Phantom of the Opera Tour Review 2018 Mirror
Handa Opera on Sydney Harbour: The Phantom of the Opera review
A perfect pick for the grand Handa Opera treatment, love classicThe Phantom of the Opera has never looked and then spectacular.
Watching a representation of the Paris Opera Firm in forepart of Sydney Opera House, the backstage setting of theOpera Populaire provides in-jokes to be enjoyed and savoured past the opera cognoscenti. Information technology helps when the Opera Australia audience has full context of the styles represented in Andrew Lloyd Webber'south pastiche opera sequences.
On opening night, the on-stage conceit of the Phantom being nowadays for the performance of his opera was mirrored by Lloyd Webber himself being in the audience for the operation of his musical. Thankfully, the Lord did non have the parallel too far and murder the leading man to take his place!
Having successfully brought fresh life toDear Never Dies in 2011, Managing director Simon Phillips reassembles his crack team to accept on the prequel. Blessed with the distinction of creating the merely brand-new staging ofThe Phantom of the Opera in its history, the team makes practiced use of the double-sized cast to create terrific tableaux.
Although occasionally bested by the sheer size of ground to cover by cast members and set pieces, when the product is at its best it is vividly memorable. Flow is initially somewhat jerky but smooths significantly throughout act ii. If a caste of the original menace is diminished in the outdoor setting, the lavish splendour more than than compensates for this, and the music is glorious.
Contributing epic scenery and stunning costumes, designer Gabriela Tylesova works her celebrated magic in one case over again. The grandest of staircases embraces the stage, with one-half an ornately gilded proscenium curvation carrying a section of red drapery, perhaps in homage to original designer Maria Björnson. Farther rococo flourishes grace a large mobile gear up piece (with magic mirror), which rotates to portray Christine's dressing room, the Phantom's lair, and more. Tylesova's showiest tricks are the fire-framed gondola ride to the subterranean and the Phantom'due south flying chariot. There may be no trumpeting elephant forHannibal, but the iconic chandelier rises and falls perfectly on cue.
Multitudinous costumes, each more gorgeous than the terminal, create an air of splendid pageantry. Tylesova largely draws from a delectable pastel palette, with a contrasting highlight being Carlotta'south ostentatious scarlet "Prima Donna" outfit. The Phantom's new quicksilver mask is center-catching, replaced by an equally bold blood red mask for his "Masquerade" costume.
Lighting Designer Nick Schlieper paints a wonderfully atmospheric glow on the scene but has difficulty keeping principal characters in sufficient light. At times, only a good cognition of the show helps the audition know which character to watch. In a lovely piece of collaboration between Schlieper and Tylesova, the rehearsing ballet members comport striking resemblance to Degas' dancers.
Many of the product'due south most beautiful moments are the piece of work of choreographer (and banana director) Simone Sault, who has a articulate center for spectacular employ of the large cast and mighty infinite. Sault achieves a high level of precision and still always maintain a lightness of touch. The entr'acte is danced and the total company sequence in "Masquerade" is a stunning highlight.
International music supervisor ofThe Phantom of the Operafor decades, local maestro Guy Simpson conducts with inimitable flair, and it is a joy to hear the original 27-musician arrangements. Boosted by sheer numbers, choral sequences besides have an added glory.
The music sound suitably lush in Shelly Lee's immersive sound design, which besides handles the Phantom'south directional voice-overs with movie-theatre precision. Less successful are the microphone cues, a lamentable number of which were missed on opening nighttime; hopefully this weak link volition exist swiftly rectified.
Ascension from a by of ensemble work (much like Christine Daaé), Joshua Robson gives a sensational breakout performance as the Phantom. Much of the role relies on vocal performance, and Robson sings with luxurious vocal tone, revelling in rich baritone warmth and soaring to college notes when needed. Robson's vivid acting of the role through well-judged vocal expression is enhanced when seen on stage in a dynamically physicalised performance.
Sopranodu jour Georgina Hopson delights again as Christine, singing the role in glorious style and bringing truth to the melodrama with a committed approach and stellar acting. Hopson'southward impassioned singing of "Wishing Y'all Were Somehow Hither Again" is a true vocal highlight of the evening.
Burdened with a frightful wig, Callum Francis struggles to raise Raoul above the overnice guy sap that he is, coming good towards the stop as the Vicomte's heroics escalate.
Music theatre royalty, Michael Cormick and Martin Crewes bring succulent cheek to theatre managers Messrs Firmin and André, successfully delineating the pair of amusingly beleaguered characters.
Returning to Sydney after years inThe Phantom of the Opera on Broadway, Maree Johnson (a portrayer of Christine Daaé in the original Sydney flavor) expertly conveys Madame Giry's frosty organized religion in the Phantom and stamps her control on the mysterious adult female's icy rule of the Opera Populaire company. Kelsi Boyden colours Meg with charming sweetness.
Naomi Johns assuredly sings with overly strident tone in Carlotta's opera scenes, tempering this with a gentler arroyo in backstage scenes. Paul Tabone brings abundant grapheme to equally complacent divo Piangi. The pair achieves welcome laughs with the deliberately exaggerated airs of their characters.
Lachlan O'Brien is a suitably fastidious rehearsal master Monsieur Reyer. Daniel Macey uses a jarringly broad Australian accent equally stagehand Joseph Buquet. Raphael Wong is luxury casting indeed every bit Passarino inIl Muto.
Attendance at the almanac Handa Opera on Sydney Harbour is a pleasure in its own correct. Having the world'due south longest running musical on stage is sure to draw record attendances.The Phantom of the Operalives again, ready to entertain thousands in this glossy new production.
The Phantom of the Opera plays at Armada Steps, Sydney until 24 April 2022. For tickets, click here.
Photos: Opera Australia
Source: https://simonparrismaninchair.com/2022/03/26/handa-opera-on-sydney-harbour-the-phantom-of-the-opera-review/
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