British composer Andrew Lloyd Webber recently celebrated his 78th birthday and this year also marks the 40th anniversary of his most popular musical, The Phantom of the Opera. His iconic shows from the late 20th century, including Evita, Cats and Sunset Boulevard, have maintained consistent staging – sets, costumes, lighting – for decades, with local versions closely mirroring the London and Broadway shows.
In recent years, Lloyd Webber has loosened his grip on his catalogue, inviting theatre-makers to refresh his work for contemporary audiences. British director Jamie Lloyd has led the charge, with bold revivals of Sunset Boulevard (2023), starring Nicole Scherzinger, and Evita (2025), starring Rachel Zegler. With minimalist staging, contemporary design and integrated video, these productions have earned strong critical and audience acclaim.
More reinventions are emerging. The immersive Masquerade and a queer Ballroom-inspired revival of Cats are both currently playing in New York. Now, Opera Australia’s remounting of its 2022 Sydney Harbour staging of The Phantom of the Opera delivers another striking reimagining of a Lloyd Webber classic.
The Phantom of the Opera review – quick links
The Phantom of the Opera on a massive scale
Director Simon Phillips and designer Gabriela Tylesova have a long history with Phantom. They were hired by Lloyd Webber to completely overhaul his sequel, Love Never Dies, after it opened in London in 2010 to disastrous reviews. The pair completely redesigned the show, and the revamped production opened in Melbourne in 2011.
While the critical reception was still mixed, the streamlined plot and impressive design were praised. Phillips and Tylesova have now worked their magic again and this new Phantom is like the original but on performance enhancing drugs. Everything in this production is dialled up to eleven, from the sets and costumes through to the performances; this is Phantom on a massive scale.
Tylesova’s monumental set is epic and inventive, honouring the original designs while adding an impressionistic, almost hallucinatory twist. The Paris Opera House’s proscenium and grand staircase are stretched and warped to fit the expansive floating stage, which also features a central revolving platform that transitions between dressing rooms and subterranean catacombs.
The famous chandelier is also scaled up, spectacularly exploding to life in the prologue before being hoisted skyward by a massive crane. The Phantom and Christine’s journey to the lair is enhanced by a fiery ring across the stage, combined with the harbour’s natural water and opening night winds, creating an immersive gothic atmosphere.
The costumes have also been levelled up. The traditional colour palettes and silhouettes are generally maintained, but everything has been given extra bedazzlement and scale. I didn’t really care for the new platinum design of The Phantom’s mask, but the overall visual presentation is stunning and resonates with Tylesova’s designs from Love Never Dies. The entire look of this grandiose Phantom is awe-inspiring and at times feels more like an art installation than a musical.
Spectacle vs storytelling
While this expansion is necessary due to the outdoor setting, and the results are undeniably spectacular, the flipside is that some of the drama, pace and tension of the piece end up being sacrificed. When everything is writ so large, the intimacy of the storytelling and the psychological motivations of the characters are slightly diminished.
The original production’s intricate special effects, like The Phantom’s reflection in Christine’s mirror and Raoul’s hanging, unfortunately aren’t effectively recreated on the vast harbour stage. As a result, we are left with dull video designs and a limp rope.
Notably absent on opening night was Joseph Buquet’s murder by The Phantom, which may have been due to safety concerns about strong winds, leading to an odd conclusion for the Il Muto scene. Additionally, the chandelier crash fails to deliver the intended impact.
While some fans may miss certain elements, this production of Phantom is still thrilling. The technical achievements are remarkable, and Phillips and his team have excelled despite environmental challenges. Shelly Lee’s sound design, combined with Guy Simpson’s musical supervision, creates an immersive aural experience that enhances the story and allows Lloyd Webber’s beloved score to soar across the audience and into the night sky.
Ending with a bang
The highlight of the evening is Masquerade at the top of the second act. This is the moment where all the expanded design and staging elements culminate in a moment of breathtaking spectacle. When the cast take their places on the grand staircase, the final chorus kicks in, and the iconic choreography is performed, you think it can’t get any better… and then literal fireworks start exploding. This is the definition of a showstopping moment.
The cast is stacked with talent drawn from both opera and musical theatre. Amy Manford returns to the role of Christine, having appeared in the 2022 Australian tour and London productions. Her gorgeous soprano is effortless, and while her performance is a bit of a slow burn, Manford shines in the second act as Christine starts to assert some agency, delivering powerful renditions of Twisted Every Way and Wishing You Were Somehow Here Again.
Brent Hill and Martin Crewes bring welcome hilarity as the befuddled managers, while Giuseppina Grech nearly steals the show as diva Carlotta. Jarrod Draper does solid work with the dud role of Raoul, but the standout discovery of the cast is newcomer Jake Lyle as The Phantom. Making his professional debut in such a demanding role, Lyle proves a breakout talent – his rich, commanding voice matched by an emotional depth that lands powerfully in the final scene.
This opulent production of The Phantom of the Opera is a fitting way to mark the show’s 40th anniversary. Its innovative direction and design honour the original while expanding its scope for a new generation. Seeing Phantom staged on Sydney Harbour, with the Sydney Opera House as a backdrop, and the wind sweeping across the stage, is a truly unforgettable, once-in-a-lifetime experience.
