Changing your identity is always a challenge, so when Ventnor Theatre Group became Shoreline Productions, with the ambition of attracting members, venues and audiences from across the Island, the next question was ‘What show will realise that ambition?’

Their answer was perfect: ‘The Phantom of the Opera’ at Shanklin Theatre, and the result was a resounding success. Sold out before the run started, this iconic, but very demanding and complex musical was clearly popular with Island audiences.

The practical requirements of stage and set were met by huge set pieces, effective lighting, on-point pyrotechnics, beautiful costumes and slick stage management – and I’m still trying to work out how the Phantom’s boat moved across the stage! Suffice to say, with the addition of dry ice, lighting and background set it was incredibly atmospheric. Sound quality was generally excellent, with the fabulous orchestra in the capable hands of Tony Careless supporting the voices on stage as well as contributing to the atmosphere of the show. The odd microphone blip, the placing of the balcony overlooking the sewers so high that only the lower half of the actors performing there could be seen from the balcony, and a piano left half onstage in the graveyard scene were slight technical issues that were more than compensated for by the sheer power of the performances, many of which were of professional West End quality.

The choreography was amazing throughout, from the mesmerising ballet sequences under the care of Joel Morris, through his, Jeanie Brown’s and Rosie Sales’ carefully choreographed movements in the office scenes to the magnificent ensemble Masquerade which opens the second act. The ensemble and minor characters supported the main performers very effectively, and a mention must be made of those helping Carlotta’s quick change in Act 1.

Each and every one of the main singers, under the experienced musical directors Tony Careless and Rosie Hayward, rose to the demands of the very challenging musical arrangements: Megan West was suitably authoritative as Madame Giry, yet was able to convey her pity for the Phantom when revealing his story. Her daughter Meg was portrayed to perfection by Rosie Sales who brought her wonderful voice to the role. Jake Alabaster’s dance skills were very much in evidence in his role of Piangi, while Paul Smith and Joel Leverton bounced nicely off each other (sometimes even physically!) as Monsieurs André and Firmin, the opera house owners, and both showed off strong vocals as well as good characterisation.

The main roles were all in very experienced hands, and it showed: Bertie Everson was charming and engaging as Raoul, especially in his duets with Christine. Steve Jones brought every bit of his considerable vocal strength to the title role, commanding and sinister yet revealing the broken man beneath the iconic mask.

But for me, however good the rest, the standout performances were in the two main female roles. Holly Gardiner was a veritable powerhouse as Carlotta, perfectly encapsulating the arrogance of the prima donna, and her voice was truly mesmerising. The real challenge now was how to cast Christine. For Holly could so easily have stolen the show from the leading lady. Ashleigh Mackness however was the perfect choice, matching Holly for acting and singing ability, her engaging and nuanced performance perfectly evoking Christine’s vulnerability, love for Raoul and compassion for the Phantom. Director Jeanie Brown can be very proud of her, and of the whole cast and crew.

I would heartily recommend that you see the show – but as it has sold out I can only commiserate with those who have not managed to obtain tickets, and advise you to move quickly when Shoreline Productions announces its next show!