There are productions of The Phantom of the Opera, and then there are experiences that feel almost magical. Opera Australia’s staging of Andrew Lloyd Webber’s masterpiece is unquestionably the latter – a dazzling open-air triumph that redefines what musical theatre can be.
It would seem the theatre gods were smiling on this production on World Theatre Day. With the forecast rain abating and Sydney’s iconic skyline as its backdrop, the world of the Paris Opera House emerges with breathtaking grandeur.
Under the masterful direction of Simon Phillips, this 40th anniversary celebration feels both reverent and refreshingly new. The creative team, Musical Supervisor Guy Simpson, Choreographer & Associate Director Simone Sault, Set & Costume Designer Gabriela Tylesova, Lighting Designer Nick Schlieper and Sound Designer Shelly Lee, have collectively crafted a spectacle of astonishing scale and detail.
From the rich, sweeping orchestrations to the luminous costumes and settings, and the fireworks that shimmer against the harbour night, every element works in harmony to heighten the drama. The visual world of the production is breathtakingly realised by Tylesova. Her designs strike a delicate balance between opulence and practicality, creating a Paris Opera House that feels both lavish and suited to the outdoor occasion.
The large sweeping staircase, adorned in exquisite gold foil, is a vision of splendour, while the colossal chandelier, measuring an impressive 4 by 4 metres and inspired by the original, becomes a showstopper in its own right, gliding dramatically above the stage – these are not mere technical feats; they are moments of theatrical magic that elicit audible gasps from the audience.
Nick Schlieper’s lighting transforms the open-air setting into a theatrical canvas, shaping the mood with painterly precision, soft washes of colour and dramatic shadows guide the audience’s focus across and around the stage.
Under the baton of Musical Supervisor Guy Simpson, Andrew Lloyd Webber’s iconic score resonates with both precision and power, with the orchestra bringing a rich, sweeping sound that rises effortlessly with thrilling intensity. Sound Designer Shelly Lee completes the illusion, ensuring that every note, lyric, and atmospheric effect is delivered with clarity despite the challenges of the outdoor environment.
At the heart of this production is a cast that rises magnificently to the occasion. Jake Lyle, making his professional debut as the Phantom, delivers a performance of remarkable poise and emotional intelligence.
His voice carries effortlessly across the open air, rich with nuance and control, while his portrayal captures both the menace and aching vulnerability of the character. There is a quiet confidence to his performance that belies his debut status, marking him as a talent to watch.
Opposite him, Amy Manford’s Christine Daaé is nothing short of luminous. Already globally acclaimed for the role, she brings a rare combination of technical brilliance and emotional sincerity.
Her soprano voice cuts through with crystalline clarity, each note perfectly placed yet deeply felt. In moments of stillness, her performance feels intimate despite the scale; in moments of grandeur, she rises magnificently to meet the production’s demands.
Jarrod Draper’s Raoul, Vicomte de Chagny, provides a compelling counterbalance. Vocally assured and dramatically sincere, his portrayal is warm, earnest, and grounded, offering a believable emotional anchor amid the gothic spectacle.
The supporting principal cast deserves particular praise for the richness and texture they bring to the production. Debora Krizak’s Madame Giry is a commanding presence throughout, mysterious, authoritative, and deeply watchful. Her performance carries an undercurrent of tension, suggesting layers of history and knowledge that add depth to every scene she inhabits.
As Carlotta Giudicelli, Guiseppina Grech is a delight. She embraces the role’s theatricality with gusto, delivering both vocal brilliance and impeccable comic timing. Her scenes provide welcome moments of levity without ever tipping into caricature, and her commanding stage presence ensures she remains a formidable force within the opera company’s hierarchy.
Daniel Belle’s Ubaldo Piangi is equally engaging, pairing strong vocal work with a charming sense of humour that complements Grech’s Carlotta beautifully. Together, they create a dynamic that is both entertaining and musically robust.
Brent Hill and Martin Crewes, as Monsieur Firmin and Monsieur André, bring a polished comedic touch to their roles as the opera’s beleaguered managers. Their chemistry is effortless, their timing precise, and their interactions inject a lively energy that keeps the production buoyant even in its darker moments.
Jayme Jo Massoud’s Meg Giry is another standout, bringing grace, sensitivity, and a quiet emotional resonance to the role. Her performance adds an important layer of humanity, particularly in her interactions with Christine and Madame Giry, subtly enriching the emotional landscape of the piece.
Having captivated over 160 million people worldwide, The Phantom of the Opera proves it still has the power to astonish. This Sydney Harbour staging is not merely a revival, but a reinvention – one that honours the original while elevating it to thrilling new heights. In every sense, it is bold, beautiful, and utterly mesmerising.
Handa Opera on Sydney Harbour – The Phantom of the Opera
Fleet Steps, Mrs Macquaries Point, Sydney
Performance: Friday 27 March 2026
Season continues to Sunday 3 May 2026
Information and Bookings: www.opera.org.au
Images: Jake Lyle as The Phantom and Amy Manford as Christine Daaé in Handa Opera on Sydney Harbour’s 2026 production of The Phantom of the Opera – photo by Daniel Boud | The cast of Handa Opera on Sydney Harbour’s 2026 production of The Phantom of the Opera – photo by Daniel Boud | Jake Lyle as The Phantom in Handa Opera on Sydney Harbour’s 2026 production of The Phantom of the Opera – photo by Daniel Boud | Amy Manford as Christine Daaé and Jarrod Draper as Raoul, Vicomte de Chagny in Handa Opera on Sydney Harbour’s 2026 production of The Phantom of the Opera – photo by Carlita Sari | Deborah Krizak as Madame Giry in Handa Opera on Sydney Harbour’s 2026 production of The Phantom of the Opera – photo by Carlita Sari | Martin Crewes as Monsieur André, Daniel Belle as Ubaldo Piangi, Giuseppina Grech as Carlotta Giudicelli and Brent Hill as Monsieur Firmin in Handa Opera on Sydney Harbour’s 2026 production of The Phantom of the Opera – photo by Daniel Boud | The cast of Handa Opera on Sydney Harbour’s 2026 production of The Phantom of the Opera – photo by Daniel Boud
Review: Rohan Shearn