PHANTOM OF THE OPERA at Fox Theater Review

"Prima Donna" from "The Phantom of the Opera" North American Tour. (L to R) Melo Ludwig, Christopher Bozeka, William Thomas Evans, Midori Marsh, Daniel Lopez, Carrington Vilmont, Lisa Vroman. Photo credit: Matthew Murphy and Evan Zimmerman. Courtesy of the Fabulous Fox Theater

– By Cate Marquis –

The spectacular new touring production of “The Phantom of the Opera” is spectacular in every sense, leaning into the opera side of this great musical with gorgeous, fancy sets, elaborate colorful costumes and a grand, Gothic style. Not only does everything look fabulous but the cast is full of glorious operatic-quality voices and acting talent as well. It is by far the best “The Phantom of the Opera” I have seen.

No wonder this new, revival production has been a hit from the start. This is how to do a revival of a classic right – going back to the original Harold Prince staging of Andrew Lloyd Webber’s massive hit based on Gaston Leroux’s Gothic horror novel, and refurbishing only as needed. This revitalized touring “Phantom” has already been a hit with audiences starting with a London opening, and this North America tour brings all that dazzle here, with Maria Björnson’s brilliant original design. which is a perfect match for the Fabulous Fox Theater itself.

The set we see when the curtain rises almost looks like an extension of the Fox itself. With glittering and glowing red-and-gold sets and fancy, color-drenched costumes that look like they were made for the Fox’s own opulence, this is a pure delight as fabulous as the Fabulous Fox itself.. Add in lush operatic-quality voices and perfect original choreography recreated and adapted by Chrissie Cartwright, and you have a show not to be missed.

Leaning into the opera side of a musical set in an opera house, “The Phantom of the Opera” goes dramatically operatic too. The voices are thrilling, the staging is plush and lush, and the story is, well, operatic.

You know the story, of a mysterious gifted but disfigured composer, known as the Phantom, who haunts the Paris Opera House and becomes enamored of a young singer, Christine Daae, who he takes under his wing as a protege while manipulating the opera owners and company this from hiding. The Phantom falls in love with his protege but unbeknownst to him, she had already fallen in love with a young vicomte, setting up a battle for her future.

And you know the famous Andrew Lloyd Webber songs too: the title tune “The Phantom of the Opera,” “Music of the Night,” “Angel of Music,” “All I Ask of You,” and “Masquerade.”

Jordan Lee Gilbert plays the young opera singer, Christine Daae (alternating with Alexa Xioufaridou Moster for some performances), and Isiah Bailey plays the Phantom. Daniel Lopez plays Raoul, Vicomte de Chagny, with whom, unbeknownst to the Phantom, Christine is in love. Midori Marsh plays Carlotta Giudicelli, the long-time diva of the Paris Opera House, who the Phantom seeks to replace with his protege, Christine.

This musical is packed with so many great hit songs, and the singing is simply superb. Not just the leads, who are outstanding, but throughout, which adds greatly to the enjoyment of the show. So many strong voices also helps immerse us in a musical world of opera, for this opera-set story, much more deeply than many previous productions.

“Phantom” is all about power, passion, jealousy and conflict, but this production gives more realism and weight to the romance between Christine and the Vicomte, Raoul, with Daniel Lopez also in possession of a fine voice, and fine romantic stage presence and appeal from both Lopez and Gilbert. That emphasis actually helps sharpen the drama and deepen tensions of emotional scenes, as the Phantom, unaware, falls in love with Christine.

In the first act of this two-act musical, the story begins with the now-elderly Vicomte (Daniel Lopez), bidding on items at an auction of the now-closed opera house. The items include a mechanical monkey music box that plays the song “Masquerade,” which triggers a flashback to the beginning of our story.

That story is Gothic horror and romance, but a bit of reality added in helps boost the dramatic aspect. The flashback begins in full with a glorious, bedazzled dress rehearsal of the opera “Hannibal,” in all its theatrical glory. The amazing singing starts right away too, with a golden-throated aria by Midori Marsh as the opera company’s diva Carlotta Giudicelli. In many versions of “Phantom,” Carlotta is portrayed as primarily a comic character, a screeching buffoon, but this production wisely, boldly, goes against that trend and instead presents her as an aging diva who still has a strong voice but who is just a little too used to getting her way all the time. This switch makes for a more convincing story. Carlotta is still a bit of an object of fun but less cartoonish, which helps heighten the drama and tensions when the Phantom tries to replace her. Carlotta’s major supporter is her lead tenor, Ubaldo Piangi (Christopher Bozeka), although the new owners also are not eager to mess with what has worked in the past. Bozeka has a fine voice too, adding both enjoyment and reality to the story.

The new owners of the opera house, Monsieur Firmin (William Thomas Evans) and Monsieur Andre (Carrington Vilmont) are just finding out about the Phantom who haunts the property they just bought, and they are less cooperative with the edicts the Phantom issues by way of notes (the subject of the song “Notes/Prima Donna” towards the end of the first act). Madame Giry, who is the strict ballet mistress, and acts as an intermediary of the Phantom, warns them of his powers and control of the opera house, and her clear fear of the Phantom keeps them from just dismissing those dangers.

Some productions of “Phantom” rush past or minimize the opera performances and rehearsals in the story but this one embraces them and puts them to very good use, which creates a more “operatic” atmosphere that heightens the drama and the theatrical feel. We get outstanding singing all around, in these portions as well as with the famous songs.

The vocal standouts, besides Marsh’s Carlotta, are, of course, Jordan Lee Gilbert’s Christine and especially Isiah Bailey’s Phantom. As is often the case in casting the Phantom, Isiah Bailey is the one with the powerful, knock-your-socks-off, golden voice, and Bailey also has all that in abundance, as well as the acting chops and stage presence needed to create an electrifying Phantom.

The staging, which goes back to the legendary Harold Prince’s original, is simply beautiful, and also incorporates bits of the famous Lon Chaney silent version, which is an extra thrill. The production still has all the mystery and brooding tone of danger, as well as Andrew Lloyd Webber’s satisfying ending.

All in all, this is how to do an revival of a great classic musical, going back to elements that made it a hit in the first place and just brushing them up a bit. This production puts the focus on the voices and the singing (and the right kind of powerful voices to do that), and focuses on the drama, set in the dramatic world of opera, with a sharpening of believable human emotions and conflict.

This refreshed “The Phantom of the Opera” feels new, but also like a re-energized incarnation of the show it was when it first became a hit. It is lightning in a bottle. With this opulent staging, one has to say that one of the biggest musical hits of all time is back – in full, glorious force.

“Phantom of the Opera” is on stage at the Fabulous Fox through Mar. 1, 2026.

© Cate Marquis