THE PHANTOM OF THE OPERA (musical)
A hideously deformed musician enjoys chasing a talented young lady singer
around the stage. This is not the Andrew Lloyd Webber / Sarah Brightman Story
because occasionally the musician also bursts into song. Needless to say, in the
end an ineffably wet aristocrat gets the girl and the deformed freak vanishes.
This is a Paris set, gothic Andrew Lloyd Webber musical with Cameron Mackintosh
in charge of the spectacle.
On 23rd October 2010, the production celebrated its 10,000th performance at this
theatre, and its 25th Birthday on 9th October 2011.
As the musical heads into
its 32nd year, Ben Lewis plays the title role of ‘The Phantom’,
Kelly Mathieson as ‘Christine Daaé’ and Jeremey Taylor as ‘Raoul’. Joining
them is Amy Manford as the alternate ‘Christine Daaé’,
The above join Lara Martins as ‘Carlotta Giudicelli’, Siôn Lloyd as
‘Monsieur Firmin’, Mark Oxtoby as ‘Monsieur Andre’, Jacinta Mulcahy as
‘Madame Giry’, Paul Ettore Tabone as ‘Ubaldo Piangi’, Georgia Ware as ‘Meg
Giry’ and Scott Davies as the standby ‘Phantom’.
New to the cast are Matt Bateman, Jade Davies, Hannah Grace,
Andrei Teodor Iliescu, Jordan Simon Pollard, Una Reynolds, Emily Smith,
Rachel Spurrell and John Stacey.
From the 4th September 2017 the full cast is: Matt Bateman,
James Roxby Brown, Bridget Costello, Scott Davies, Jade Davies, Hadrian Delacey, Morven Douglas, Hannah Grace, Lori Gilchrist, Philip Griffiths,
Hettie Hobbs, Grace Horne, Lily Howes, Andrei Teodor Iliescu, Ellen Jackson,
Richard Kent, Adam Robert Lewis, Ben Lewis, Siôn Lloyd, Amy Manford, Kelly
Mathieson, Lara Martins, Luke McCall , Leo Miles, Tim Morgan, Fiona Morley,
Jacinta Mulcahy, Mark Oxtoby, Danielle Pullum, Jordan Simon Pollard, Una
Reynolds, Emily Smith, Rachel Spurrell, John Stacey, Tom Sterling, Paul
Ettore Tabone, Jeremy Taylor, Claire Tilling, Victoria Ward and Georgia
Twitter: https://twitter.com/TheOperaGhosts (Please use the hashtags #Oliviers
Theatremonkey braces itself for the backlash when it admits it found this
show utterly, utterly lame.
The best of the elevator muzak score is heard
within the first twenty minutes with almost all the best scenic effects and plot
developments occurring simultaneously. Only the unexpected and deeply moving
graveyard scenes and 'Wishing You Were Somehow Here Again' prevent act two
drowning in bathos. Oh, and theatremonkey
thinks the heroine should have got the Phantom - her bloke suffers from a total
This one runs and runs. The heavy romance keeps seats filled and the thudding
mock grandeur of the score seems to reassure audiences of the quality.
Yes, it looks great and familiar tunes always make for an easier evening out,
but why does all the emotion have to be so overblown? To overcome the staging,
surmises the monkey.
2008: Just for the record, in early 2008 the monkey finally watched
the screen version of this show... and actually preferred it to the stage one...
sure, the lyric is still crass in places, but the revised script and actual
cinematography made it like the show a whole lot more than in the theatre! And
this time it can see more clearly why Raoul got the girl...