The Phantom of the Opera at Sydney Harbour — Review

The iconic The Phantom of the Opera has returned to Sydney in spectacular fashion, opening at the breathtaking Handa Opera on Sydney Harbour.

This was my first time attending a production at Mrs Macquarie’s Point, and the setting alone makes the experience unforgettable. With an open-air stage framed by sweeping views of Sydney Harbour and the Sydney Opera House, it feels like theatre on a truly grand scale. Watching one of my favourite musicals as the sun sets over the water adds another layer to the experience.

One of the very first musicals I ever saw was the original Australian production of The Phantom of the Opera in the 1990s, starring Marina Prior and Rob Guest. I instantly connected with the story and music, and it sparked a lifelong love of live theatre that has stayed with me into adulthood. Seeing Phantom again, this time on Sydney Harbour, felt particularly special.

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After its successful harbour debut in 2022, Phantom has returned to launch the global 40th-anniversary celebrations of Andrew Lloyd Webber’s legendary musical.

Inspired by Le Fantôme de l’Opéra, the story follows a mysterious masked figure living beneath the Paris Opera House who becomes obsessed with young soprano Christine Daaé, guiding her career while hiding in the shadows.

Love, passion and theatrical spectacle remain at the heart of this production.

The Harbour Stage

Director Simon Phillips and designer Gabriela Tylesova have created a purpose-built stage that feels both faithful to the original production and entirely new.

The floating set is striking from the moment the audience arrives. A dramatic gold staircase divides the stage, while iconic elements, the mirror, the Phantom’s lair and the famous chandelier suspended from a crane, are cleverly reimagined for the outdoor environment. A central revolving platform allows seamless scene changes, and a gondola that glides towards the Phantom’s lair, surrounded by fire effects, adds to the gothic atmosphere.

Lighting designer Nick Schlieper uses a moody, gaslit palette that works beautifully against the night sky, while sound designer Shelly Lee creates an immersive experience, with voices travelling around and behind the audience, an especially clever touch in an open-air venue.

The scale of the costumes is equally impressive. Gabriela Tylesova designed 220 lavish costumes, along with hundreds of wigs and headpieces, all enhanced for the outdoor spectacle. The famous Masquerade scene is a true highlight, bursting with colour, movement and theatrical energy.

Hidden beneath the stage is a live orchestra conducted by Guy Simpson, whose music soars effortlessly across the harbour.

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The Cast

It’s not until curtain call that the full scale of the company becomes clear, revealing just how large this production is.

Newcomer Jake Lyle makes his professional debut as The Phantom, an enormous role to step into. His performance brings both vulnerability and strength, marking an impressive start to his career.

As Christine Daaé, Amy Manford delivers a confident and polished performance, drawing on her extensive experience with the role internationally.

Jarrod Draper is a warm and earnest Raoul, grounding the emotional heart of the story and providing strong vocal moments throughout.

The Experience

From the moment you walk down to Mrs Macquaries Point, there’s a sense of anticipation. Arriving early is worth it; enjoying a drink or dinner while watching the harbour sunset sets the tone for the evening.

Despite the scale of the venue, sightlines are strong from most seating areas, each offering a slightly different perspective of the stage and harbour backdrop.

As the music began, I instantly had goosebumps. Hearing beloved songs like The Music of the Night, All I Ask of You, and Wishing You Were Somehow Here Again performed in this setting reminded me why Phantom continues to captivate audiences worldwide.

I found myself completely drawn into every moment. The second-act Masquerade sequence was a standout; vibrant costumes, powerful choreography, and fireworks lighting up the harbour created a genuinely unforgettable theatrical moment.

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Final Thoughts

Seeing The Phantom of the Opera on Sydney Harbour is more than watching a musical; it’s an experience. The production honours everything audiences love about Phantom while offering a fresh perspective shaped by its extraordinary outdoor setting.

I highly recommend experiencing Phantom at least once in this setting. It reminded me exactly why I fell in love with theatre all those years ago.

FAQs — The Phantom of the Opera at Sydney Harbour

Where is The Phantom of the Opera performed in Sydney?

The Phantom of the Opera is staged at Handa Opera on Sydney Harbour, located at Fleet Steps, Mrs Macquaries Point. The open-air venue overlooks Sydney Harbour and the Sydney Opera House.

Is The Phantom of the Opera suitable for kids?

The production is recommended for ages 10+.
Older children and teens who enjoy music, theatre or large-scale productions will likely love it. Younger children may find some scenes intense due to dramatic themes, loud sound effects and darker moments in the story.

How long is the show?

The running time is approximately 2 hours and 40 minutes, including one interval.

Is the show outdoors?

Yes. The Phantom of the Opera at Handa Opera on Sydney Harbour is performed on an open-air stage with no roof.

Families should:

Bring a jacket or warm layers
Check weather conditions before attending
Consider a rain poncho if rain is forecast

Performances usually continue in light rain.

Can you buy food and drinks at the venue?

Yes. There are food outlets, bars and dining options available on-site.

When is The Phantom of the Opera running?

The 2026 season runs from 27 March – 3 May 2026.

Should families arrive early?

Yes — arriving 45–60 minutes before the performance is highly recommended to:

Enjoy harbour views at sunset
Purchase food or drinks
Find seats comfortably before the show begins

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Main image: The cast of Handa Opera on Sydney Harbour’s 2026 production of The Phantom of the Opera. Credit Daniel Boud

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