Carpenter Carves His Name – IC Berkshire
Review by Kate Longhurst
The Phantom of the Opera
Her Majesty’s Theatre, Haymarket
THE Phantom of the Opera is without doubt one of the crown-jewels of musical theatre. Adapted from Gaston Leroux’s 1911 novel, it is widely regarded as one of composer Andrew Lloyd Webber’s greatest works; it certainly is his most successful. The creative dream-team comprises Lloyd Webber, who composed the score and co-wrote the book and producer Cameron Mackintosh (famous for many hit shows including Les Miserables).
It tells the story of Christine, a chorus girl with the Paris Opera Populaire, who becomes the object of desire for a mysterious man who is rarely seen but often heard throughout the theatre, earning him the name ‘The Phantom of the Opera’.
With the Phantom’s guidance, Christine’s voice surpasses that of the Opera’s leading lady Carlotta. But her new life in the spotlight comes at a price when the lives of her colleagues and even her fiancée, Raoul, come under threat from the jealous Phantom who has Christine’s future, and his own, already decided.
In October this year, the production celebrates its 20th anniversary in the West End.
Last year, Welsh actor John Owen-Jones completed a three-and-a-half-year run as The Phantom, earning himself the record as London’s longest-serving Phantom. The new cast is headed by Earl Carpenter as the Phantom, with Rachel Barrell (who has extended her run from the previous cast) and Celia Graham alternating the role of Christine, with David Shannon as Raoul, Vicomte De Chagny. Carpenter is an experienced actor in the West End and throughout the UK with roles in musicals including Beauty and the Beast, Les Miserables and The Witches of Eastwick.
The Phantom is a dynamic role requiring an excellent vocal performance which must be supported by an intense portrayal of the complex characteristics of the personality. Carpenter delivers both. Although he does not always appear completely comfortable on the top notes, his controlled delivery of the Phantom’s key solo number The Music of the Night is particularly powerful, and his acting skills shine through in the final scene when he captures the character’s conflicting emotions and battles to retain control over Christine and Raoul.
Carpenter switches back and forth with ease between the role of cruel captor on the outside, and the unsure, sad, despairing childlike man on the inside, who the audience can empathise with and pity.
An equally emotional role is Christine. The character was written for Sarah Brightman, emphasising her extraordinary vocal range. The vocal demands have not lessened over time and Rachel Barrell more than fills Brightman’s shoes.
Her interpretation hits the right notes with a stunningly beautiful voice, and she gives a multi-dimensional acting performance which captures the innocent, shy young woman who grows up quickly when she is pushed into the limelight, and faces attention from Raoul and The Phantom.
Barrell triumphs in every song, but especially in Think of Me and the haunting Wishing You Were Somehow Here Again, when Christine remembers her departed father and wishes she could move on.
The actor who plays Raoul should ideally be handsome with a strong voice and David Shannon is well cast. He is confident onstage as he too boasts an impressive list of musical credits including The Beautiful Game, Miss Saigon, Cats, Martin Guerre, Les Miserables, and Jesus Christ Superstar. Shannon’s confidence embodies the character, making Raoul appear a worthy suitor, and his voice is very melodic during All I Ask of You, where Raoul and Christine express their love to each other.
Shannon stands out from previous actors for the clarity of his voice; many of his scenes require him to harmonise or contrast with several other voices and it is refreshing to hear lines which have sometimes in the past been lost.
Supporting the leads are characters including the pompous opera stars Carlotta Giudicelli (a wonderful Wendy Ferguson) and Ubaldo Piangi (played with perfect comic timing and strong voice by Rohan Tickell) and Madame Giry the ballet mistress, (understudy Emily Harvey on the night). Her daughter Meg, a supportive friend to Christine, is played by Heidi Ann O’Brien and her slight weakness in voice is recouped by her excellent dancing and understanding of the character.
Finally and most enjoyably, there are the two Opera House managers Monsieur’s Firmin and Andre. Despite one slip in musical timing, understudy David Lawrence was in good voice as Firmin and paired with Sam Hiller as Andre, the duo made good use of their comedy moments. The ensemble are strong as ever, performing a variety of operatic characters, and the ballet chorus are always pleasing in their interpretation of a disciplined group with traditional costumes of the era.
The backdrop to the performance features stunning scenery designed by Maria Bjornson. Upon entering the auditorium the audience are already part of the set as the majority of the story takes place within the walls of the Paris Opera House Theatre, and Bjornson’s impressive recreation is simple yet spectacular.
There is a fine balance between grand set pieces, such as the majestic staircase for the Masquerade and the gothic candles and gate of the Phantom’s Lair, which fill the stage. These are used in addition to magical illusions which create new locations as well as moving the actors around the stage. Both styles work perfectly in harmony with each other, making The Phantom of the Opera a production which is as much an example of the versatility of the theatrical medium as it is a demonstration of the virtues of excellent storytelling, music and song.
* The Phantom of the Opera is playing at Her Majesty’s Theatre, Haymarket, London, SW1Y 4QR. Performances are Mon-Sat at 7.30pm, and Tuesday and Saturday matinees at 2.30pm. For tickets call 0870 264 3333.
