Review: THE PHANTOM OF THE OPERA, Her Majesty's Theatre

They say there's no business like show business. Well, they should change that to there's no show quite like The Phantom of the Opera! The infamous story of the opera ghost and his on/off love affair with the soaring soprano lands as well today as it did back in 1986.

Phantom is back where it belongs after a difficult year of not just a global pandemic, but public battles between composer Andrew Lloyd Webber and producer Cameron Mackintosh, who both are keepers of its brilliant global success. They each care deeply about this story, and while they clearly have different desires in how they'd perhaps like to see it staged today, this refreshed production is the perfect balance that's sure to please everyone. Yes, really. It's that good.

To be clear, this isn't a whole new production of reimagined and soaring storytelling, but it's also not the original and makes that very clear. It's a fresh look. It's had the botox treatment. A little lift. There's a new painted feature wall and a new lamp, a remodelled set, and a grander golden arch that houses the opera scenes. Phantom had, as you'd expect of a 30+-year run, become a product of its time. It aged, gracefully. But thanks to this new production, under the direction now of Seth Sklar-Heyn, it's taken the genius inspiration of its beginning and added an extra sparkle. And sparkle it does, but the darkness comes too. Phantom has never felt so spooky and uneasy.

However, there's nothing to fear with Phanton's new leading lady, Lucy St Louis. Her captivating Christine is youthful and yet still glorious in almost every move she makes. Her vocal gift is matched by that of her beauty and grace as she moves through scene after scene as if she is its originator. Her casting, the first black woman to take on the role full time in London, is historic and marks a great first for the show. And while she'll forever be the first for such a feat, we hope she most certainly isn't the last. A star is born in Lucy St Louis.

Killian Donnelly's wonderfully sung Phantom pierces the soul in a way that feels fresh for a part we've either seen or heard sung outside the context of the show rather regularly. It is difficult to find new depth to a character so beloved and so heard from, but he does great things. Perhaps it's his younger age and more youthful approach to such an outcast, but it feels real. It's the heartache and repeated deflation of love as he fails to get his girl that can easily bring a tear to the eye. The closing moments of the show are a real display of his acting ability for the man in the shadows.

With Raoul, Rhys Whitfield takes a charming yet rather rich-boy approach - unexpected but still enjoyable. The Vicomte shows his absolute dedication to heroine Christine. And when alongside St Louis and Donnelly, you feel spoiled. Saori Oda's humorous take on Carlotta Giudicelli, the loud and often failing star soprano, is a scene-stealer, coming close at one point to outshining her co-stars without even speaking or singing. She is a star, there's no doubt.

Much praise must go to Chrissie Cartwright who respectfully and rather faithfully celebrates Gillian Lynne's remarkable ballet work throughout - much to the applause of the watching audience when we attended. Phantom's commitment to the world of ballet is undeniable, and it remains a real selling point of this show. Andrew Lloyd Webber's score still lands with swirling grace and rising heartbeat. but the much-discussed reduced orchestra is noticeable to us Phantom geeks.

One particular word of praise must go to the glorious, revamped interiors of Her Majesty's Theatre, which houses Phantom. The Webber/Mackintosh dedication to keep our British theatres in fine form is absolutely apparent from your first steps up towards the marquee and towering imagery of the Phantom's mask. Inside is a feast for the eyes, with every surface shining and the surprisingly spacious seating allowing for a rich experience inside this veteran theatre.

The return of arguably one of the finest pieces of work to ever grace a stage has, understandably, been of great interest to the world. And Phantom fans have a right to be protective over their beloved show. It has, after so many years, become a place of great escape. But this new production, with added greatness (even if without the deserving orchestra, sorry Andrew!) is worthy of their love as much as any that have come before. The beloved opera ghost returns to his lair in a production that is worthy of its place in theatre history.

The Phantom of the Opera is currently booking at Her Majesty's Theatre until 13 February, 2022

Photo credit: Johan Persson