The Phantom of the Opera – The Edinburgh Academy Magnusson Theatre

With a challenging operatic score, some of the most memorable tunes in musical theatre, and a huge reputation to live up to, “The Phantom of the Opera” is a bold choice for Captivate Theatre. However, they are more than capable of doing it justice, with a talented cast and near faultless vocal performances.

The musical needs little introduction, but tells the story of Christine, a chorus girl in the opera who is thrust into the leading role after a strange incident causes the prima donna Carlotta to storm out. Christine has been tutored by the Phantom, her “angel of music”, a shadowy figure who lives in the sewers of the opera house. New owners take over the company, including a rich patron named Raoul, who is Christine’s childhood friend. They rekindle a friendship which turns into love, leaving the Phantom jealous and angry. Tragic incidents begin to occur, and the company plot to rid themselves of the opera ghost who haunts their building. Only the ballet mistress, Madame Giry, knows the truth about this talented but tortured man.

Performed by a cast of twenty-one, accompanied by an eleven-piece orchestra, this is a large-scale production for the relatively small stage at the Magnusson.  Director Sally Lyall uses the space well, with a raised platform for the orchestra and a simple selection of furniture including wheeled mirrors which can denote different settings. Scene changes are carried out in character by the ballet dancers. There is the occasional dead space when transitioning between scenes, but generally the production flows well. Keigan Hawthorn’s lighting enhances the space, often using the mirrors to create atmospheric effects. The iconic chandelier also features, rising slowly into the air as the prologue ends.

Lucy Whelan is enchanting as Christine, with a beautiful clear voice. She hits the high notes almost effortlessly, with “Think of Me” a particular high point. The relationship between her and Martin Mitchell’s earnest Raoul is built nicely, with a lovely chemistry developing as the show goes on. Colum Findlay brings a powerful rich voice and a tender vulnerability to the role of the Phantom. They also conduct the orchestra and choreographed the production – clearly a multi-talented performer. The decision to have them conducting onstage was a nice touch, hinting at the Phantom’s control over the opera house. Another incredible vocal performance is that from Stephanie Strachan as Carlotta. She has an amazing coloratura soprano voice, and their rendition of the “Hannibal Rehearsal” is a masterclass of vocal power and control.

Although individual performances stand out, the company also work well together. Complex and challenging songs such as “Primadonna” sound fantastic, and the ensemble are slick in “Masquerade”, performing Findlay’s simple but stylish choreography. Lawrie Banks shines in several ballet solos. Perhaps the only thing which sometimes feels incongruous is that the acting in some of the supporting roles can feel a little exaggerated. This may be a directorial decision, and works for “Don Juan”, but not always at other points.

Captivate have a reputation for producing high quality theatre, and they have certainly lived up to it again. This is a great production of an iconic musical, with spine chilling moments and songs that you will go home singing all night.

Reviewer: Torya Hughes

Reviewed: 5th August 2024

North West End UK Rating: