By Laura BennettMonday 29 Aug 2022Hope AfternoonsEntertainmentReading Time: 3 minutes
Having not seen musical theatre for far too long, the debut of The Phantom of the Opera at Sydney’s Opera House is a masterful performance giving credit to the talents of an industry that’s been itching to get back up to pace.
Josh Pitterman (The Ten Tenors, West Side Story) stars as The Phantom opposite Amy Manford’s Christine in the Australian production – both having held the coveted roles in London’s West End production before the COVID shutdown.
Together with an ensemble cast exquisitely costumed by Maria Bjorson, the leads tell the famous story of a brooding phantom hiding within a 19th century Paris opera house, who’s obsessed with demure vocalist Christine Daae. Using trickery and threats, The Phantom edges out the house’s big names to secure key roles for Christine – his apparent one true love.
It’s quite a feat to fit the expansive story of The Phantom of the Opera on the smaller stage of the Opera House’s Joan Sutherland Theatre, but the ingenious set designs of Paul Brown operate in such an awe-inspiring way they’re almost as captivating as the voices of Josh and Amy. The set transforms incredibly between numbers, catering to the simple strength of All I Ask of You onto the flamboyant energy of the second act’s Masquerade.
All of that, of course, lays the foundation for a story that’s secured multiple runs in theatres around the world for decades, begging the question, why are we still watching it?
The sheer excellence of Andrew Lloyd Webber’s work is one reason, but remarkably, The Phantom of the Opera is also one of the increasingly few pieces of artistry that’s aged well over time.
First performed in 1986 and inspired by a 1910 novel, the themes of The Phantom of the Opera stand up mostly because Christine still sees sense amid the ambitious wooing of her Angel of Music. His powerful obsession with her – and her deep affection for him – don’t totally blind her senses.
To the modern attendee, Christine speaks to the tensions our hearts feel between what excites us and what we know is right. She’s the face of innocence drawn into the mystery of this man in the shadows, captivated by his love for her as much as the voice he’s helped her find.
The Phantom of the Opera is an extraordinary piece of theatre, and to see it staged in The Opera House is wonderfully fitting.
This year’s audience also knows what it is to live behind masks – both literally and figuratively – understanding the desire of The Phantom to hide what shames him and be drawn to someone who sees beyond the faults you find in yourself.
The Phantom of the Opera is an extraordinary piece of theatre, and to see it staged in The Opera House is wonderfully fitting.
Having watched NYC’s Broadway production, it’s safe to say Australian audiences are getting to see one of the best castings the world has to offer.
Quick tip: if you’re sitting in the circle, some of the higher seats have a slightly obstructed view at two points within the show where some of the action takes places at the top of the stage.
The Phantom of the Opera plays at Joan Sutherland Theatre, Sydney Opera House, August 29-October 16.
Show teasers