PHANTOM OF THE OPERA!
Talented performer Josh Piterman offers up a human side to the iconic character
Cameron Mackintosh’s new production of Andrew Lloyd Webber’s legendary show makes its Sydney Opera House debut – and Woman’s Day has the inside scoop, courtesy of the man behind the famous mask.
Is there a unique Aussie approach to this production that perhaps differs to the version you did in the West End?
Well, Phantom doesn’t drink Bundy Rum, wear thongs or kick a Sherrin, but this production is certainly different to the West End. Sure, we have the iconic music, the chandelier drop and the love triangle, but the whole show is grittier and has a deeper sense of naturalism.
What have rehearsals felt like so far? There must be such a sense of relief to finally get this show on stage in Oz...
Relief is definitely one of the words I’ve used many times over the past few weeks. Excitement, joy and tears as well. You name it, I’ve felt it. I have such a love
‘We all have a darker side, a shadow side, a monster within’
for this show and this role, and it’s been such a rollercoaster over the past couple of years, from having to say goodbye to the role in London because of COVID to moving my life back home to start this production a year ago, only for COVID to strike again. So yes, it’s been a time and now we’re here and its happening.
The forbidden love between the Phantom and Christine is what audiences love about this story. What has it been like working with Amy Manford as Christine?
Amy’s a very special talent and I can’t wait for Australian audiences to hear her sing this role. It’s truly astonishing. We’ve been great mates since performing the show together in London in 2019, so we have a strong connection already and really great on-stage chemistry.
Phantom
Beyond the music and story, has some of the best costumes – 18thcentury Paris really lends itself to so much fun! What can audiences expect?
Lavish, rich, epic, wondrous and detailed. Maria Bjornson’s brilliant original costume designs are very much at the forefront of this production too, which will certainly blow audiences away.
There’s something truly so iconic about Phantom – both the character and the show – is there a lot of pressure that comes with that?
Most of the time our greatest pressure as performers is the one we place on ourselves. In a subjective craft like musical theatre, I know my performance will be loved, despised and everything in between. I can’t control anyone’s opinion of me, so I try not to place emphasis on it. Certainly, there have been a lot of greats to play this role. But I don’t feel a pressure to live up to them.
Phantom
is a mystery with a central focus on a “monster”. Gothic storytelling is so popular – why do you think audiences gravitate towards that?
I wouldn’t necessarily say the Phantom is a monster. He’s a man. Yes, he has a deformity, but he’s struggling with more than his surface appearance. However, I think we do gravitate towards monsters and darker characters, like the Joker for instance, because we see the human side in their darkness, and in that we see ourselves. We all have a darker side, a shadow side, a monster within or a wild man or woman who we intrinsically connect with at a private level. Society requires us to keep that private.