The Phantom of the Opera

I first saw The Phantom of the Opera in its premiere Australian season in Melbourne in 1990 and subsequently twice more; once in Melbourne and then in Sydney. In one of the great triumphs of marketing the stage show broke all sorts of records for the Australian stage from my recollection running for more than seven years in Melbourne and Sydney alone.

Despite seeing the stage show three times I somehow never saw Australia's original Phantom (Anthony Warlow) and Christine (Marina Prior) in the roles. This was a great disappointment as both are wonderful singers and fine performers.

The current revival of The Phantom of the Opera stars Warlow and for this reason alone I decided once more to 'let the dream begin' and see it again. I purchased the tickets with some trepidation as there has been much publicity about Warlow only appearing in some of the performances this time around.


(Anthony Warlow as Phantom who we did not see and Ana Maria as Christine who we did see.)

I was disappointed on arrival at the theatre last night to find out that Warlow was not appearing. I read in the program later that this production has two alternate Phantoms so it may be that you have only 33% chance of seeing the one you might prefer. This is a curious thing given that this season of Phantom is heavily advertised as 'Anthony Warlow is the voice behind the mask'

A sigh of disappointment swept the auditorium at the announcement that Simon Pryce would play Phantom and this was immediately balanced by a ripple of applause presumably from those who know of this performer.

The performance was competent and the show remains visually spectacular. I had the impression, though, that the descent of the chandelier which concludes Act 1 was slightly mistimed.

Simon Pryce proved to be an imposing figure. His baritone voice was pleasing to me except in the higher registers which I didn't find attractive. I so wish I had heard Warlow in the role. Ana Maria was excellent as Christine.

To complete a slightly disappointing night, a woman in our row was attached to an oxygen tank and the sound of her breathing could be heard throughout the performance as regular as a metronome.