In the low light of the theatre behind a thin veil of memory stands an auctioneer presenting a chandelier to their esteemed guests. The tinkling of a music box fills the silence as all are drawn by the bright lights that glow with the mystery of the distant past.
He’s here, the Phantom of the Opera. The Phantom of legend haunted the halls of the Princess of Wales Theatre in a production directed by Cameron Mackintosh.
One of the most beloved musicals around the world, Phantom of the Opera seduced a following of fervent fans, eager for a dose of all Phantom has to offer.
This rendition of the dark and alluring classic shines with stunning aesthetics and astounding performances. A tale about a theatre with several other theatrical performances in between, the costumes gave each one life. They swept us off our feet and brought us scene to scene, performance to performance.
The role of Christine Daaé (Jenna Burns) was beautifully reprised. A soulful and powerful voice that skillfully flits through the technically challenging musical score.
The role of Raoul, Vicomte de Chagny (Jordan Craig) stood out to me in particular. The powerful characterization was somehow different from the gentler character I envisioned from previous renditions. It was interesting and exciting. A Raoul whose character almost mirrors that of the Phantom.
The Phantom of the Opera (Derrick Davis) gave a striking performance. He brought such emotional intensity to the beautiful melodies he sings. Each note echoes and reverberates in the hall as we’re silently listening, captivated.
Apart from the actors, one of the strengths of the production lay in the seamless transitions between scenes. Phantom of the Opera is known to have a highly dynamic and variable set. From a theatre and an office, a bedroom and a cemetery, a balcony to a cavernous hideaway, it has it all. As the set transforms with each scene, we can’t bear to look away. Magic before our very eyes.
Bursts of flame and rolling mist leave us stuck to our seats in wide-eyed amazement. The curtains close. We are left in the dark, waiting for the curtain call. In our ears ring the phantom notes of the music of the night.
This article has an error: Cameron Mackintosh did not officially direct this subpar production, though in reality he no doubt told the hapless director what to do. This has nothing on the vastly superior Hal Prince original, playing still to packed houses on Broadway and in London.