Person wearing mermaid costume
Childrens theatre, Theatre, Whats On

Peter and the Starcatcher

You’ll be starstruck as you find your inner child in this playful story about finding Neverland, By Sebastian Purcell

Before the story of Peter Pan, Tinkerbell, Captain Hook and Neverland comes the story of three orphaned children, Nameless boy (Otis Dihanji), Ted (Benjin Maza) and Prentiss (Morgan Francis). Stowed away on the Neverland ship bound to the far-off Kingdom of Rundoon, they meet Molly Leondard (Olivia Deeble) and discover the precious cargo, the mysterious substance called starstuff.

Meanwhile, aboard another ship, The Wasp, Lord Leondard Aster (Alison White) has been deceived by pirates led by Captain Black Stache (Colin Lane). The pirates have taken control and plan to take the treasure, the decoy starstuff, for themselves only to discover it’s been switched out. As a battle ensues, they all end up on the mysterious island and the story of Peter Pan begins to emerge right before the audiences’ eyes.

The hero of this production is the lighting design of Ben Hughes. The design beautifully transports the audience through time and space, between swimming the depths of the oceans to soaring into the night sky. And while we never see Tinkerbell, there is a wonderful play of lights between the actors that might make you think she is actually there.  

Leslie Zink’s movement direction on the stage is fluid and is best performed by the ensemble when interacting with the sets and props. The use of the dual staircases narrows a scene into an intimate setting within the ships before splitting apart to show two worlds at once. Another clever intersection of movement and props is through wooden planks, doubling as doors to scenes on the ships, and all without a turntable on the stage.

This show has it all, there’s special puppetry guests, cats, birds, reptiles, fish that add colour, movement and humour to the show. The band, a tight ensemble of their own on stage, continue to perform as they are moved between scenes and as if part of the scenery themselves.

The 14 strong ensemble work well together to bring frivolity and fun to the stage. Each actor moving between scenes with ease using their costumes and lighting to transform with the narrative. While this is a play, there are a handful of musical numbers, and while I weren’t as fond of these moments there was a standout vocal performance by Ryan Gonzalez (Fighting Prawn) in the second act that left me wanting more.

Otis Dihanji and Oliva Deeble have a wonderful playful chemistry between them holding their own in the often silliness and chaos that descended when Colin Lane took the stage; Lane stealing almost every scene, through slapstick comedy or delivering tongue twister dialogue imbued with modern references to our current world affairs. I found it hard at times to discern where the script ended and Lane or Pete Hellier’s improvisation began. While I and the audience loved the humour, it did extend the shows running time, and I wondered whether a pacier second act would have worked better.

Overall, this is a show that invites silliness, being creative and finding joy in storytelling; which I’m sure will bring many laughs to all who see it. It also toys with themes of loneliness, otherness and the playfulness we often lose in growing up: as Molly says “things are only worth what you willing to give up for them”.

Suitable for audiences of all ages. Now playing at the Arts Centre Melbourne. Tickets available via the Peter and the Starcatcher website.

Three actresses dressed up as nuns
Feature, Musical Theatre, Theatre, Whats On

Sister Act, the Musical

A colourful, loud and joyous production, by Sebastian Purcell

You’ll be raising your voice all night long in this dazzling production of Sister Act the Musical.

Sister Act tells the story of nightclub performer Deloris Van Cartier (Casey Donovan) unwillingly joining a convent of nuns as she hides out waiting to give evidence at trial after witnessing a murder committed by her boyfriend Curtis Jackson (James Bryers) on Christmas eve.

Mother Superior (Genevieve Lemon) agrees to keep Deloris safe under the guise of a nun Sister Mary Clarence, and the two soon discover just how different their respective worlds are. Deloris is put to work to transform the struggling choir into an energised ensemble that reinvigorates the local parish and even receives an invite from the Pope to perform.

Casey Donovan is sublime in her first lead role on the stage. Her vocals are full of soul and power and despite her powerhouse renditions of Raise your voice and Fabulous—which will leave you wanting to join in— found her more nuanced and introspective performance of Sister Act during the second act to be the standout moment of the show. Donovan fills the stage with her presence, delivery and is captivating from start to finish.

Staring alongside Donovan is almost an impossible task, however, Genevieve Lemon as Mother Superior delivers her role with the poise, wit and sincerity that grounds the show, and Deloris’s transformation, in the service of others above self-interest.

Other notable performances include James Bell as TJ, who has a habit of scene-stealing as the flamboyant nephew of Curtis Jackson—Lady in a long black dress was a crowd favourite—and Sophie Montague as Sister Mary Robert, who once finding her voice uses it exuberantly throughout the second act. Montague brings a tenderness and some of the rarer softer moments of self-reflection in the Life I never had to this otherwise colourful, loud and joyous production.

Morgan Large’s set design is a kaleidoscopic, disco-themed high tech display, with slick transitions and LED arches to frame the stage. The stage itself is sparsely decorated allowing the performers plenty of room. By contrast some of the cardboard cut-out sets I felt seem out of place, and I wonder whether they were necessary against the LED arches framing the stage. The LED arches themselves, as well as the backdrop, are most impressive depicting large stain glass windows of the church. Morgan’s costumes range from 70’s disco inspired to technicolour robes and an impressive two-piece costume reveal for Eddie Souther’s (Raphael Wong) rendition of I could be that guy.

The Melbourne premier of Sister Act, produced by John Frost, was met with raucous applause and a standing ovation for Donovan before her curtain call. There are plenty of laughs to go along with the killer soundtrack, making for the perfect night out with friends and family. 

Sister Act is know playing at the Region Theatre, Melbourne

Tickets available at Ticketek from $60

Musical Theatre, Review, Theatre

The Grinning Man

“A talented and diverse cast that bring significant energy and commitment to their roles” by Sebastian Purcell

The Grinning Man is strange tale of otherness, diversity and forgiveness. The Australian production, directed by Miranda Middleton, is the first English language production outside the UK and should be commended for drawing together a talented and diverse cast that bring significant energy and commitment to their roles.

As a strange new act arrives at Trafalgar Square, Grinpayne (Maxwell Simon) explores his traumatic past to uncover how his disfigurement came to be, who was responsible and who around hm he can trust and ultimately call his family.

The exuberant performances of Barkilphedro (Jennifer Vuletic), Princess Josiana (Melanie Bird), and Lord Dirry- Moir (Anthony Criag), demonstrate the best of Middleton’s direction. The expert dramatization, audience engagement and well placed use of profanity creates laughter and light that is well needed to offset the darker moments of Grinpayne’s story. Maxwell puts his all into a commanding performance but I found that character of Grinpayne doesn’t quite reach the complex dimensions of stories with similar characters, such as Jekyll and Hyde.

Freya List’s choreography hits its highest point as Cameron Bajraktarevic-Hayward brings Mojo the Wolf to life in a combination of movement and puppetry, and in their on-stage support of vision impaired actress Lily Cascun. I couldn’t help but wonder if the stage was too small for such a talented ensemble, and that a bigger space would allow them to seem less cramped. 

Sophie Woodard’s set is sparse, but cleverly uses platforms and curtains within the stage to differentiate key scenes and support the dark, gothic, painful life of Grinpayne. The overall sound direction is clear and crisp. 

The cast are all accomplished performers and singers. In particular Melanie’s vocals are a delight. But like the character of Grinpayne, I found the music and lyrics to lack dynamics. Unfortunately I found it hard to walk away with a memorable tune; I would be curious to see how The Grinning Man would translate as a straight play rather than a musical.

The cast put a level of energy and passion into their performances that the two-hour run time, which felt relatively well paced.

Th Grinning Man plays at the Alex Theatre- St Kilda until 19 May.

Tickets : https://alextheatre.au/the-grinning-man/

Theatre

Wolf Play, by Hansol Jung

A passionate and intricate story of family, love, loss, queerness and otherness

By Sebastian Purcell

Wolf (Yuchen Wang) is a 6 year old Korean boy put up for adoption on the internet after his white-American-adoptive father Peter (Charlie Cousins) and his wife have a new baby. Wolf is adopted by Robin (Jing-Xuan Chan), with her initially supportive brother Ryan (Kevin Hofbauer) present. Ash (Brooke Lee), Robin’s wife, laments that the adoption wasn’t a joint decision as she is about to go pro in her boxing career. Peter comes to regret giving Wolf up, holding traditional family values and views of fatherhood and homophobia. Peter fights for Wolf’s return through the messy court system that both parties attempted were trying to avoid.

Director Isabella Vadiveloo has created a vivid, emotional work that is both complex and at the core very simple–the love of a parent for a child. There are strong themes of the fear of otherness–Asian, queerness and loneliness–that shines through in real way on stage. Sam Diamond’s set and costume design is interesting–all blue for the set (kitchen, floor, walls, balloons, couch) with the white lines of a boxing ring framing the set; it’s striking in one sense but also cleverly fades into the background allowing the actors to pull focus at all times.

Every single performer puts in standout performances. There is a physicality to Lee’s boxing performance of Ash, enhanced by the creative team’s lighting and staging, which is terrific. The emotional connection and longing for a family that Chan and Cousins each display is palpable and Hofbauer’s masculinity comes to the forefront as the play progresses as he subtly yet commandingly switches from supporter to agitator. However, Wang’s control as quasi narrator, often puppeteer of 6 year old Wolf, offers at times some of the few moments of levity. Using inner monologue and breaking the fourth wall, he breaks through the heavy material and captivates the audience from start to finish. Wang’s commitment and execution of a howling wolf is also very impressive.

The entire production is tight. It’s almost two-hour run time is forgotten; I was drawn into the detail of the relationships on stage, and cleverly at times. through a great lighting technique, off stage too. The use of a puppet connected at times to Wang, and at other times connected to other characters, is a really interesting choice; it allows the audience to feel the size and vulnerability of the puppet child and the commanding and insightful performance of Wang too.

As the play reminds us, a wolf will adapt to its surroundings, so will those cast as others in society. This is a play that would easily fit right at home on some of Melbourne’s biggest stages.

Wolf Play is showing at Red Stitch Actors Theatre until 2 April with tickets available via Wolf Play 2023 — Red Stitch Actors’ Theatre. 

Photo supplied

Review, Theatre

Review: When the Rain Stops Falling

By Kiana Emmett

A whirlwind story transcending place and time about the inherent complexities of family relationships.

Presented by Iron Lung Theatre and Theatreworks, Andrew Bovell’s When The Rain Stops Falling tells the story of two conjoined families through four generations, grappling with the secrets and stories that inextricably bind their families together. The production uses climate change and weather as a descriptor and representation of the tensions the two families face.

Andrew Bovell’s writing is nuanced, dark and shows the full depth of flawed characters dripping with humanity. The intricate weaving of naturalistic and non-naturalistic writing is refreshing and brilliant.

Briony Dunn’s direction is exquisite. She brings so much out of her actors and the result is direct, detailed work. Her staging creates a knowingness among the audience, helping them to feel almost complicit in the actions of the characters, even when they are hearing about said actions for the first time. The venue seems like the perfect choice, with the more intimate setting Theatreworks provides aiding the production through making the audience feel more readily involved in what was happening.

The set design by Greg Clarke feels like the perfect blank canvas for this story to be etched upon. The minimalistic set with ‘Off-White’ coloured walls emphasises the stark intellectual wasteland the characters are navigating themselves through. The projections of Uluru are a smart choice in theory, as they gave the landmark the grandiosity that it evokes in the text, but in execution, I found them a little out of place.

As someone who hadn’t seen this show prior to this production, the writing was thoroughly intellectually stimulating and is one of the most brilliant pieces of writing I’ve witnessed on stage. This production treads the line of taking on deep and dark material and making it more palatable for an audience, whilst still challenging them mentally.

The ambience created in the theatre through constant music and/or white noise creates an unsettled atmosphere, and, while an unsettled audience is not always desirable, I felt this was a positive, helping to maintain interest and engagement through the dense and heavy two-hour-long show with no interval.

Performances were strong throughout, with the leader of the company Francis Greenslade being utterly captivating as Gabriel York and Law. Although the production steers heavily away from comedy, Greenslade creates light and shade in his performance, eliciting a few laughs amongst the serious and thought-provoking tone of the show. Another highlight was Esther van Doornum, who was strong as Young Elizabeth, with her pinpoint accuracy and delivery raising the stakes of the production immensely. The show is an incredible ensemble piece, with an equally incredible cast to execute it. Bovell’s writing is in safe hands.

When the Rain Stops Falling is an intellectually stimulating, at times overwhelmingly clever, production full of stellar performances, and is a must see.

When the Rain Stops Falling is running at Theatreworks through March 18.

Tickets can be purchased here: https://www.theatreworks.org.au/2023/when-the-rain-stops-falling

Photo by Joshn Wayn

Musical Theatre, Review

Review: American Idiot

By Sebastian Purcell

American Idiot the Musical is a juke box musical by American punk rock band Green Day, which first appeared on Broadway in 2010. The show takes place some time after the events of 9/11, with three thirty-something-year-old mates Johnny (Mat Dwyer), Tunny (John Mondelo) and Will (Ronald MacKinnon) who go about seeking more from their mid-suburban lives. Will is left behind with his pregnant partner Heather (Harmony Thomas-Brown), Tunny joins the army, and Johnny (Will Huang) creates an alter ego St Jimmy as he navigates the big city using women – “whatshername” (Romy Mcilroy) – sex and drugs. The three friends reunite by shows end where it’s ambiguous as to whether any of the characters have experienced any real growth over the past year.  

First off, kudos to the band expertly led by musical director Tahra Gannon who brings Green Day’s music to life in spectacular fashion, with at times wall to wall sound. With such big sound, I found that sometimes the cast struggled to compete. In saying that, there were some outstanding performances, including from from Mcilroy (Whatshername) who soars above with such vocal control and emotion in arguably the emotional heart of the show 21 Guns and then again in Letterbomb. Thomas-Brown also shines vocally in her solos and Thomas Martin as Favourite Son showing his amazing acting and singing skills. Hunag as St Jimmy gives an energetic performance both vocally and physically and perhaps has the most dazzling costume of the night in a bright pink leopard suit.

Leads Dwyer, Mondelo and MacKinnon give spirited performances, and clearly share a great connection, immersing themselves into the performance. I found Dwyer most at home with guitar in hand for songs such as Wake me up when September ends and When it’s Time. The ensemble are high energy and you can see all are enjoying themselves, but I did wonder whether the smaller stage of Chapel off Chapel may have limited the choreography at times.

I can see what director Scott Bradley has tried to accomplish, and there are some standout moments. However, I found the source material lacked narrative, as well as light and shade, presents a real challenge where it relies heavily on the audience’s enjoyment of Green Day’s music, falling short of contemporary juke box musicals such as Jagged Little Pill.

On a couple production notes, Yvonne Jin and Felicity Dain’s set design is reminiscent of the last production in Melbourne and the tiered scaffold works well with the band housed inside.  Jason Bovaird’s lighting design is ambitious and, early run tech issues aside, adds to the punk-rock-concert-feel.

Fans of Green Day will enjoy the hit after hit that the show offers.

Tickets available Green Day’s American Idiot | Chapel Off Chapel from 9- 26 March. Please note that audiences should consider the course language, mature sex and drug references including self harm. The show is suitable for people aged 16 +. 

Photography by Nicole Cleary

Opera, Theatre

Review: La Cenerentola (Cinderella)

By Sebastian Purcell

La Cenerentola was a wonderfully staged concert by Victorian Opera in the beautifully sounding and designed Elisabeth Murdoch Hall of the Melbourne Recital Centre. La Cenerentola (or Cinderella) was a really accessible opera for new and experienced opera goers alike.

From composer Gioachino Rossini and librettist Jacopo Ferretti the story of Cinderella takes a slightly different approach to the modern fairytale many would know. In this version, it is the Prince (Mert Sungu) that is in disguise as a valet, unbeknownst to the townsfolk, rather than Cinderella (Margarita Gritskova). The Prince sends his loyal companion Dandini (Stephen Marsh) to court Don Magnifico’s (Teddy Tahu Rhodes) daughters Clorinda (Rebecca Rashleigh) and Tsibe (Shakira Dugan) and bring them to the palace ball so he can then chose a wife. However, Cinderella, who is initially denied her request to attend by her stepfather (another change from our modern fairytale), is whisked away to the ball in a magnificent gown by a transformed beggar-come-tutor Alidoro (Michael Lampard).

While sung in Italian, there are English surtitles; I did feel these were not really necessary with such a familiar storyline, emotive score and performance from the cast. It’s a comedy and love story at the heart, with ample levity for an enjoyable night. The cast shine with their impeccable vocals, and the acoustics of the theatre makes listening the soaring tones of Margarita Gritskova such a joy.

On a production note, the costuming was detailed and vibrant. The lighting design (Peter Darby) is bright with the biggest change occurring during a storm scene where, between the orchestration and the lighting, I felt as though I was in the middle of the storm. The direction and staging (Elisabeth Hill-Cooper) was simple and clean but effective for the cast to deliver.

The Victorian Opera Chamber Orchestra gave a flawless performance and were such a joy to listen to, tightly conducted by Richard Mills. You could see their enjoyment throughout and it was lovely to see them centre stage and lit for the entire production.

A highly enjoyable evening, showing why Melbourne is the cultural and theatre capital, where local and international talents combine to produce a vibrant operatic concert for all ages. 

For Victorian Opera’s 2023 Season visit https://www.victorianopera.com.au/season/2023

Photo courtesy of Victorian Opera

Cabaret

Review: Gundog

A gritty and absorbing story, brilliantly performed
By Owen James

Simon Longman‘s fierce drama ‘Gundog’ has made its Australian Premiere thanks to Three Fates Theatre, a small independent company rising from strength to strength with each production they present.

Gundog was first presented at the Royal Court Theatre in London, the home of unmatched modern English playwrights including Simon Stephens, Tim Crouch, and Martin McDonagh – and Longman’s dynamic script exudes the urgency and explosive dialogue we have come to expect from his contemporaries and the Royal Court. It’s a superb choice of text to present, capturing the audience in the puzzle of a non-linear timeline and drawing us into the fate of this turbulent family.

Director Alonso Pineda has masterfully captured the isolation and cynicism that bleeds from every page, crafting a heartbreaking interpretation of this raw, ‘timeless’ world. The unrelenting advance of time is the core theme, perhaps reiterated with too heavy a hand in the writing, but reflected in a visceral and considered approach in this staging.

Freya Allen‘s innovative set design aligns seamlessly with a lighting design from Harrie Hogan. Coupled together, these designs transform the bite-sized Loft stage into a farm, replete with sheep and rusty shears. Their work especially pays off marking each transition in time, footlights circling and set rearranging. Costume design by Zoe Hawkins is faultless, making great use of farm-like stains and intricate detail.

This ensemble of five are perfectly cast, together forming a believable dysfunctional family unit, and individually delivering balanced and nuanced performances. Thalía Dudek, a co-founder of Three Fates, holds this ensemble together as Becky, the optimistic younger sibling keeping their head high despite grave circumstance. Their transitions between ages are steeped in detail, and successfully convey a litany of thought in just a glance. One to watch.

Andy Johnston‘s physical, connected performance as Ben is emotional, and often chilling. Taking on the character with perhaps the biggest arc in the piece, his journey from confident to vulnerable, and all states inbetween, is very moving, and performed with considerable tenacity. Dion Mills is the audience favourite, a fireball of energy and gravitas. He has us in his hands with every word from grandfather Mick. Alexandros Pettas confidently carries the arc of foreigner Guy, and Laura McCluskey is touching as Anna, displaying firm determination to hold strong through loss and abandonment.

A gritty and absorbing story, brilliantly performed.

https://www.threefatestheatre.com/gundog

Cabaret

Titanic – The Musical – in Concert

A production that befits the scale of the Titanic itself

By Sebastian Purcell

Titanic – the Musical is an operatic recount of the events of the catastrophic maiden voyage of the proclaimed unsinkable ship the Titanic. The story follows a selection of guests from the first three classes and a handful of crew members as they recount their hopes, dreams and come to grip with their ultimate mortality for those1500 souls that perished.

The Australian production directed by Theresa Borg is staged as a lively concert, with minimal set and props. However, it does extend beyond just a simple concert with Katie Ditchburn’s choreography and Jason Bovard’s lighting design combining to add movement and colour, taking the audience from the boiler engine room of the ship and to the cold depths of the Atlantic Ocean. Musical Director Stephen Gray leads a 26 strong orchestra, which is wonderfully tight.

The 23 strong ensemble is impeccable with their vocals. They soar with every note despite dialogue, which I found clunky, and songs which I don’t overly memorable. John O’Hara, as third officer Pitman and Henry Etches is marvellously flamboyant, gleeful and brings a welcome levity to an otherwise serious production. Likewise, I found Johanna Allen’s performance as Alice Bean a standout in her portrayal of a person looking to rise above her class; her acting a stand out in this production.

Juan Jackson as Thomas Andrews, the Titanic’s architect, is a powerful, sublime vocalist and serves dutifully as the narrator for the production. However, Anthony Warlow as Captain E.J Smith is the draw card for this production. I was surprised by how little stage time Warlow has in comparison to other roles, and I certainly felt like he was under-utilised given that every time he sang it was a complete masterclass in performance, completely unmatched by anyone. There is a very short aria To Be a Captain in Act Two, his only solo, and his rendition gave me goose bumps and left me wanting more.

On a technical level, I found the Melbourne Town hall not well suited for the sound needed for a work of this stature; the large room created echos in parts. There were also some other difficulties, such as the microphones not been switched on making it had to hear the cast over the orchestra, and some late spotlights struggling to find the performer on the balcony.

For fans of Warlow and Opera you won’t be disappointed, but this is not a musical version of The Titanic the blockbuster movie; My heart will go on does not feature as part of the score. It may have been stronger if it was more reminiscent of the movie.

Titanic-The musical in concert played at the Melbourne Town Hall

Image supplied

Musical Theatre, Opera, Review

Review: The Phantom of the Opera 

The Phantom will be inside your mind long after the curtain falls.

By Sebastian Purcell

The Phantom of the Opera opened on London’s West End in October 1986 and has been re-staged many times over for the past 36 years. Opera Australia’s season of Phantom of the Opera is beautifully re-imagined through an exquisite and lively production. Director Laurence Connor has breathed fresh life into arguably one of the most successful and recognisable musicals in history.

For those unaware, the story is set In the late 1800’s. The cast of the Paris Opera House are rehearsing a new production of Hannibal when resident soprano prima donna Carlotta Giunicelli’s (Giuseppina Grech) aria is interrupted by a stage accident. Ballet dancer Christine Daaé (Amy Manford) takes over the role to great acclaim, but her unseen angel of music teacher the Phantom (Josh Piterman) is enraged when his physical deformity is revealed. Raoul, Vicomte de Chagny (Blake Bowden) falls in love with Christine, promising to protect her from the Phantom. Christine must then choose between her love of performing and the love of her life.

As one expects from Opera Australia, the vocal performances of the 37 strong cast are flawless. Amy Manford’s performance as Christine is the best I have ever seen. Think of Me, Wishing You Were Somehow Here Again, and The Phantom of the Opera are chillingly breathtaking. However, it’s her performance of Notes/Twisted Every Way that grounds the character as a frightened child, being used by the men in her life. Manford draws the audience to a standing ovation – and deservedly so. 

Josh Piterman’s Phantom is full of interesting choices. While vocally exquisite and smooth and his renditions of Music of the Night, All I Ask of You (reprise) and The Point of No Return are pitch perfect, he plays the role more gently, more humanly than other portrayals. However. I must say I missed at times the cruelty and anger of previous Phantoms which tie the inward ugliness of the character to his physical ugliness. The staging of this production at times also humanised the Phantom, placing him amongst the cast for the Act Two opener Masquerade/ Why so Silent? as opposed to above the cast, on a staircase, as per previous productions. For me, this reduced his stature and consequently less likely to be feared. Nonetheless, Piterman’s performance is worth the top billing. 

Blake Bowden’s performance as Raoul is also outstanding. His tone is silky throughout All I Ask of You and the trio of Bowden, Piterman and Manford soar in Wondering Child. Credit must go to the sound design team at the State Theatre as every note is clearly audible. The ensemble is tight, and well utilised throughout for scene changes adding impressive colour and movement. 

Paul Brown’s set design is the boldest I’ve seen and is as jaw dropping as the performances themselves. The well-known bridge to the Phantom’s lair is replaced with the most magnificent spiral staircase. The scenes are densely populated adding a rich character that fills the State theatre, ensuring you can’t mistake it for a concert. The chandelier, well its best left to experience rather than description, but in true Phantom form it comes screaming down from the ceiling. 

Finally, Phantom of the Opera’s music by Sir Andrew Lloyd Webber is what audiences love. The 27-piece orchestra brings the wonderful score to life. Melbourne’s State Theatre is arguably the best place to hear it. It doesn’t get any better than this full orchestra taking flight as the chandelier rises and the overture kicks into full swing. 

Opera Australia’s The Phantom of the Opera is the boldest, most stunning production of the musical yet. This night of music was indeed incredibly special. 

The Phantom of the Opera is playing at the Melbourne Arts Centre from 3 November to 5 February. Tickets Arts Centre Melbourne. 

Photo credit: Daniel Boud