Welcome back fantôme
Thirty-five years and counting, the musical ‘monster’ that is the Phantom of the Opera (Her Majesty’s Theatre) has reawakened from enforced slumber and back stalking and entertaining audiences once more. I was at the original press opening all those years ago and remember thinking what an outrageously camp and colourful show it was. The spectacle and melodrama (Maria Björnson’s inspired designs are Venetian Ball, classical ballet and Elton John birthday bash all in one) gave it a certain je ne sais quoi. This being a Lord Lloyd Weber composition there are always a couple of melodic nuggets in among the less impressive musical narrative that dominates or as one of my esteemed colleagues describes it “that wretched speak sing”.
Partly historical but mainly apocryphal the Phantom’s obsession with Christine (Lucy St Louis) is disturbing and will no doubt attract some unnecessary and unwelcome attention due to the recent Incel atrocity. Watching it again for the third time in three decades I was immediately struck by how little the production has changed which in this day and age is refreshing as most directors are intent on giving everything a modern spin in the belief that it improves the show making it more attractive for a contemporary audience (one recent exception being Carousel at Regents Park, a superb reimagining). Not true.
Killian Donnelly is the latest actor/singer to take on the lead role and what he lacks in dramatic interpretation he makes up for in his vocal range and contrast. The threatening moments see Lloyd Webber’s music at its best and Donnelly excels as he morphs into a monstrous stalker with a tone that is menacing and ill-omened. A psychopathic creation, for whom we feel sorry and despise simultaneously, his antithesis is provided by romantic Raoul (Rhys Whitfield), a man besotted with Christine. Whitfield and St Louis are an excellent coupling. Her voice is a gorgeous mix of mellifluousness and power that is matched by his equally rich and honeyed sound.
The show’s latest incarnation has the leads it deserves and, pandemics permitting, will run for many years to come. The sound of that magnificent organ and the famous line “The Phantom of the Opera is here” still bring out the goosebumps and in an era of electronic gadgetry and gimmicks this is a show that remains stuck in a time warp. Hooray for that. As I became subsumed in it all I couldn’t help wondering if Anne Widdecombe had derived her inspiration from the Phantom when she described ex-boss Michael Howard as having “something of the night” about him.
Meanwhile Athasha Lyonnais is moved by her sisters…
Funny, affecting and sometimes confrontational, Girls (New Diorama Theatre) is a devised play based around a cast of seven diverse women giving us differing experiences of womanhood, each offering an insight and perspective that feels very personal. Without revealing too much of the surreal plot (blink and you’ll miss it) difficult experiences are shared, uncomfortable conversations hang in the air, but the emphasis throughout is on the importance of sisterhood, a shared bond offering shelter and joy in a world that so often treats women as an afterthought. Snappy direction by Josie Daxter with evocative music from Naomi Hammerton and innovative movement direction by Rachel Leah Hosker this is one of many excellent shows staged at a venue that encourages new and radical material. Go check one out now.
Finally, Gracia Erinoglu is all dragged out…
TuckShop – the UK’s only specialist production company devoted to all things drag gave us TUCK SHOP WEST END at The Garrick Theatre in July and August. This was not a show to bring your mum to. Bawdy, visceral, comedic, this musical drag queen extravaganza was not for the faint hearted. It was however the perfect antidote to lockdown.

Ginny Lemon was the ‘hostess with the mostess’, think Johnny Rotten meets Su Pollard. She took no prisoners and delighted in berating and cajoling her fellow artistes. Midget Bardot was a force of nature, her dead pan delivery (deliciously filthy language) and comedic timing were a joy to behold.
Fat Butchers meanwhile gave us angelic, dulcet tones transporting you to heaven while Sharon Le Grand brought glam/scouse edginess to proceedings and YShee Black’s frenetic, impassioned lip-sync performance of the Dream Girls Classic – And I Am Telling you, was truly breathtaking. A fab show and you can check them all out on social media.

Phantom of the Opera – www.thephantomoftheopera.com
Girls – run complete
Tuck Shop – run complete
Barney Efthimiou