The Phantom of the Opera

After thrilling audiences around the world for the last 27 years and in turn becoming the longest running musical in the West End and on Broadway, Andrew Lloyd Webber’s The Phantom of the Opera has been released for production to amateur theatres. In that time the musical has become legendary for its crashing chandelier, opulent costumes and sets, and its highly romantic Puccini-like score.

Savoyard’s were first-cab-off-the-rank in the Sunshine State with their Queensland Premiere production being only the second in the world. (Melbourne’s CLOC Musical Theatre was the first, May 10-25).

With its combination of opera and pop, the score is not an easy sing requiring singers who can plant a foot in each camp with ease. Director Jason Ward Kennedy in casting his principals has wisely gone for the option of casting performers with opera experience. Lionel Theunissen was strong and commanding in the title role, bringing pathos and dignity to the Phantom’s deformed character, particularly in the final scenes. Partnering him as Christine, Monique Latemore projected sweetness and purity and handled her vocals professionally. “Wishing You Were Somehow Here Again” was lovely. Raoul has always been a wimpy character, and still remained a wimpy character in Pelle Zetterstrom’s hands. It did not help that his light-tenor was often drowned out by the big-voiced Latemore, especially in the show’s big hit duet, “All I Ask Of You”.

Best performance of the night came from Dominique Fegan as the diva Carlotta. With a voice that shattered glass, she squeezed every ounce of humour out of the part with her thoroughly camp and outrageous performance. It was a delight. Also good were Paul Fegan and Warryn James as the opera managers, Fermin and Andre. “Prima Donna” with all three was a highlight.

Natalie Lennox created some appropriate ballet routines for the show-within-a-show, while Matthew Nutley masterfully conducted a twenty-six-piece orchestra, bringing out the emotion of Lloyd Webber’s complex score.

Kim Heslewood’s costumes were opulent, rich, and easy on the eye, but Susie Nairn’s set design lacked style. Yes, it did have the chandelier, albeit shaky, and the boat on the lake, but missing was the grandeur.

The capacity house gave the production a standing ovation which was indicative of the overall standard achieved.

Peter Pinne

More details and coverage