“To hell with Gluck and Handel
Have a scandal and you're sure to have a hit!” – Monsieur Firmin
The production of Phantom of The Opera that opened on 27th July 2021 has a whiff of scandal about it...with a reduced orchestra, scaled down sets and the dismissal of long-serving cast members. And yet, going by the audience of the matinée I took in, there’s no reason to believe that Phantom won’t continue to pack ‘em in for years to come.
Based on Le Fantôme de l'Opéra, the 1910 mystery novel by French author Gaston Leroux, Andrew Lloyd Webber’s Phantom of The Opera (as it’s now modestly christened) revolves around the Paris Opera House in the late 19th Century. A genius, deformed composer lives in the labyrinth beneath the Opera House and has been terrorising the company of the Opera Populaire for years. In his guise as “the Opera Ghost” the Phantom makes various threats and demands, he also has a particular obsession with a young chorus girl called Christine Daaé and conspires to elevate her to a leading role. Christine has a more conventional suitor in the shape of the Opera’s patron, Raoul, Vicomte de Chagny. Raoul is a childhood friend of Christine’s and when he makes his romantic intentions known; the Phantom cannot contain his jealousy and steps up his campaign of terror.
The original production of Phantom opened in 1986 and played in the West End for 34 years, before closing last year due to the coronavirus. Where some shows announced a mere “temporary hiatus”, producer Cameron Mackintosh began making comments in the press that Phantom needed a rethink, citing the aging mechanics of the set and health and safety concerns. Further cause for concern was the suggestion that the 24-piece orchestra was to be cut down, relying on pre-recorded elements to plug the gaps. Peculiarly Andrew Lloyd Webber then started making contradictory statements to the effect of “Phantom will be back in its original form”. Quite what would have happened had the show not had a covid enforced cancellation is up for debate. Lest we also forget that a replica production will return to Broadway, while the World Tour has just finished playing in South Korea – how can these productions afford to run?
Earlier this year, things started to coalesce. Phantom would return, not as an entirely new production, more in a hybrid form. The bones of Hal Prince’s direction would be intact, Maria Björnson’s designs retained and Gillian Lynne’s choreography utilised. What would change is the removal of some of the show’s more costly aspects; like the floating Angel above the proscenium that the Phantom memorably hid in at the end of Act 1, and the orchestra would be reduced in-size to 14.
If I were to speculate about Director Seth Sklar-Heyn’s approach, I would imagine it would be to bring the text back into focus. For example, the theatre manager’s scenes always boasted humorous lyrics from the pen of Richard Stilgoe but here Matt Harrop and Adam Linstead (as Monsieur Firmin and Monsieur André respectively) found laughs in-places I’ve not seen before. Similarly Francesca Ellis brings an arch sensibility to her Madame Giry. While Ellie Young’s Meg Giry, through a series of glances and facial expressions, suggests she knows far more about the Opera House’s comings and goings than she lets on. Such expansions aren’t rewriting the text, rather developing the character’s internal lives. This depth was no doubt aided by the casts longer than normal rehearsal period.
Most significantly, the portrayal of Christine seems far more three dimensional. Christine’s can usually be sorted into two different categories; exceptional vocalists that make sure every note sounds immaculate or stronger actresses that strive for nuanced characterisation. In Lucy St Louis, I’m pleased to report they’ve found someone who fulfils both categories. Her moving, emotionally raw ‘Wishing You Were Somehow Here Again’ elicited a lingering applause, while her seduction of Don Juan in ‘The Point of No Return’ was sizzling. St. Louis’ Christine is no deer in the headlights, by the end of the piece she is fully cognisant of the Phantom’s manipulations but there is no doubt that she has a real emotional connection with him, making her departure in the final scene a real emotional wrench. Lucy St Louis is the first Black actress to play Christine in the West End and it would be naïve to not acknowledge the significance of this moment which has been a long-time coming. In a recent interview for London Theatre, the actress discussed the level of care behind the scenes in making sure her wig is correctly textured; “Every other Christine would have had the care and detail in their wig, so you need to know how to work afro hair”. Christine remains a dream role amongst aspiring performers and hopefully by seeing Lucy St Louis onstage, a larger range of young women will know that dream is possible. As a long-term visitor at Her Majesty’s, I was buoyed to see a much more inclusive ensemble across the board, this must continue.
Sadly not all the casting is successful; Greg Castiglioni’s Ubaldo Piangi is sadly miscast. The actor makes a good fist of the part vocally but the Phantom’s crack about Piangi needing to lose some weight “It’s not healthy in a man of Piangi’s age” falls flat because this Piangi is neither old nor overweight. This continues a worrying trend in West End casting, to go younger and cheaper so producers can save a few quid. Older actors should exist in West End musicals.
What of the man in the mask? Killian Donnelly’s Phantom is vocally beautiful, impressively switching from lilting allurement to powerful gravitas. However at times, while technically perfect, I felt there was something lacking in the Phantom’s characterisation. Donnelly’s Phantom is a cipher and doesn’t really have much subtlety or hidden depths. But this is early days in the run and given how West End Phantom’s never really leave the part behind (John Owen Jones has had more “farewells” than Cher) I’d imagine his interpretation will evolve.
This not-quite-new production is still excellent entertainment of the highest order. When reviewing anything, I always try to be conscious of how the show is going down with the audience around me and with this Phantom they were rapt. Any frustrations I have about changes come from an intimate familiarity with the piece of old but at a certain point, Phantom fans have to stop worrying about ‘the way things should be’ and resign themselves to ‘the way things are’. There is something reassuring knowing that The Phantom of The Opera is still haunting the West End, long may that continue as the show is still highly recommended after all these years.
Review by Phillip Beamon
The Phantom of the Opera continues to run at Her Majesty's Theatre, booking details can be found via the OFFICIAL WEBSITE
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