William Chong

Andrew Lloyd Webber’s blockbuster musical made a triumphant return to the New Zealand stage this week, as the first of a series of sold-out performances bade haere-mai to one of the greatest musicals of all time. Performing in Auckland from 14 Oct 2008 to 16 Nov 2008, “The Phantom of the Opera“ is a critically-acclaimed masterpiece that features on the must-see-before-I-die list of even the mildest of musically-inclined punters. New Zealand-based Phanatics, myself included, have waited almost a generation for memorable tunes like Music of the Night and All I Ask of You to fill the cavernous Civic Theatre in Auckland – the last time Phantom hit our shores was in 1997 during an Australasian tour that totalled a record 3,073 performances.

Breathtaking Gothic-inspired scenery and quickfire set changes; the famous scene with the boat on a misty, underground lake; commanding performances by the Australasian-based cast of 37 performers; pyrotechnics, slick stagecraft and magical sleight-of-hand: these were some of the highlights of a well-received Saturday evening marquee perfomance (18 Oct 2008; 7.30pm).

Australian fans are familiar the voice of Anthony Warlow – it’s electrifying, majestic, and now better acquainted with the appreciative ears of Kiwiland. His performance as the Phantom – a deranged, disfigured genius composer living in a cavernous lair underneath the Opera Populaire in Paris – was enthralling and engaging to both first-time audiences and lip-syncing veterans of the production.

The role of tortured chorus-girl turned protegé Christine Daae was handled commendably by Ana Marina, who showed a proficiency in her singing of songs such as Think of Me and Wishing You Were Somehow Here Again. One sometimes felt that the innocence of the character was lost in her mature-sounding voice; at times the Phantom seemed to be the more youthful and playful of the tragic couple. There were other standout characters of the night, such as the tender, almost metrosexual portrayal of Raoul (he almost looked content with being caught by the Phantom’s hang-man lasso during the climax of the show). The comedic trifecta of André, Firmin and the prima donna Carlotta (played by New Zealander Andrea Creighton) drew frequent laughs with their posturing, seen most effectively during a scene where the characters flummoxed over the multitude of notes being sent by the Phantom (Notes…). Admittedly, the song Prima Donna suffered a little from the bevy of characters onstage trying to simultaneously sing over each other a la some sort of NZ prime ministers’ debate.

It’s not just the actors and actresses that make the show: Phantom of the Opera features an extravagant set that boasts a spaceship-like chandelier, candelabras that emerge from the stage, and incredibly detailed and ornate scenes like Christine’s dressing room (featuring an illusory one-way mirror from where the Phantom makes his first appearance). Characters were dressed up in a kaleidoscope of colours and outfits, most notably during the Masquerade sequence which dazzled the eyes in a juxtaposition of costuming and crisp choreography.

This is an internationally-acclaimed show on a level of professionalism streets ahead of the competition – catch it while you can, or wait another 11 years (or more) to savour the lush and romantic offering of this West End classic.

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