Phantom Of The Opera

Direction by Seth Sklar-Heyn was wonderfully clear and consistent — not a wasted beat or misplaced flourish in sight. It felt like someone finally found the instruction manual for “How to Direct Epic Musicals Without Losing the Plot.”

Choreography / musical staging by Chrissie Cartwright matched that energy: clean, polished, and confident. Nothing show-offy, but it supported the storytelling instead of distracting from it.

The set & image design by Matt Kinley (based on Maria Björnson’s original design) was grand and unapologetically elaborate — in the best possible way. The transitions and scene changes flowed beautifully, the candlelit lair and the falling chandelier still producing audible gasps from the audience.

Lighting by Andrew Bridge (with associate design by Warren Letton) was brilliant. Restrained when needed, yet when it went big, it really went big — the Phantom’s lair especially packed a punch, a masterclass in atmosphere.

Sound by Mick Potter was mostly brilliant. The overall mix was consistent, and the Phantom’s voice moving around the auditorium created a thrilling, spine-tingling effect. That said, there were a few moments when the orchestra threatened to overwhelm the singers — minor quibbles in an otherwise strong design.

Costumes by Jill Parker (originally by Maria Björnson) were simply beautiful — elegant, opulent, and jaw-dropping in their detail.

Wigs, hair & make-up by Campbell Young Associates followed suit, completing the period look with style.

The book by Andrew Lloyd Webber & Richard Stilgoe remains witty, heartfelt, and emotionally direct. It’s that heart which allows the spectacle to shine, grounding the production in story rather than just visuals.

Performances by Dean Chisnall as the Phantom delivered a powerful, multi-layered portrayal — chilling, commanding, yet heartbreakingly human. His voice resonated through the auditorium with authority. Lily Kerhoas as Christine Daaé was luminous — vocally stunning with soaring clarity, while bringing tenderness and emotional depth to the role. Adam Rhys-Charles was on as Raoul, and gave a warm, sincere performance, striking the right balance between earnest devotion and dashing charm. Tim Morgan as Monsieur Firmin and Adam Linstead as Monsieur André brought sharp comedic timing and great chemistry, keeping the opera house boardroom scenes snappy and fun. George Arvidson as Piangi (Don Attilio) leaned into both humour and vocal strength.

This production delivers both spectacle and soul. Flawless in many respects, with only a couple of moments where the sound balance wavered. But overall, it’s a reminder of why Phantom remains one of the greatest musicals of all time.