REVIEW: The Phantom of the Opera, The Attic Theatre, until 3 November
This year’s Hallowe’en play by Tread the Boards company is The Phantom of the Opera: not the musical but a splendid adaptation of Gaston Leroux’s play by Catherine Prout. Anyone who knows the musical will relish this treatment of the plot and those who don’t know it will delight in the many spooky moments. When I saw it everyone enjoyed it – from grandpas to children.
Regular Tread the Boards visitors will relish the transformation of Joshua Chandos into Raoul, a dashing romantic lead with remarkably groomed hair tormented by his love for Christine, remarkably and enigmatically played by Lauren Allison. Although they have to wait awhile before he appears they will also delight in John-Robert Partridge’s Erik, the Phantom of the Opera himself. Apparently to begin with the embodiment of an evil murderer there is a surprise at the end as he resolves some of the plays dilemmas and shows unexpected self-sacrifice. There are other splendid performances too. Emily Tietz makes the most of her dreadful diva Carlotta. Clara Lane is steadfast as Madam Giry and James Tanton arresting as the timorous Mercer and The Stranger and Andy Woolley is always arresting and powerful.
Although there is, for Tread the Boards, a large cast of nine, there is also some doubling, but Prout’s clever text leaves the audience in no doubt that actors have changed roles as each new character is named at his or her first appearance.
But the experience of this play isn’t just about the acting. John-Robert Partridge’s direction combined with Adam Clarke’s elaborate set with its multiple entrances and exits ensure that the audience’s attention is maintained throughout. Even the choreographed scene changes and set alterations create tension. There is dance too, cleverly designed by Emily Tiets and Lauren Allison. The set’s attention to detail is evidenced the stage left Box 5, two ropes, mirrors, drapes, chandeliers and statues, all of which become significant during the course of the drama.
But a Hallowe’en play needs spook and there is spook in abundance. The scariest moments take place in the dark and the blackouts are very well handled, the tension increased by Kat Murray’s atmospheric spooky lighting and sound design.
This show is full of physical and psychological horror. The scenes between Christine and Erik are powerful and quite wonderfully done and the serious idea that self-sacrifice eventually triumphs over jealous revenge is clearly and powerfully shown. I shall go and see it again.