Phantom of the Opera – His Majesty’s Theatre, London
Anything that can stay playing in the same West End theatre for 40 years has to be good. Multiple awards, worldwide tours, and Andrew Lloyd Webber’s genius musical still draws the crowds. How is it only now I’m seeing it for the first time?
The theatre itself is beautiful, and its design very much complements the era of the play, even slightly preceding its creation. We are invited to witness an auction of Victorian eccentricities overseen by distinguished gentlemen: a music box, a monkey that plays the cymbals, a poster of Hannibal—all are sold. But the centrepiece is unveiled with the gesture: “Gentlemen… some illumination.” The cover lifts from a large, double-tiered glass chandelier, beautifully lit, and it slowly rises to the Gods, swaying, accompanied by the familiar “Overture.” The Phantom theme, known by so many, with its deep theatrical organ notes and rousing strings carries it home.
This is a musical that has everything: ballet, classical pieces, opera, and the overarching love story of Christine Daaé and the Phantom. There are musicals within the musical—Hannibal, Il Muto, and Don Juan Triumphant—staged by the Paris Opera House throughout the main story. We see backstage as Christine prepares for her role: the dusty wooden floors of her dressing room, the ornate mirrors into which she vanishes, kidnapped by the Phantom.
The costumes are beautiful—lavish, colourful designs—and the huge full-cast set piece of “Masquerade” is a visual feast, with characters descending the ornate staircase, upstaged of course by the Phantom disguised as the Red Death, a truly creepy caricature. The stage sets are amazing, interlocking in real time, almost becoming a character themselves, designed by Matt Kinley.
Colleen Rose Curran and Dean Chisnall take on the roles of Christine Daaé and the Phantom respectively, and are, of course, the main draw. Whether boating through the underground of the Opera Garnier among spooky mist and candelabras in a gondola, or on the Paris rooftops with the Phantom stood atop a statue of a horse, their incredible voices carry the famous tunes. In particular, Rose Curran—whose highest note during “Phantom of the Opera” invites comparison to Sarah Brightman herself.
The whole cast were fantastic; singling out individuals feels unfair, but Adam Linstead and Martin Ball were excellent as the comedic Messieurs André and Firmin. Joanna Ampil also impressed as the bombastic, overwrought soprano Carlotta Giudicelli.
Throughout the show, not a minute of stage time is wasted, nor any space underused. Highlights are many, but the plunging chandelier—exploding as it hits the stage—has to be my favourite. For such a magnificent and seemingly dangerous effect to happen inches from the audience’s heads in the stalls is spectacular, and no doubt thrilling.
A show that has to be seen more than once to fully absorb—and undoubtedly, you will want to.
John Mather ★★★★ ★
