The Phantom of the Opera

The Phantom of the Opera
By Andrew Lloyd Webber. Lyrics by Charles Hart. Book by Richard Stilgoe and Andrew Lloyd Webber. Packemin Productions. Director / Producer: Neil Gooding. Musical Director: Peter Hayward. Choreographer: Camilla Jakimowicz. Riverside Theatres, Parramatta. February 6 – 21, 2015

Lavish spectacle is just as vital to the world’s most famous and popular musical, The Phantom of the Opera, as its score, performances, etc.  So how do you compete with fresh memories of the original on a small fraction of the original Cameron Mackintosh / Really Useful budget?

Community based companies around Australia have been attacking the challenge with gusto for nearly two years now, and Pro-am company Packemin Productions has reaped the benefits to come up trumps at Parramatta’s Riverside Theatre, riding happily on the back of the accumulated tried and true solutions, sets, props and costumes – blending impressive staging elements from productions as far afield as Melbourne, Sydney’s South, Gosford and Newcastle into a striking whole. Excellent flying facilities at Riverside add an important dimension to the scenic effect.

It’s a huge achievement.

The theatre itself enhances the experience. Is there a more perfect Sydney venue for The Phantom of the Opera than the auditorium of Parramatta’s Riverside Theatre, shaped along the lines of an intimate European Opera House.

Lest I stand accused of simply humming the scenery, though, let me sing some praises of the cast.

The Pro-am model works well at Packemin, a significant force in Sydney after just four years. A core of professionals in selected lead roles integrate nicely, almost seamlessly, with strong principal talents from community theatre, supported by an impressive non-professional ensemble.

In the title role, Ben Mingay’s vocal muscularity and masculinity make for a rewarding and surprising Phantom; singing in a strong baritone throughout, there was little hint of the Michael Crawford style falsetto.

Though scenery chewing isn’t usually a positive when you’re talking theatrical performances, when the role is actually that out-and-out melodrama queen, operatic diva Carlotta, and Johanna Allen dives right in, masticating the canvas with ferocious relish, you get a delicious show-stealing performance – the most enjoyable portrayal I recall of this role.  Importantly, Allen also has the vocal chops to really nail Carlotta.

Erin Clare sings the role of Christine attractively, though for mine her acting portrayal seems rather too knowing from the outset, in a role where I’d expect a little more initial naivete. This tends to swing the balance of the Christine / Phantom relationship to one that’s more about manipulation and control, and less about grand romance and seduction.

Joshua Keane impresses as a highly credible Raoul, with plenty of attitude and bearing, having stepped into the breach from last year’s Gosford production after the loss of the originally cast professional performer. He’s a fine young talent, with a terrific voice, who shows potential for bigger things with refinement of his stagecraft.

Two community theatre ‘legends’ lend their authority to the roles of Monsieur Andre and Madame Giry. Christopher Hamilton and Michele Lansdown both stamp decades of experience firmly on these key supporting roles, Hamilton teaming splendidly with AIM graduate Gavin Brightwell as Monsieur Firmin, to create a neatly balanced pair of opera managers.

Claudio Scaramella sings the role of operatic tenor Piangi well, though when the Phantom suggestion he needs to lose some weight draws a few titters, it’s clear a little padding is in order if he’s to successfully create the illusion of the overweight Italian tenor stereotype.

First weekend audiences will enjoy Kelsi Boyden’s engaging performance as Meg Giry before this talented young artist heads off to train at WAAPA.

At the show’s heart, a large, talented enthusiastic ensemble of 40 makes this a bigger Phantom than most on the community theatre circuit. It’s an ensemble bristling with principal and leading role experience, and a good share of professional background / training. The ballet works splendidly to create a convincing illusion of a mediocre 19th century opera ballet. The large ensemble strengthens the early grand opera scenes and other big moments, though the numbers do prove a challenge when manoeuvring everyone into place for the final passage of ‘Masquerade’, something I’m sure will tighten as the season proceeds.

Opening night niggles? Yes a few, among them a couple of high impact musical moments marred by off notes from the brass section of Peter Hayward’s otherwise outstanding orchestra.  Also, while the sound system ensured we heard every word, it was at times perhaps a little loud. Creative adjustments to the sound design, with subtler moments of light and shade, would enhance this excellent production

But that iconic chandelier moment is the most effective version we’ve seen in Sydney, outside the professional version.

Another terrific success for this splendid Pro-am collaboration in Sydney’s west.

Neil Litchfield

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