THE PHANTOM OF THE OPERA - THEATRE REVIEW (West End)

T H E P H A N T O M O F T H E O P E R A

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Her Majesty's Theatre, London

★★★★★

THEATRE | Kyle Pedley

THE MAGIC AND MUSIC BEHIND THE MASK, AS POWERFUL AS EVER...

Edging right on the cusp of it’s remarkable 30th Anniversary in the West End, a tenure all of which has remained at it’s original venue of choice, and the London production of The Phantom of the Opera, the one which started it all, would be forgiven for resting on it’s laurels. Nearly three decades after one of the most celebrated and prolific masters of modern musical theatre opened what many consider to be his magnus opus, and the seats of Her Majesty’s Theatre remain one of London’s hottest tickets. Performances sell out with astonishing regularity, and there are few shows outside of Les Mis and The Mousetrap that can boast such popularity and longevity so perfectly in tandem. A consummate crowd-pleaser and a real tentpole of the West End, nevertheless does this sweeping musical melodrama warrant such staying power and irrefutable appeal?

The answer - resoundingly and resolutely yes. For despite it’s music now being so ubiquitous within the mainstream that even newcomers to the show will likely find themself humming along, and the core tale having been adapted, reference and even lampooned more than perhaps any other show (disregard Joel Schumacher's dire 2004 film adaptation), Phantom is still an astonishingly involving and arresting musical theatre experience. Few shows, if any, can match the rich texture and sumptuous decadence of it’s extravagant, gothic aesthetic and visual design. The depth and expanse of Maria Bjornson’s original hauntingly capacious and foreboding staging, her equally flamboyant, characterful and exquisite costumes, the unrivalled sense of grandeur and opulence, and of course the inimitable majesty of one of Lloyd-Webber’s finest scores; Phantom remains above all an utterly exquisitely crafted and stunning outing both visually and audibly. Nearly 30 years on, you will still be hard-pressed to find a more sumptuous and grandiose offering in London.

"Nearly 30 years on, you will still be

hard-pressed to find a more sumptuous

and grandiose offering in London."

What aids Phantom tremendously, coupled with it’s faultless aesthetic and the undeniable masterstroke of Lloyd-Webber’s soundtrack, is the simple, effective yet engaging story, peppered as it is with very welcome undertones of horror, intrigue and darkness. For Phantom is still a wonderfully dark tale, set in a 19th Century Parisian Opéra house where young performing ingenue Christine (alternate Emmi Christensson in the performance reviewed) has drawn the admiration and attention of a supposed ‘ghost’ who rules from the shadows, dictating to the house’s new managers (Tim Morgan and Martin Ball, reviewed) how he believes ‘his’ theatre should be ran. Intrigued and impressionable young Christine, still mourning the loss of her father who she believes will send her an ‘angel’ of guidance, soon becomes ensnared by the titular phantom (Geronimo Rauch) who demands she take the leading role in a new opera entirely of his writing. Added into the mix are Christine’s dashing young lover Raoul (Liam Tamne) who is determined to free his beau from the influence of the phantom, the houses’ self-obsessed and spiteful Prima Donna Carlotta (understudy Fiona Finsbury, reviewed) and the matronly Madame Giry (Jacinta Mulcahy) who seems to act as an emissary for the phantom, delivering his foreboding notes and instructions to throughout.

As befits the extravagance of it’s music and aesthetic, the core tale of Phantom, and indeed it’s accompanying cast of characters, are painted in wonderfully broad strokes, and as mentioned adds flavour and impact way of horror, deaths and a general impending sense of malevolence and wickedness. This is also, though, as sweeping and borderline maudlin as musical theatre gets, naturally distilling some of conventional opera’s penchant for the melodramatic. This may make the show a trifle too indulgent, antiquated or simply over-the-top for some, whereas on the flipside the more ardent or particular of opera enthusiasts will conversely find much of it’s execution too mainstream and ‘pop’. Fortunately, for those of us who can appreciate the lacuna between the two in which Phantom has forged it’s own identity and confidently nestles, this is a show where each component’s overt, hyper-dramatic nature and delicious excesses make it an absolute treat.

"Christensson beautifully embodies the naivety of her

Christine... absolutely tearing through the key numbers

... and, of course, that climbing crescendo of 'Phantom

of the Opera', which she nails effortlessly"

Emmi Christensson beautifully embodies the naivety of her Christine, all wide-eyed wonderment and vulnerability. Where others have depicted a somewhat more aloof and even embittered Christine, Christensson’s depiction of the character is practically faultless in her likability and innocence. She also demonstrates a deceptively broad vocal range, and if some of the lower register occasionally dips into faintness, this is more than made up by her absolutely tearing through the key numbers such as 'All I Ask Of You', 'Angel of Music' and, of course, that climbing crescendo of 'Phantom of the Opera', which Christensson nails effortlessly. Liam Tamne cuts a suitably dashing figure as Raoul, though his rich voice which has been so beautifully demonstrated in other roles such as Les Mis’ Enjolras seemed a trifle underpowered or ill-fit here; indeed, he is occasionally lost in some of the show’s numerous contrapuntal and ensemble moments.

Fiona Finsbury is delightfully acidic and venomous as Carlotta, regularly commanding attention and stealing scenes a-plenty with a diverting, wickedly spiteful performance that rests on her supremely animated face - the lady could kill with the raise of an eyebrow or side-eye alone. Throw in clean, crisp operatic vocals and she would easily make a very worthy principle Carlotta when current principle Lara Martins steps down. And, of course, Geronimo Rauch is inarguably the show’s MVP as the Phantom himself - little needs to be said other than he ferociously, passionately and impeccably acquits himself in the very demanding central role. His renditions of 'Music of the Night', 'Phantom of the Opera' and the show’s numerous rending powerhouse rises and highs in particular are staggeringly good, and his desperate, erratic take on the character’s later moments in particular are gripping and palpably emotional.

"There is simply no denying the calibre and

attainment of what Phantom continues to

achieve and execute... as brilliant as ever

three decades on."

It’s easy to get carried away with the superlatives when reviewing an impressive production, and sometimes the entertainment and ‘wow’ factor can overwhelm other sensibilities, but there is simply no denying the calibre and attainment of what Phantom continues to achieve and execute. I challenge you to find a more enthralling, foreboding opening than Lloyd-Webber’s iconic theme tearing through the auditorium during the overture, it’s now-infamous chandelier slowly ascending up and over the heads of the audience in the stalls. Few scores can boast such elegaic, beautiful standards as ‘All I Ask Of You’, ‘Music Of The Night’ and ‘Think Of Me’. And if there is a show with a more extravagant Act II opener as the bedazzlement of ‘Masquerade’, I’ve yet to see it. Simply put, The Phantom of the Opera is exceptional across-the-board, as brilliant as ever three decades on, it’s lasting legacy and appeal utterly justified. As it prepares to swoop into Musical Theatre old age (relatively speaking), it more than shows the young blood on the musical theatre scene exactly how it’s done. There is no resting on laurels or reputation here - rather a superb cast preparing to celebrate a landmark achievement for the original production of what is easily one of the finest musical theatre outings of all time.

MUSINGS

+ One of the greatest musicals of all time, going stronger than ever

+ As grandiose and sumptuous a treat as ever - Maria Björnsen's production design remains an industry apex

+ Arguably Lloyd-Webber's most confident, defining and beautiful score

+ The current London cast are exemplary, understudies/alternates included

+ Rauch and Christensson make a near-faultless Phantom/Christine pairing

+ / - Has plenty of operatic melodrama flavouring - possibly too much so for some

Run: Ongoing (currently booking up to Sat 26 Mar 2016)

Performance Reviewed: Thur 30 July 2015 (matinee)

Tickets: 0844 412 2707 / Official Website: click

#5star #review #ticker #new