Review: PHANTOM OF THE OPERA Keeps Enchanting with Revitalized North American Tour

There is a reason The Phantom of the Opera became the longest-running show in Broadway history. And now, San Diegans have a chance to see why.

Composed by Andrew Lloyd Webber, with lyrics by Charles Hart, additional lyrics by Richard Stilgoe and a book by Lloyd Webber and Stilgoe, the musical's score is layered, romantic, haunting and instantly recognizable. From “The Music of the Night” and “All I Ask of You” to “Masquerade” and the iconic title song, the music has become inseparable from the spectacle surrounding it.

Premiering in London's West End in 1986, The Phantom of the Opera opened on Broadway in 1988 and remained there until it closed in 2023 after 13,981 performances. Now, as the musical celebrates its 40th anniversary, Cameron Mackintosh's revitalized production is touring North America, with a San Diego stop through Sept. 13 at the San Diego Civic Theatre.

Set in the Paris Opera House, the story follows Christine Daaé, a young ballerina whose extraordinary voice attracts the attention of the mysterious Phantom, a masked musical genius who lives beneath the theater. As he becomes increasingly obsessed with Christine, her reunion with her childhood friend Raoul, Vicomte de Chagny, creates a tense love triangle that ultimately drives the story to its tragic conclusion.

A new cast brings these familiar characters to life, with Isaiah Bailey leading the tour as the Phantom. His Phantom is menacing one moment and unexpectedly tender the next, revealing a deeply wounded and obsessive man whose genius and cruelty coexist. And, of course, he has the rich, resonant voice to match the theatrics, with clarity and a commanding presence even in its quieter moments.

Jordan Lee Gilbert's Christine Daaé is sweet, curious and at times a frustratingly naive young ballerina suddenly thrust into the spotlight and caught between the Phantom's obsession and Raoul's devotion. Her soprano can be both delicate and strong, allowing her to move easily between Christine's vulnerability and her growing confidence. And Daniel Lopez's Raoul, Vicomte de Chagny, brings the familiar white-knight qualities of the character without losing his youthful determination. 

This triangle inevitably raises the question: Team Phantom or Team Raoul? Or Team Christine, rooting for her to find her own voice amid the expectations placed on her by the men around her, from the theater managers to the lingering influence of her dead father? Of course, that’s a modern way of looking at a story that originated in a novel published more than a century ago and was adapted for the stage in the 1980s, but one does wonder.

Equally strong is Midori Marsh as the opera's diva, Carlotta Giudicelli. Full of attitude and theatrical flair, Marsh commands the stage with the operatic vocal ability the role demands. And the theater managers, William Thomas Evans as Monsieur Firmin and Carrington Vilmont as Monsieur André, provide comic relief amid all the strong emotions, deaths, threats and, of course, the endless notes.

The ensemble of ballerinas, led by Melo Ludwig as Meg Giry and Lisa Vroman as Madame Giry, who previously played Christine on Broadway, adds another layer of authenticity to the world of the Opéra Populaire. Their presence grounds the production in the daily life of the company, while the choreography gives the dancers opportunities to display their clean technique and precision.

As to the production itself, if you saw the previous North American tour when it came through San Diego in 2018, you may remember the revolving tower that dominated the stage during “The Phantom of the Opera,” with steps appearing from its walls as Christine and the Phantom descended toward his lair. This production takes a very different approach, returning to the original production’s more classic staging and visual language.

At the center of that return is Maria Björnson's original design, which created the lavish, gothic world of the Paris Opera House. Plus this production is directed by Seth Sklar-Heyn but based on Harold Prince's original direction. That means the grand staircase is back, along with the elaborate costumes, sweeping scenic elements and visual grandeur associated with the original production. The rooftop sequence of “All I Ask of You” now features a striking Pegasus, seen in the 2021 West End production, while projections add a layer of atmosphere to moments such as “Wishing You Were Somehow Here Again.” The set design, adapted by Matt Kinley with video design by George Reeve, allows the production to retain and even highlight Björnson's elements while incorporating new technology that adds depth to this world.

The chandelier has been reworked too, with the new production incorporating an updated vertical design inspired by Björnson's original, while keeping one of the show's most awaited theatrical moments. 

From the opening moments of the production to the dazzling ensembles of  "Hannibal" and “Masquerade,” Christine's lacy white dress in “The Phantom of the Opera,” and the beaded pink dress and luscious green cape of “All I Ask of You,” the costumes help create the romantic, heightened world of Phantom. 

This version is particularly effective because it understands what made the original production so enduring and builds around those elements. The familiar aspects are there, but projections, updated scenic technology and reworked effects allow it to function as a contemporary touring show.

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