very strong cast supported the three leads. As usual, I enjoyed the characters of the two Monsieurs and full commendation to David Whitman and Andy Morton for their performances.
Typical of the quality we have seen from Opera Australia for many years now, the rest of the support plus the Ballet Chorus were also of the highest standard.
I can’t recall ever before having a Musical Director who has worked with the same score for over 30 years. So it’s no surprise that under the supervision of Guy Simpson, the 65-member orchestra played so beautifully and as always, the improved acoustics of the enlarged pit did full justice to this eternal score
What did I think of Cameron Mackintosh’s new production? I’m in agreement with the critics in London who felt that an almost unbeatable production was just given a lift-up. The improved lighting design certainly enhanced the “grittiness “ of the storyline.
Seth Sklar-Heyn, directing this wonderful new production, received terrific support from a huge team, which means no aspect of the show is not perfect.
So finally, why did I write this show should run forever? I think on an annual basis, The Phantom could do at least 2 months in Sydney, 6 weeks in Melbourne, a month or so in Perth, Adelaide and Brisbane plus a season in Auckland, Singapore and Hong Kong. Year after Year after Year.
THE PHANTOM OF THE OPERA
Joan Sutherland Theatre
Sydney Opera House
5 Stars
