The Phantom of the Opera : CLOC World Amateur Premiere
By Angie Bedford
A massive 27 years since it first took the world by storm, The Phantom of the Opera finally makes its debut on the amateur stage in its full capacity (lucky US schools have already had this opportunity).
It's no surprise that Melbourne's CLOC was chosen for the honour, given its track record of quality shows. Although lacking the finesse of the original production, one must remember the staggering achievement of putting such a show on stage.
Spectacles and settings come thick and fast, requiring clever design, adaptable performers and stage management.
The boat scene / descent to phantom's lair was the most successful in this department as particularly transformative and breathtaking. Eerie mist and brilliant lighting (Stelios Karagiannis) made the difference here, which I would have liked to see more of in other settings, where distinct stage markings limited the magic.
Set designer Brenton Staples has excelled in creating a lair on par with the professional production.
Given the show's long run, I imagine it's difficult to break away from the original direction; however the melodramatic quality was less suited to the smaller scale production. Most of the action was downstage, so the audience had more of a chance to take in more nuanced performances.
As impressive as the design was, I was hoping to see something different to the original we’ve come to know so closely. That said, I'm sure this production appealed to many who hadn't seen the show before. Perhaps as we become more used to Phantom on the amateur stage we may see more experimentation with the overall look of the show.
In a musical where the spectacle can overshadow the performers, Laura Slavin and Toby Truscott shine in solid performances as Christine and The Phantom.
Beryle Frees is a force to be reckoned with as Madame Giry, and Samantha Du Rennes’ prima donna Carlotta is a pleasure to watch and be (positively) deafened by! Act Two’s opener Masquerade gave the ensemble a chance to shine, showcasing rich vocal quality and the dance skills of Peter Leithhead.
Costumes (Nerissa Saville) here were particularly glorious, and, like the settings, realised both the larger than life Opera Populaire and the ominous settings of the Phantom's lair and the Daae grave. Wigs were well suited overall, however Meg’s curly mane was too unnatural, and Christine’s too dark and overwhelming, I felt Christine needed her fringe cut!
Marcello Lo Ricco’s sound was the best I’ve heard in the National. The wonderful on and off stage vocals were crisply amplified, and the recorded vocals/dialogue cue perfect.
Personally, I would have liked more volume from the orchestra, as I adore the score, and this would mask more of the inevitable noises of actors' feet and mechanics on stage.
One can only imagine the amount of planning and creativity required to transfer such an iconic musical to the amateur stage.
CLOC's Phantom is a remarkable achievement, and demonstrates the marvellous on and off stage talent that Melbourne has to offer.
