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The Phantom of the Opera
Presented by: The Really Useful Group
Asia Pacific and The Gordon Frost Organisation
Venue:
The Princess Theatre,
Melbourne
Reviewer: Simon Parris
Date Reviewed: 28th July 2007
It is difficult for the Generation Y (or younger) theatre-goer to
fully appreciate the phenomenon of The Phantom of the Opera in the
mid-1980s. The closest show in popularity today is probably Wicked.
Imagine, however, if instead of just being imported by music theatre
aficionados, the soundtrack was in every music store, the album was
number one on the charts and the songs were in frequent rotation on
the radio and even on music video programs.
It must also be kept in mind that while this is the third visit to
Melbourne for The Phantom of the Opera, it has been playing
continuously in London and New York since before it first opened
here. It is currently the longest running musical on Broadway,
having overtaken Cats in January 2006.
Tickets for the original Australian production, which premiered in
Melbourne in December 1990, went on sale over a year in advance.
Excitement grew during that year as promising young tenor Anthony
Warlow became a superstar as Enjolras in Les Misérables and was cast
as the Phantom.
Jaded musical theatre fans could see the return of Phantom as purely
a money making exercise by the producers. With a very strong fan
base providing a ready audience, the name alone could sell thousands
of tickets. Happily, any doubts as to the financial and artistic
effort put into this staging are swept aside as the show opens with
the massive sets and jewelled costumes just as eye-popping as ever.
A first-rate cast and dedicated production team have combined to
make this show as fresh, dazzling and entertaining as the first
production.
Some of the stars of the original production were not those seen on
stage but were the designers at the height of their powers. Maria
Björnson (who passed away five years ago) filled the stage with lush
curtains that ebbed and flowed to mask, reveal and frame the action.
An amazing number of ‘opera’ and ‘opera house’ scenes are used, all
with a gothic and larger than life quality that has been a
significant aspect in the success of the show.
Andrew Bridge’s lighting design is all the more remarkable for the
blackouts that are achieved given the glossy black floor. Again, a
clear contrast is established between behind the scenes and on-stage
action. Martin Levan’s sound design has been re-created by Shelly
Lee. An outstanding feature of the sound design was the work in
Prima Donna where every significant phrase sung by each of seven
characters singing at once was highlighted to be perfectly clear to
the audience.
Love or hate Andrew Lloyd Webber, it is hard to argue with the
success of Phantom of the Opera, possibly his most ambitious score.
It is difficult to think of a more lush, melodious opening sequence
of songs than Think of Me, Angel of Music, Phantom of the Opera and
The Music of the Night. Further power ballads include the gloriously
romantic All I Ask of You and the haunting Wishing You Were Somehow
Here Again. The real triumph in the score comes not just from these
tunes but from the witty opera pastiches, which are written in three
distinct styles. Also, Prima Donna is an amazing septet that rivals
Rossini for complexity and glorious resolution. Another masterstroke
is the Phantom’s final note in The Music of the Night, which is held
against a series of dissonant minor harmonies before finally
resolving in a major chord.
Associate director Arthur Masella has somehow enhanced Hal Prince’s
original direction so that the story telling is clearer than ever.
Vanessa Scammell maintained the orchestra’s energy throughout the
exhausting through-sung score. The effect of the Trumpeting Elephant
was particularly pleasing.
Anthony Warlow has made a triumphant return to his signature role in
this third production of The Phantom of the Opera. John Bowles, from
the second Melbourne season, returns as Raoul. Fellow returning
stars include John O’May, again playing Monsieur Firmin, and Derek
Taylor, who has been promoted from Monsieur Reyer to Monsieur Andre.
It is almost an understatement to say that Anthony Warlow is in
magnificent form as the Phantom. His tremendous experience in the
role allows every nuance and inflection to be perfectly realised.
With a reported 20 minutes on stage, the actor portraying the
Phantom must establish a complex character that will horrify the
audience whilst also gaining their empathy. This is fully achieved,
with the final sequence in particular being suspenseful and
ultimately extremely moving. Warlow uses his delicate falsetto and
booming baritone to great effect.
Relative newcomer Ana Marina is a delight as Christine. Breathless,
wide-eyed and vibrant throughout, she really excels when she finally
has the stage to herself in Wishing You Were Somehow Here Again.
Christine’s anguish over the Phantom’s final ultimatum is palpable
and adds significantly to the drama of the climax. John Bowles, a
veritable Peter Pan of musical theatre, is tall, dashing and
impossibly youthful as Raoul. Bowles is in fine voice and presents a
characterisation of Raoul that is thankfully more romantic and
dashing than insipid.
New Zealand opera singer Andrea Creighton was born to play Carlotta.
She was a clear audience favourite. David Rogers-Smith was suitably
bombastic, indignant and short-sighted as the ill-fated Piangi. John
O’May and Derek Taylor lent further comic support as Firmin and
Andre. Jackie Rees was a commanding presence as Madame Giry. The
distinctive outline of Rees’ face in the severe black costume was
striking. Nadia Komazec, only 18 years old, rounded out the cast as
the lively Meg.
This production of The Phantom of the Opera is a must for long-term
fans and newcomers alike. Attendance is highly recommended – if you
are lucky enough to get a ticket.
Bookings are at Ticketek:http://premier.ticketek.com.au/shows
Simon has appeared in more than 30 productions over the past twenty
years. Recent roles include Eugene Fodor in Crazy for You
(Whitehorse) and Mr Fox in Mack and Mabel (CLOC). Other favourite
roles include Max in The Sound of Music, Freddy in My Fair Lady,
Julio in Paint Your Wagon, Marcellus in The Music Man and Grantaire
in Les Miserables. In 2005, Simon was nominated for a Guild Award in
the category Best Cameo Performance for his role as the Judge in
Hello, Dolly! (Whitehorse).
Simon is also a keen audience member, having seen over 50 shows in
five weeks on a recent trip to
New York
and London. Simon has served on the Music Theatre Guild of Victoria
Committee for three years, and is currently Treasurer.
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