The Phantom of the Opera

The Phantom of the Opera by Andrew Lloyd Webber (Music/Book), Charles Hart (Lyrics) and Richard Stilgoe (Lyrics/Book) was the most successful piece of entertainment in the twentieth century. It was first performed in London in 1986 and subsequently throughout the world, winning numerous awards and earning more than any game, film, theatre, concert, or any other form of public entertainment. It has delighted and charmed millions of people and is still being performed in London and New York and other places. Now it is back in Adelaide, with a production by The Gilbert & Sullivan Society of SA.

Considering the exalted status, success, popularity and high degree of difficulty, this show is a considerable challenge. This production, directed by David Sinclair, is a triumph in many ways. Judging by the enthusiastic applause and roars of approval by the packed-house opening night audience, once again The Phantom of the Opera has unleashed its engaging power.

The story is set in the mid-nineteenth century Paris Opera House. It centres on a young aspiring opera singer, Christine Daae, who falls under the spell of a mysterious and charismatic phantom man.

This is essentially the ‘Pygmalion’ story that has been used in numerous musicals, including My Fair Lady and Pretty Woman. While the recent New York production of My Fair Lady successfully overcame the issue of Professor Higgins' controlling persona by deliberately infusing Eliza with inherent self determination and strength from the moment she entered the stage, in these days of Harvey Weinstein there is now a problem with 'Svengali-like' male characters such as Higgins and the Phantom in The Phantom of the Opera.

The nineteenth century gothic melodrama of The Phantom of the Opera certainly allows for a certain distance from the modern world. Nonetheless, I was not the only one to notice this paradox of the Phantom in a modern context, and that despite this, these characters are genuinely loved and indulged by many. As with Professor Higgins in My Fair Lady, rather than taking anything away it adds a modern complexity to the Phantom in The Phantom of the Opera.

The Phantom is a bully, manipulator, sexual predator and a murderer – and the audience loves him. The other men in Christine’s life aren’t much better. Her romantic lover and the hero, Raoul, sincerely loves her, yet nonetheless, he bullies her into participating into trapping the Phantom even though she begs not to, in fear of her life – and the audience loves him.

One of the best things about this production is the radiant performance of Serena Martino-Williams as Christine Daae. She is an absolute delight, and she sings and acts the role with a lovely depth and charming sensitivity.

Martino-Williams is supported by a strong and committed cast and crew, notably Adam Goodburn as the Phantom and Jared Frost as Raoul.

This is a relatively large cast, with thirty-seven actors who have been led by a very good creative team, including David Sinclair (Director), Jillian Gulliver (Musical Director) and Jamie Jewell (Choreographer).

Musical theatre is extremely popular in Adelaide and for $35-40 (adult) $25 (children), this production of The Phantom of the Opera has genuine appeal.

Tony Knight

Photographer: David Haddy