The Handa Opera on Sydney Harbour is always one of the grandest events on the Sydney calendar and this year was no exception, with The Phantom of the Opera returning to the Harbour after four years. With much hype around this year’s run, almost all of the entire five-week schedule was already sold out prior to opening night to the point where Opera Australia had to add extra seating banks to the iconic temporary theatre on the harbour to satisfy demand. I must admit I was somewhat sceptical when I saw the announcement that The Phantom of the Opera would be returning to the harbour after its tumultuous season four years ago but there was no doubt that the right call was made with this year’s show proving an unprecedented commercial success.

For much of the week, it seemed like the show would open with a whimper rather than a bang as heavy rain threatened to act as a dampener on opening night. Fortuitously, the clouds parted for the three hours of the performance, meaning the audience was treated to everything that is wonderful about Sydney Harbour and this production. The grandiosity of Phantom lends itself exceptionally well to the outdoor setting and there is something about the opening of the show that induces tingles when heard in such an all-encompassing venue. With shots of the production already going viral around the world, expectations were very high and there could be no doubt that the cast and production team certainly delivered.

The most immediate highlight and easily the most striking element of the production was the magnificent set. From the moment one entered the precinct, the glittering staircase captured the eye and when the haunted chandelier was set alight in the first scene with a single firecracker, it was but a taster for what was to come. Over the course of three hours, the audience was treated to some of the most wondrous theatrical magic one will ever see on a stage, with the fall of the chandelier outmatched only by the glorious display of fireworks that followed. In this production, there could be no doubt that grandiosity and scale were the absolute focus and that the execution was flawless. As a seasoned theatre-goer, I would say this was the single most extraordinary set I have ever seen and for tourists and Sydneysiders alike descending on the harbour, there was no doubt they would be absolutely blown away. It was, without exaggeration, a mesmerising and once-in-a-lifetime experience.

The timbre of Phantom of the Opera is generally quite dark and, in some ways, diametrically opposed to the spectacle that Opera Australia is trying to create. In this regard, I was particularly impressed by the pastel-like colour palette that costume designer Gabriela Tylesova opted for, which added something of a Disney-like feel to the production. Given the setting and the need for a lighter ambiance, this was actually quite necessary and contributed significantly to the overall spectacle. The sound was also calibrated perfectly, with the Opera Australia orchestra doing a fantastic job of creating a sense of heightened dramatic tension with a really rich sound.

Phantom is a musical, like many others in the Andrew Lloyd Webber canon, that polarises opinion with a slightly shallow storyline. However, the cast did an extremely good job of ensuring that this production was very well executed. Amy Manford in particular was the star of the production, delivering a glorious interpretation of Christine that showed depth and really carried the show. She was well supported by 22 year old Jake Lyle, who displayed an incredible richness of tone and voice but was perhaps a little more tentative in his dramatic choices at times (although he definitely opened up as the musical progressed). With that said, there is no doubt that as he continues to mature in his characterisation and voice, his career, which will certainly long exceed this production, will shine.

The ensemble was also very strong, with Martin Crewes being especially funny alongside Brent Hill, while Giuseppina Grech delivered an excellent Carlotta and Deborah Krizak was an incredibly engaging Madame Giry. Everything in this Simon Phillips-led production was slick and well considered, with the grandiosity and scale of the spectacle as the foremost considerations for the audience who came for a memorable experience. The production really did get everything right and was, without a doubt, the strongest show that Opera Australia has put on the harbour.

Overall, this was an astonishing production that has elevated Handa Opera on Sydney Harbour to a scale not seen before. As one of the modern-day quintessential Australian cultural events, this year’s production did not disappoint and provided something for everyone to be amazed by. The cast was excellent, the execution sublime and the atmosphere unmatched. If you haven’t yet secured a ticket, then I wish you luck in obtaining one, but I would be sourcing one through every possible method. This is a production you will not want to miss.

Rating: ★★★★★

The Phantom of the Opera plays on Sydney Harbour until 3 May 2026. For more information, click here. 

Photo credits: Daniel Boud