Phantom of the Opera - Intimate Venue Captured the Atmosphere of this Tense Drama
Joshua Chandos and Lauren Allison. Photo by Andrew Maguire.
Phantom of the Opera. Performed at The Attic Theatre, Stratford upon Avon, by Tread the Boards. Directed John-Robert Partridge. Running from 19 October until 03 November 2024.
Review by Charles Essex.
The small size of The Attic Theatre and the proximity of the audience to the actors worked terrifically to enhance Tread The Boards’ superb adaptation of Phantom of the Opera by Catherine Prout. We were backstage at the Paris Opera House as outgoing owner Debienne [George Ormerod] handed the keys to new proprietors Moncharmin [Rob Keeves] and Richard [Andrew Woolley]. Rob and Andrew conveyed well the new owners’ scepticism about the phantom, irritation and arrogance at the behaviour and beliefs of their staff, and bickering as their plans were thwarted.
John-Robert Partridge. Phantom and Director. Photo by Andrew Maguire.
Emily Tietz portrayed convincingly two different roles, as young Meg, the ingénue daughter of the concierge, and Carlotta, the operatic diva, star of the Opera House’s current production. Set designer Adam Clarke used the small stage to full effect, with actors able to enter and leave at various locations, one of which was particularly effective when Carlotta exited upstage and curtains closed behind her as she went ‘on stage’ for her performance. John-Robert Partridge as the phantom [he was also the director], even appeared in the rafters on occasions. Adam created a theatre box behind the audience stage left, from where Moncharmin and Richard watched the opera, which worked especially well.
Kat Murray’s design of the lighting and sound was remarkably powerful. Dimming the lights allowed nefarious deeds to take place; blacking them out completely allowed actors to approach members of the audience very closely with chilling effect.
Emily Tietz. Photo by Andrew Maguire.
Although we heard John-Robert in the first act, he was seen infrequently. His voice was obviously sometimes a recording, which was not always clear, whereas when he was on stage his voice had its usual powerful sonorous quality.
After the interval, the pace increased as the phantom was present more often. The object of his obsession was Lauren Allison as Christine. Both Lauren and John-Robert expressed their emotions with heartfelt sincerity, initially with fear and anxiety from Christine and anger from the phantom. Once Christine had seen the phantom’s disfigurement, each of them communicated a change of feelings, the effects of loving and being loved.
Once again Tread The Boards punch above their weight for a small company in their quirky venue with this performance. The audience got real value for money and this production deserves full houses for its run.
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