“Phantom” – A class act
I was not sure what to expect when I went to the Wendt to see “The Phantom of the Opera” on the opening night, given all the hoopla surrounding this production (directed by Jerome de Silva, produced by Akhry Ameer, and choreographed by Shanuki de Alwis). I was pleasantly surprised. It was slick, fast-moving (never a dull moment), and hugely entertaining. Before the show began, we were informed that this was Asia’s first amateur production of “The Phantom” – a quantum leap for the Workshop Players (WSP), who have staged many of Andrew Lloyd Webber’s musicals in Sri Lanka (some good, some not so good).
Grand spectacle at the opera house: A scene from ‘Hannibal’. Pix by Indika Handuwala
We were also told that without the generous support of Cargills (the exclusive sponsor), this show would not have been possible. In terms of scale and financial outlay, “The Phantom” probably surpasses all of the WSP’s previous productions. This is clearly evident in the level of sophistication that a person with a good knowledge of theatre would encounter in regard to sets, props, costumes, make-up, sound, stage management, lighting, and special effects – including motorized boats and candles, dry ice, smoke machines, fire extinguishers, pyrotechnics, and a falling chandelier.
The performance, overall, exceeded my expectations. Jehan Aloysius as the Phantom and Dhanushi Wijeyakulasuriya as Christine (whom he pursues with manic intensity) were awesome. Their combined performance was not only powerful and passionate, but it was also unforgettable, with the duo hammering every note on the keyboard of emotions though their versatile singing and acting. The music was hauntingly beautiful and sensitively performed by the soloists as well as the chorus, and kept tugging at the heart strings. Dushyanth Weeraman was very good as Raoul (the Vicomte de Chagny), who vies with the Phantom for Christine’s love and affection. Even though he had a leading role, at no stage did he attempt to dominate the dark and ill-starred love triangle through overacting.
Kumudini David, as Carlotta, the Opera’s resident soprano, gave a cameo performance, although at times she went a touch overboard with her singing. Perhaps this was intentional, given the type of character she was playing (a prima donna with a highly overrated voice). The corps de ballet was charming but a little sloppy at times. Perhaps this too was intentional, as it was frequently berated by the ballet mistress, Madame Giry, for under-performing. The gifted Shanuki de Alwis stood out as Madame Giry with a fine eccentric performance that was perfectly suited to the character she was playing. She too made no attempt to impress the audience through over-acting. The other important roles, such as Monsieur Firmin, Monsieur Andre, and Ubaldo Piangi, were also played with aplomb. The huge supporting cast (consisting mainly of teenagers)
Young love: Raoul and Christine played by Dushyanth Weeraman and Dhanushi Wijeyakulasuriya
was ebullient and added plenty of colour and spectacle to the overall production. The backdrops, lighting and special effects were stunning.
Over the years the WSP, a non-profit organization founded by a group of Peterites (led by Jerome) in 1992, has grown in stature to the point where it can take on mega productions like “The Phantom” and do a decent job of it. The performers consist largely of students and professionals (with full-time jobs) who do this purely for pleasure. The opening night of “Phantom” was a resounding success. The audience gave the cast a standing ovation and when Jerome appeared on the stage, the cheering reached a deafening crescendo. Clearly, the people got their money’s worth and went home in a semi-euphoric state. The hall was packed despite the inclement weather.
For a local amateur production, this was outstanding. One should not, however, run away with the idea that it was world-class. The local English theatre and ballet scene has some distance to go to reach that level. Sri Lanka is not a developed country. Our per capita income is not high enough to make the establishment of professional theatre companies viable. But as mentioned above, “Phantom” is a quantum leap, for it scores high marks in respect of artistic refinement, technical finesse, and dramatic impact. This mega production, with its poignant ending, moved the audience. And that’s what really counts.
Jerome de Silva, one of Sri Lanka’s leading dramatists, has gone further than any other local artist in staging western musicals in this country. In respect of homespun English musicals, Jehan Aloysius – actor, singer, writer, composer, director – is the undisputed king. Both are incredibly gifted and both play a key role in “Phantom”, one as the director, the other as the chief protagonist – a splendid partnership.
Kudos to the WSP for a job well done. This was a quality performance – arguably, their best. I hope Cargills will continue to support projects like these, which provide an opportunity for local artists to showcase as well as develop their multifaceted skills.
‘The Phantom of the Opera’ is on till Oct. 12.