Legendary composer Andrew Lloyd Webber still harbors a touch of disappointment over ‘The Phantom of the Opera’ leaving Broadway, calling its departure “ludicrous.”
However, the prolific musical theater maestro is far from dwelling on the past; he’s actively charting a new course.
Just recently, on a bustling Friday evening in Midtown Manhattan, Lloyd Webber donned a delicate black mask. He was slipping into a former art gallery, now home to ‘Masquerade,’ a spectacular $25 million immersive experience based on ‘Phantom.’ Here, guests wander through the building and the story, enveloped in scenes, songs, and stunning set pieces from this fresh take on the classic.
At 77, Lloyd Webber has eagerly embraced a wave of innovation, empowering a new generation of creators to reinterpret his iconic shows. ‘Cats’ featuring drag queens? That’s set to hit Broadway early next year. A ‘Evita’ revival that famously played its most celebrated scene to onlookers on the London sidewalk became a summer sensation. Now, with visionary director Diane Paulus leading the charge, ‘Phantom’ is the latest masterpiece to receive a transformative update.
“We simply have to think beyond the conventional with some of these older works,” Lloyd Webber shared. “I genuinely believe it’s time to let people explore entirely new approaches.”
For dedicated fans of ‘The Phantom of the Opera,’ which enjoyed a record 35-year run on Broadway, ‘Masquerade’ offers a comforting familiarity. It remains the tale of a disfigured musical genius haunting an opera house, consumed by his obsession with a young soprano. Yet, the narrative has been reshaped, primarily unfolding from the Phantom’s perspective, providing him with a significantly expanded backstory. It also boasts new scenes and about an hour of previously unheard or repurposed music, including a song originally cut from the film adaptation. Be prepared for the price tag, though – the most affordable tickets currently start at $221.50.
A talented cast of 38 performs the show six times nightly. Six groups of approximately 60 audience members, each admitted with staggered entry times, journey through the venue, a magnificent but weathered landmark situated opposite Nordstrom. This six-story adventure even includes climactic scenes on the rooftop, weather permitting.
While most of the music is pre-recorded, a live violinist sets the tone with a custom overture at the beginning. And rest assured, the iconic chandelier is present – large, sparkling, closer than ever, and, true to form, majestically crash-prone.
The production features over a dozen scenes, some instantly recognizable (like the boat gliding through the sewers beneath the opera house) and others exciting new additions.
“The sheer logistical complexity of this project is absolutely astounding,” Lloyd Webber remarked.
The show is co-produced by Paulus’s husband, Randy Weiner, a seasoned expert in immersive theater. The concept for this immersive ‘Phantom’ was born in 2022 when Lloyd Webber first approached him with the audacious idea.
During a visit to New York earlier this month, the London-based composer invited me to join him as he experienced the show firsthand. His goal was to observe as many of the six Phantoms and six Christines as possible, eager “to see how the performances have truly settled in.”
A few dedicated followers, affectionately known as ‘Phans,’ recognized him. Before entering, one patron requested a selfie. After the show, three sisters from New Jersey expressed their heartfelt gratitude for his “beautiful piece.” Shana Perrone recounted, “We saw ‘Phantom of the Opera’ with our mother, and it was our grandmother’s favorite show in the ’90s. I told my sisters, ‘We simply have to go!'”
Kyle Scatliffe portrays the Phantom, subtly lurking behind Lloyd Webber in one memorable moment.
For the most part, Lloyd Webber navigated the show undisturbed, though he occasionally felt the gentle jostle of the crowd as his group moved through the labyrinthine rooms. We passed through more than a dozen scenes – some iconic (yes, the boat! and the cemetery!), and others freshly conceived (like a vibrant carnival scene complete with a fire-eater and a performer demonstrating a daring nail-into-nose act).
I followed him up and down stairways and escalators, pausing as he shared anecdotes – about Paganini, Berlioz, and the Red Death costume in ‘Phantom’; about composing a new fight scene like a film score; and even about witnessing ‘Masquerade’ in the rain. I observed him, hands clasped, listening intently, whispering insights to Paulus, and even allowing a rare smile to break through.
Most of the unsuspecting patrons adhered to the dress code of black, white, or silver, their eyes hidden behind masks. (The production provides masks for those who don’t bring their own and covers phone cameras with stickers to ensure no photography.)
Lloyd Webber was an enthusiastic participant, spinning and dancing to the iconic title song, “Masquerade,” and swaying rhythmically to other tunes. In one scene, when an opera diva dismissed a score written by the Phantom as “horrible,” he let out a knowing chuckle.
“Half the time, I’m analyzing, ‘Am I satisfied with the sound here?'” he admitted. “But genuinely, I’m incredibly pleased with the overall result.”
‘Masquerade’ is currently in previews and is slated for its official opening on September 28.
Later, we retired to a boudoir within the Phantom’s lair. We discussed his upcoming projects, including ‘The Illusionist,’ a new musical inspired by a short story about a magician. “We’re practically there,” he confirmed. “We performed it for a group of actor friends on Monday, and while I know there’s still some work to be done, the aim is to open in London in early spring of ’27.”
“I’m suddenly operating on about nine cylinders more than I used to,” Lloyd Webber, 77, shared, reflecting on his numerous active projects.
The conversation then turned to ‘Jesus Christ Superstar,’ which had a successful weekend run in August at the Hollywood Bowl in Los Angeles, starring Cynthia Erivo as Jesus and Adam Lambert as Judas. “I was immensely keen to have a woman portray Jesus,” Lloyd Webber stated. “Something truly resonated with that production, and I found it more profoundly moving than I have in a very long time. It would be fantastic to see them perform it together, perhaps at Madison Square Garden or a similar venue.”
And what about the acclaimed Rachel Zegler-led ‘Evita,’ which recently concluded a sold-out run? “I would go as far as to say she is quite possibly the finest young singer I’ve encountered in my entire career,” he lauded. However, the role is such a demanding “big sing” that he expressed concerns about anyone’s ability to perform it eight times a week, even someone he considered “absolutely extraordinary.” He added, “A talent as immense as Rachel’s must be protected.” Furthermore, given the increasing financial challenges on Broadway, “she would need to perform for 40 weeks just to have a chance of recouping the investment here.”
Eryn LeCroy as Christine, a role she previously held on Broadway, delivers a powerful performance.
“I’d absolutely love ‘Evita’ to come to New York, and I want everyone to experience Rachel’s talent,” he declared. “But it will require a truly courageous producer.”
Such a move would bring him back to Broadway with another revival, this time under the direction of Jamie Lloyd, who recently staged ‘Sunset Boulevard.’ Lloyd Webber hailed Lloyd as a “genius” and mentioned a coffee meeting planned for the next day, hinting at a new idea he wasn’t yet ready to reveal. What was clear, however, was his continued momentum.
“The truly exciting part for me is,” he mused, “I openly acknowledge that I’m a recovering alcoholic, and having embraced that journey, I now feel like I’m firing on about nine cylinders more than I ever have.”
As the evening drew to a close, it was time to rejoin the post-show ‘Masquerade’ gathering. The actress we had seen play Christine, Eryn LeCroy, who had previously graced Broadway in the same role, approached him. (“Well done, darling,” he praised her, “It truly, truly is wonderful.”) She reminded him that when she departed ‘Phantom’ for a revival of ‘1776’ directed by Paulus, Lloyd Webber had expressed his desire to collaborate with Paulus. Now, their wish had materialized.
Lloyd Webber then made his way to the lobby, greeting patrons at the bar before settling at a table with his team to review his notes on the show. Opening night was still approaching, and there was certainly more work ahead.