Closing Night Encore Reveals New Depths

Apologies if you have had enough of my The Phantom of the Opera themed content but I've got one more piece for you.

A curious thing happened after I published my review of The Phantom of the Opera. The feedback I received included a delightful piece of news; the Saturday performances featured a different principal cast to the Monday show that I attended last week. This revelation directly addressed my slight lament about the show’s intense focus on its central trio limiting spotlight opportunities. In fact, the producers had intentionally structured the run to give two full sets of principle performers the chance to tackle these iconic, demanding roles. 

Intrigued, and eager to see how another interpretation might colour the production, I made a point to return for what was not just the final Saturday performance, but also the closing night of the entire run - this time experiencing the spectacle from the new perspective of the balcony.

The shift in vantage point was transformative. From above, the grand, sweeping staircase of the ballroom and the intricate layout of the Phantom’s lair took on a new, painterly quality, allowing a fuller appreciation of the set design’s scope. More importantly, it offered a pristine auditory landscape to experience the second cast in their own right. 

The only downside to my elevated view was that I shattered a little bit of the illusion for myself by spotting the gaffer tape marks on the stage that all of the cast consistently hit with such precision. It was the sort of glimpse by the curtain that we all know exists but we'd all rather pretend that we didn't. Again though, it just goes to reinforce the professionalism that was put into the production with such meticulous care being put in to ensuring that absolutely everything was executed to perfection. 

Of course, these little details aren't the real reason why I was returning for another performance. It was to see how the show would compare with an alternate line-up of principle actors.

Neenna’s Christine was defined by a bright, crystalline vocal clarity, which made her character’s journey from awestruck ingenue to a woman of decisive strength feel like a transformative revelation. As the Phantom, DaveDD brought a profoundly lyrical and wounded sensibility to the part, his rendition of "The Music of the Night" playing as a heartbreaking, vulnerable confession rather than a seductive command. Meanwhile, Daveeee’s Raoul crackled with a younger, more impetuous energy, his protective fervour lending the romantic stakes a compelling urgency.

Furthermore, this second viewing granted me a small, personal epiphany. My slight disappointment at the absence of the full "Phantom of the Opera" number was softened by the realisation that the show does, in fact, open with its magnificent "Overture", which proudly features that iconic, driving melody. During my first, note-taking visit in the stalls, I must have been so intently focused on the scene-setting narration over the music that I failed to properly register it. Hearing it afresh, without distraction, was a thrill - it was all there, the musical DNA of the entire saga, laid out in that glorious, orchestral prelude.

Seeing the production twice, with two distinct casts, ultimately affirmed its greatest strength: it is a robust, meticulously crafted piece of theatre that serves as a formidable vehicle for talent. The different interpretations enriched the story, proving that a strong directorial vision and a solid production framework can empower artists to find new shades of meaning in well-known roles. 

It was a privilege to witness both ensembles, and it turned my initial observation about limited opportunities into a celebration of the company’s commitment to showcasing the depth of talent at its disposal. The only hollow feeling I'm left with this time is that this is the last we'll see of this production. At least for now...

It goes without saying that, once again, the standing ovation witnessed at the end of the night was richly deserved. Now we just have to wait to see what production we can look forward to next.