Phantom of the Opera as presented by Wexford Light Opera Society

The Phantom of the Opera as presented by Wexford Light Opera Society: Saturday 4th May 2024. 

I’m nothing if not consistent. I still think that Phantom of the Opera is thin on story, has fairly one-dimensional characters, and a very vague ending. It is a show that relies on a stunning musical score and the requirement of technical spectacle. However, having witnessed the Wexford Light Opera Society production, I can now admit that, when all the ingredients come together in the most crafted and precise combination, I can at last understand why it has been a phenomenal success on London, Broadway and who knows where else. I am equally confident that if this particular production was on any professional stage, it would stand up beside the best of the best. This production was quite magnificent. Perhaps the battle was half won even before the show started, given the grandeur and the capabilities of the National Opera House. But it’s one thing to have a beautiful stage, and something else altogether to turn it into a phenomenon. 

Charged with the responsibility of bringing all the various strands of the production together was Director, Christine Scarry, and her first of many major achievements was to surround herself with the perfect team for the job. With a belief in your set designer, your lighting crew, your wardrobe mistress, your choreographer and your Musical Director, the battle is almost won before it has begun. When you have the confidence and foresight to select the perfect players for each role, you make life that little bit easier, and when you have a strong handle on what works dramatically, a perfect eye for what is aesthetically pleasing, and the wonderful imagination to give a production that extra personal stamp, then your job is complete and the end result is something very wonderful. That was the case with this production. The detail and work that went into every aspect of the show was immense, and drawing it all together with style and panache confirms Christine as a master of her art. I’m sure she may have done one or two dodgy productions in her day, but not THIS day. This day, she was supreme in her achievements, and I’m grateful to have been a spectator of that greatness. 

During a night of wonderful music, one of the highlights for me was sitting back and enjoying the Entracte, which was something akin to attending a philharmonic concert, such was the standard and quality of a superb orchestra, under the excellent guidance of Musical Director, David Hayes. Throughout the show, the tones and tempi were excellent, giving life and energy to the score, hitting the crescendos with nerve-tingling ferocity, and melting into sublime, swathes of mellow legato. There was never a question of orchestra and vocalists being in competition, as the level and balance of the accompaniment was always perfect. Thanks to Chorus Mistress, Eithne Corrigan, good attention had been given to the choral work, with strong harmonies and clean, crisp diction. “Masquerade” was the showpiece of the vocal work, although the difficult “Don Juan” opera pieces were also very well-handled. It goes without saying that the principal singers were meticulously prepared. 

Tony Carty, playing the role of The Phantom, having already performed a matinee that afternoon, was suffering from a sore throat when I attended on the final night of the show. I could tell in his early musical pieces that he was under some strain, and I mention this only to indicate the level of professionalism that he displayed in this performance. With true dedication, and superb restraint, he held back vocally on the easier and more gentle pieces of music and sensibly saved his powerful voice for those scenes where he needed to make a massive impact. In so doing, he avoided what could have been a disaster for the standard of the whole production. His acting throughout the show was excellent, and in managing his vocals so effectively, he persevered to ensure that the show’s climax was just that. This was theatrical craftsmanship, and I richly applaud his dedication. 

The sensation of the show, however, was the performance by Karla Tracey as Christine Daaé. Her stage presence was strong and resolute, her acting was remarkable, her grace and elegance in movement was entirely what was required for her role, and I would quite simply run out of superlatives trying to express my admiration for her sublimely beautiful and powerful voice. In a role that demands much, she gave much more than I could have imagined. Her tone, her diction, her emotion, her range were all taken from the very top drawer of musical accomplishment. She may have been born to play this role. I remain in awe. 

There’s a star in the making in the shape of Daniel Furlong, who most effectively took on the role of Raoul, Vicomte De Chagny. Doubtless, he will find himself cast in romantic leads in the future, possessing, as he does, a very fine tenor voice, good acting ability, and great stage presence. This was a confident and very capable performance. 

Tony Brennan and Pat Lawlor, as Richard Firman and Gilles Andres, respectively, provided a light comedy duo, as the new owners of the Opera Populaire, confounded by the misfortune of dealing with a theatrical ghost and living Prima Donnas. Witty in the execution of their pieces, they were most impressive in the vocal challenges of the tricky ‘Notes’ numbers. 

Ami Stahlut was a most impressive Carlotta Giudicelli, with a fabulous soprano range and a wonderful presence on the stage. She was dramatic and stubborn and delightfully self obsessed, making her character worthy of ridicule and many a good laugh. Very well played and beautifully sung. 

Her counterpart was a pompous and buffoonish Piangi, played with great character and comedy by the very capable and likeable George Lawlor. With fine facial reactions and a stuffy awkwardness, he squeezed as much comedy as possible from his characterization. There was a dry, controlled, severity about Nicola Roche in the role of Ballet Mistress, Madam Giry, very strong and secure in her vocals, and mysterious in her station as go between from the Phantom to the rest of the Opera. Very confidently and dramatically played. 

As stated in a previous review of Phantom, I’m never quite sure of the relevance of Meg Giry to the story, but regardless of that, Niamh Cullen gave good voice and personality to her role, with a confident presence and a warm character. 

Eric Hayes made an impact as Buquet, the stage technician of dubious character, who meets an untimely end. Other notable performances came from James McDermott as a relieved Monsieur Lefevre, Dylan Walsh as the dramatic theatrical Monsieur Reyer, Stephen Byrne as the auctioneer and Catherine Walsh as the Confidante. 

What made the chorus stand out in this production was their commitment and precision in everything that they performed. Routines were meticulously rehearsed, pictures on stage were sharp and artistically beautiful, and when they had an opportunity to shine vocally, they grasped it with both hands and sang their hearts out. I sensed their total belief that they were an integral part of something special, and they responded accordingly. Excellent work.

Choreographer, Thérése O’Sullivan, took every possible opportunity to enhance the production with beautiful movement, whether it was the ballet dancers rehearsing or performing in the Operas. The full chorus have limited opportunities to shine, but in all they were asked to do, they were meticulous and energetic, with “Masquerade” being awesome in presentation and execution. But the terpsichorean highlights of the show were undoubtedly those moments when the Corps De Ballet took centre stage. Excellent work. 

With a superbly designed and brilliantly built and painted set, perfectly selected projections, an amazing and industrious stage crew, under the direction of Stage Manager, Colin Murphy, perfectly built and sourced props and one of the finest stages in Ireland, this was a recipe for success. When you combine all the above with a superbly detailed lighting and effects plot and virtually flawless sound quality, then you get as close to technical excellence as it’s possible to get. What might have edged it even closer to perfection would have been a bigger organ, with bigger organ pipes that dominated that scene, a heavier fake body for the hanging of Buquet that stopped more abruptly, with a neck snap for horrific impact, and a much speedier falling of the chandelier, perhaps blacking-out with a light explosion, before it hit the stage. But I’m nit-picking really. Scene after scene, I was mesmerized by the visual strength of the sets, the use of candlelight, the controlled use of fog/mist, the flash effects, and just how smoothly and seamlessly everything moved and fit together. Technically, the show was quite simply beautiful. 

Congratulations to the wardrobe team for selecting such a top-notch costumier to supply this show with a wonderful and varied wardrobe. The day wear for the principals and chorus were apt and respectable, and the theatrical wear for the Operas was luscious and beautiful. Particularly lovely were the several sets of beautiful ballet outfits for the Corps De Ballet.

When the full cast took to the stage for the splendid “Masquerade,” it truly was an awesome spectacle, from wigs, to masks, to outfits, to footwear. Make-up was generally very good, although perhaps Carlotta and Piangi’s could have been more exaggerated and also the Phantom. From where I was sitting, I didn’t really catch the horrific effect when his mask was removed. 

Finally, it behooves me to acknowledge that in the course of carrying out one’s duties as an adjudicator, one also has the privilege of gaining much knowledge from the experience of others. During this season, I have had many teachers in many disciplines, but tonight I was fortunate enough to gain wisdom and experience from two professors. Professors Christine Scarry and David Hayes. I shared that privilege with Wexford Light Opera Society, who blossomed and bloomed under such accomplished leadership. Thank you all for a sublime theatrical experience.

Peter Kennedy

Gilbert Adjudicator 23/24

Photos by Paula Malone Carty