Just over two years ago, New York witnessed the Phantom’s dramatic exit, chased by an enraged crowd after being exposed as a murderer, a sexual predator, and a villain with a penchant for theatrical destruction. But as history often shows, some figures are simply too compelling to remain out of the spotlight for long.
Now, ladies and gentlemen, the Phantom has returned. He’s taken up residence in a newly refurbished venue just south of Central Park, less than a mile from his previous haunt, hosting guests most evenings. Formal attire is, of course, a must.
This new production, titled ‘Masquerade,’ is an immersive reimagining of Andrew Lloyd Webber’s ‘The Phantom of the Opera.’ Conceived and produced by Randy Weiner and directed by his wife, Diane Paulus, it’s staged multiple times nightly across several floors, including a basement and, weather permitting, a rooftop. It feels like a blend of a haunted house, a fan’s dream edit, and a surprising cardio session. While it often prioritizes atmosphere over musical completeness, one could argue that ‘Phantom’ has always leaned into its dramatic spectacle.
It’s commendable that Andrew Lloyd Webber has, in recent years, embraced daring new interpretations of his blockbuster musicals. We’ve seen everything from a vibrant, ballroom-inspired ‘Cats’ Off Broadway in 2024, to Jamie Lloyd’s stark, visually driven Broadway revival of ‘Sunset Boulevard,’ which garnered three Tony Awards just this past June. Yet, it’s genuinely astonishing that he permitted his most celebrated work to be transformed into something akin to a theme park dark ride. He even collaborated with Paulus on some fresh lyrics. This ‘Masquerade’ is a curious mix: absurd, occasionally exasperating, with questionable ethics, and yet, utterly electrifying. I should also mention, it nearly claimed my life!
Image: A striking scene from “Masquerade” shows Jeff Kready as the Phantom, half-masked, taking the hand of Anna Zavelson’s Christine in an intimate moment amidst the Midtown Manhattan production.
Based on Gaston Leroux’s 1911 novel, ‘The Phantom of the Opera’ first captivated Broadway audiences in 1988 with its blend of bombast and romance. Frank Rich of The New York Times famously critiqued it as ‘as much a victory of dynamic stagecraft over musical kitsch as it is a triumph of merchandising uber alles.’ Indeed, the show’s commercial success is undeniable; by its closing in 2023, ‘Phantom’ had staged nearly 14,000 performances, a testament to its enduring popularity.
For better or worse, “Masquerade” is essentially “Phantom” in a remix. Many of the original songs and parts of the book have been shortened, and new music has been woven in. The narrative timeline leans closer to the less-favored 2004 film adaptation, even including the ballad “Learn to Be Lonely” which, arguably, should have remained solely a movie credit song. The production also boasts new, stylish merchandise, along with fresh, though sometimes uninspired, lyrics like “Enter my mind/Which I think you will find/May be one of a kind.”
Despite these changes, the core story and its characters remain familiar. For years, a mysterious ghost has haunted a Parisian opera house. This spectral figure, a musical prodigy with a disfigured face, develops an intense fixation on a young chorus girl, Christine Daaé. He eventually draws her to his hidden subterranean lair, where he secretly mentors her singing. His obsession culminates in him writing a starring role specifically for her, much to the alarm and dismay of her suitor, Raoul, a viscount. As expected, chaos inevitably follows.
Unlike the Broadway run at the Majestic Theater, which accommodated over 1,600 attendees per show, ‘Masquerade’ offers a far more exclusive experience, limiting each performance to just 60 guests, totaling around 360 nightly. A pre-show notice from the box office advises patrons to wear their finest black, white, or silver attire (and, crucially, comfortable shoes – hence my strapless gown and sneakers combo!), and to bring their own masks, though delicate lace options are also available onsite.
Image: At the Masquerade Ball, Madame Giry, a key character, might even invite you to join her in a dance.
During both performances I attended, the audience buzzed with palpable excitement – in the queue, in the elevator, and in a lavish room where a violin soloist performed the overture. The remainder of the music is prerecorded, which lends ‘Masquerade’ a more intimate feel than its Broadway predecessor (achieving true intimacy with a 27-member orchestra is challenging, after all), though this does temper the acoustic thrill.
Following the overture, the doors swing open to usher audiences into the Phantom’s ‘private masquerade.’ For the next two hours, guests are guided rapidly through various locations within and surrounding the opera house. Unlike the freedom offered by the now-closed ‘Sleep No More’ (which Weiner also produced), ‘Masquerade’ follows a pre-set itinerary, leaving little room for independent exploration.
Perhaps this structured approach is for the best. The production’s sets, conceptualized by Scott Pask and realized by James Fluhr, range from wonderfully elaborate to surprisingly low-budget, like the plastic candle wax details. Interestingly, artwork by figures such as Bob Dylan and Marina Abramovic decorates the spaces, although in the frantic movement between rooms, I must admit I entirely missed them.
Image: This iteration of “Masquerade” centers even more on the Phantom, with attendees journeying through what are described as his “darkest dreams.”
The rapid pace is often exhilarating, though at times it felt a little too intense. During one performance, a technical glitch led to a brief, alarming crush at the top of an escalator, leaving guests momentarily panicked. Fortunately, a door was quickly opened, and the tension eased. One has to wonder, was this another of the Phantom’s mischievous tricks? I was later reassured that the issue has since been resolved.
Despite the minor scare, I gladly concede that there’s a unique thrill in being so close to the famous boat, in having Christine or Madame Giry take your hand, and in the sheer anticipation of what awaits in the next hidden chamber.
More often than not, the next room reveals a figure in a half-mask. ‘Masquerade’ elevates the Phantom’s narrative even beyond the original, with a greeter explicitly stating that we are here to explore his ‘darkest dreams.’ The production includes a ballet sequence in his workshop and an extensive flashback to his days in a circus sideshow, aiming to contextualize and perhaps even forgive his misdeeds. This portrayal, while undeniably alluring, requires a certain willingness to overlook the problematic actions of powerful men and to diminish the perspective of a deceived woman.
Christine, a character whose motivations are often hard to grasp unless one assumes she is either drugged or excessively naive, becomes even less defined in this interpretation. It’s particularly disappointing given Diane Paulus’s directorial history, including a Broadway revival of ‘1776’ featuring female, transgender, and nonbinary performers, that she didn’t carve out more narrative space to delve into Christine’s aspirations, desires, or overall situation beyond her scant attire.
Both actresses I saw in the role of Christine delivered outstanding performances, with the remarkably youthful Anna Zavelson being especially captivating. The Phantoms were equally talented (I witnessed Kyle Scatliffe’s powerful baritone opposite Eryn LeCroy, and Jeff Kready opposite Zavelson). Despite their skill, the performances sometimes felt secondary, overshadowed by the production’s overwhelming ‘vibe-centric’ approach.
Nevertheless, across its many layers and for the majority of the audience, ‘Masquerade’ succeeds. As the final scene concluded, I observed people around me openly weeping. Was it relief from our escalator ordeal? Or, more likely, a surge of empathy for the Phantom’s tragic fate? My own eyes remained dry. Personally, I’ve grown weary of narratives that compel us to empathize with problematic male characters. The Phantom already commands the stage with the most memorable melodies; does he truly require our compassion as well? Regardless, the music of the night, in this new form, undeniably continues to enchant.
Masquerade
Playing through November 30th at 215 West 57th Street, Manhattan. The running time is approximately 2 hours and 15 minutes.
Alexis Soloski has written for The Times since 2006. As a culture reporter, she covers television, theater, movies, podcasts and new media.
Image: The lively carnival sequence features a blockhead, a fire eater, and an artist skillfully performing rope tricks.
A version of this article appears in print on Section C, Page 1 of the New York edition with the headline: Immersed in the Mind Of a Troubled Tutor. See more on: Diane Paulus