For their latest production, DYMT bring Andrew Lloyd Webber’s famous musical to the stage, transporting the audience to a Parisian opera house, where a mysterious Phantom is at work…
From the opening moments of this production, it is clear that DYMT sits above many other amateur groups, in terms of both ability and production values. The cast, all of whom are aged 21 or under, are immensely talented, fit to rival any West End production, expertly delivering phenomenal renditions of the famous musical tracks, which include Music of the Night, Masquerade and, of course, The Phantom of the Opera. The fact that the cast is supported by a 17 piece orchestra, conducted by Tim Robinson, elevates the production even higher.
The tale begins at an auction of various opera-related paraphernalia, which culminates in Lot 666 – a broken chandelier. It is there that Raoul (Lucas Shirtcliffe) begins to reminisce about events in his youth, and the broken chandelier is raised into place as the orchestra belts out the oh-so-familiar haunting theme… We are swiftly introduced to Opera stars Carlotta (Imogen Clark) and Piangi (Billy Sweet). Clark in particular is an excellent soprano singer, effortlessly belting out Hannibal, whilst Sweet perfects the Italian accent, which is the source of many jokes as he continually butts heads with maestro Monsieur Reyer (Oscar Drake, one of many superb supporting cast members).
Monsieur Firmin (Findlay Parker) and Monsieur André (Ben Mather) take over management of the opera house, but they struggle to control their cast, and as the Phantom begins to cause more and more problems for them, their day goes from bad to worse. Both Parker and Mather are excellent comic actors, and their physical reactions made for many funny moments, although I felt that occasionally this clashed with the tone of the rest of the production. Thankfully ballet mistress Madame Giry (Evie Radmore) is on hand to keep the performers in check, but there is further trouble ahead.
After an interruption by a strange voice, Carlotta storms off, leaving Christine (the excellent Katie Chamberlain) to take the lead in the opera, where she is spotted by Raoul, watching from the audience. Chamberlain’s performance throughout is beautifully understated, as she gradually falls under the Phantom’s spell. The chemistry between Chamberlain and Louis Chadburn as the Phantom is electric, first glimpsed during The Phantom of the Opera, as Christine is taken to the Phantom’s lair beneath the opera house. It isn’t long before Chadburn takes the spotlight properly during Music of the Night, allowing us to see the Phantom’s more emotional, human side before the violent, manic side takes over during the second act.
Lloyd Webber’s score, together with Richard Stilgoe’s book, feels as though it stalls a little towards the end of Act One, as the action slows, but thankfully the pace picks up after the interval, making for a more dramatic, pacey second act. The final scene between Chadburn, Chamberlain and Shirtcliffe (Past the Point of No Return) is mesmerising, each of the actors expertly pulling the audience’s emotions in all directions, as the Phantom goes from a figure of hate to one of sorrow. Chadburn displays the full emotional range necessary for such a complex role, so that by the time he changes his mind and lets Christine go, his motivations are well understood.
The set (Charlotte Daniel, Crhsi Moss), costume (Judith Evans) and choreography (Caroline Green) are all to be heavily commended – in particular the falling chandelier which closed the first act! I often try to offer a balanced opinion in these reviews, but it is honestly very difficult to find any negatives here. This production, directed by Daniel and Green, is definitely worthy of lashings of praise. I felt as though I’d seen a West End production – without having to pay the West End prices. I shall certainly be looking out for DYMT’s next production (Joseph and the Amazing Technicolor Dreamcoat, November 2025).
Tom Morley, November 2024
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