The Phantom of the Opera
Smash Hit. Show of the year. Audiences are raving.
Are all clichéd catch cries of theatre productions the world over, but Curtain Bounce’s concert presentation of Andrew Lloyd Webber’s crown jewel The Phantom of the Opera not only deserves them but has earned them, and every bit of praise that will and has come their way. The show sold out its original limited run a full TWO months before its opening, and by some miracle, extra time in the theatre opened up, allowing another couple of shows to be added. They have also since sold out.
When the news that Phantom was returning to the Central Coast under the producership of Ruth Tiffen, a buzz filled foyers and group chats alike. She assembled what I’m going to lovingly dub “The Central Coast Musical Theatre Avengers” of a production team. ARIA-nominated director and designer Stuart Smith, who had a last-minute role in tonight’s performance as Piangi, choreographer Emily Marshall with her associates Carolyn McNamara and Marni Lemmon, all highly sought after in their own right, were joined by an extended creative team of what seems like thousands of the heads of their respective fields in the region.
But above all, it’s musical director Lindsay Kaul who glues this entire phenomenal show together. His 40-piece orchestra gives Webber’s score so much life. It is a complete wall of gorgeous music. It no longer feels like a theatre relic that runs in major cities as a tourist trap every 10 years or so; it felt almost brand new. From conductor to harp player, to percussion, to the second violinists, to whomever is hidden away on keys and running QLab and Mainstage, every piece and player works in perfect unison. I’ve had late-night arguments over which musical has the best overture; until now, I’d die on the Merrily We Roll Along hill. After this, I’m not so sure.
Joshua Keane gives a deeply poignant performance as the titular Phantom. It’s a role Keane was born to play. While the character is flawed, his performance is flawless and deeply moving.
Hannah Duggan brings both innocence and such power to Christine Daaé. Her chemistry with Keane is magical, as is her connection with Tom Kelly, who plays Raoul. His portrayal is as refined as it is vulnerable.
Sarah Harrington is the perfect Meg Giry, alongside Alexandra Swan’s commanding Madam Giry, who played Christine in another company’s production a decade ago on the same stage. Sancia West is a certified scene-stealer as Carlotta. As are Todd Keys and Isaac Ledingham as Firmin and Andre, respectively. Keys and Ledingham bounce off each other brilliantly.
The 18-strong company are outstanding. Not a single person feels out of place or pulls focus. It is rare to see a show on this stage where the entire company is working towards a singular vision.
This production is billed as a concert, and it’s a loose term. This is best described as a reimagined production, stripping back the clutter of the “mega musical,” giving the audience the pieces they love and expect, in ways they least expect, all the while giving them credit for their own imaginations.
Every moment of the show is its own work of art, expertly crafted by Smith and his team. Each scene is more striking than the last. Just when I thought this production didn’t have any more tricks up its sleeve, something else jaw-dropping happens.
It was truly a magic night in the theatre and dear reader. I won’t lie, this reviewer doesn’t actually like Phantom as a show itself, but it turns out, actually I might just not have seen it done correctly. ecause this piercing and soaring staging may just have turned me into a “Phan,” at least of the music and this exact production.
For those who haven’t had a chance to catch a Curtain Bounce show, beg, borrow, or steal to get a ticket for their next production. Curtain Bounce can safely now say they’re the region’s leading musical theatre producers.
Joshua Maxwell
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