In Cambridge, we’re privileged to be amidst some of the most talented people in the country. We blush, laugh, and dismiss the fact on the grounds of common decency. It is true, however, and one of the greatest things about being here is seeing incredible people showcase their talents for tuppence with little fanfare because their abilities speak for themselves. This was the case with Friday’s performance of The Phantom of the Opera, at West Road Concert Hall.

The production did not go off without a hitch: unfortunately there were problems with Georgina Skinner (as Christine)'s microphone throughout the first half, and weird echoes of feedback recurring through many of the songs. However, by the second half, these issues had been dealt with, and it’s a credit to Skinner that she, even without a microphone, managed to sing over the full assembled orchestra. In the second half, the audience was delighted to receive a real taste of her talents, and there was a collective holding of breath in the packed auditorium in her precise, emotive and entrancing rendition of ‘Wishing You Were Somehow Here Again’. She could not have done it better, and I’m not entirely sure anyone else could have either. 

Skinner’s co-stars, Oliver MacFarlane as Raoul and Joel Williams as the Phantom, were more than up to the not easily surmountable task of matching her voice for voice. This was a concert rather than the entire production; however, each cast member’s ability to perform must be given only the highest praise. MacFarlane’s singing was strong, his acting too, and he was easily able to convince us of Raoul’s devotion. Anyone familiar with the musical will know that Raoul does not have the ability to ‘show off’ like the Phantom or Christine, but this ought not to detract from what was a confident, triumphant performance.

And so to the Phantom: Joel Williams’s anti-hero was a tour-de-force in the abilities of an exceptional performer. I do not use the term ‘shivers down the spine’ lightly (we student journalists have to be wary of clichés) but when Williams and Skinner were on stage together, the air was electric. His solo performance was similarly powerful: he made me cry at least twice. The players received a richly deserved standing ovation, from Skinner, inspired to perform by this production nine years ago, to Macfarlane, fan of Lloyd Webber since he too was a child, and their remarkable supporting cast and choir.

Gabrielle Haigh and Henry Hawksworth as Carlotta and Piangi had the audience giggling throughout, as did their comic counterparts Ed Roberts and Tristan Harkcom as Andre and Firmin. Saul Boyer, Nell Warner and Laura Harrison, the Auctioneer, Mme Giry and Meg all stood up to their task, in ‘Masquerade’, when all sung in unison, their collected talent was breathtaking. And of course Williams, on whose entrance to the stage even the few shy stragglers were forced to leap to their feet in admiration of the ensemble’s extraordinary triumph. 

Finally, a word ought to be said about the orchestra itself, if I have not yet run out of superlative adjectives. It’s not often that one sees the orchestra receive its own, separate standing ovation after the singers have left. This one did. Rejoicing in the drama of the Phantom’s theme, and ably dancing over the delicate tunes that join it, Freddie Tapner as Musical Director has outdone himself. Alongside Emma Gait, the Orchestral Manager, the pair provided what can only, and honestly be called an unforgettable evening.