Constance Beulah

As Marty McFly, Lucas Hallauer delivers a performance that captures the character’s recognizable teenage bravado without tipping into caricature. He embodies that particular mix of confidence and confusion: normal teenage arrogance, layered with a level of exasperation that only adolescents seem capable of. Hallauer’s reactions to the increasingly absurd circumstances ground the show, giving audiences a relatable emotional anchor amid the swirling theatrical effects.

What makes this production so satisfying is its balance of scale and intimacy. Yes, it’s grand — everything about Phantom is designed to impress — but it also finds time for quiet, tender moments. The Phantom’s gentle touch as he guides Christine’s voice, the stillness when she removes his mask, the hushed anguish of the final scene — these are moments that remind you why this story has endured for nearly four decades.

From the moment the musical begins, amid shifting train cars and tattered tents, there’s a strong sense of immersion. The acrobats, aerial work, juggling, and movement — these aren’t just gimmicks. They feel built into the story.

While I adored the glitzy, shiny costumes that Associate Costume Designer Lucy Gaiger put together — exactly what you expected to see for “Dancing Queen” — each number was special and done with profound care. My favorite duet, “The Winner Takes It All” — sung by Donna exquisitely portrayed by Christine Sherrill and a most talented actor, Victor Wallace, who dreamily played Sam Carmichael — was sheer joy. The emotion that reverberated through the room listening to their voices reach beyond the raptors brought me close to tears. Their chemistry was apparent throughout the show but in this duet, their voices became the epitome of sad, lost love fighting to gain a foothold in the present. The audience was utterly mesmerized by them to the point of a standing ovation.