Review: THE PHANTOM OF THE OPERA's New Production Breathes the Music of the Night Back to Life

As one of the most successful shows of all time, The Phantom of the Opera continues to draw in audiences who are already familiar with the music of the night. Despite being an age-old tale, Cameron Mackintosh's astounding new production boasts revamped staging and a fresh set design that sweeps both first-timers and Phantom "phans" into the depths of the Paris Opera House.

This rendition of the 1986 Andrew Lloyd Webber musical stays true to the classic story: we're introduced to the naive yet intelligent Christine Daaé (Katie Travis), a ballet dancer-turned-opera star under the tutelage of the mysterious Opera Ghost (Broadway's Derrick Davis). The haunting set, complete with trap doors, fire and mist -- not to mention a falling chandelier that actually showers audiences with "debris"-- is something straight out of Showtime's gothic-victorian series, Penny Dreadful.

Instead of the Phantom's lair looking like an ultra-creepy shrine, we enter an elegant workshop for an eccentric artist. Similarly, Davis's Phantom comes across as more of an inventive composer, and less of an eerie stalker. We still see his sinister side, of course, but it's truly that of someone who is deeply misunderstood.

When it comes to singing and acting, Davis rocks each and every moment. His counterpart, Travis, is a top-notch vocalist who is meant for the role of Phantom's muse. Trista Moldovan, who plays the prima donna Carlotta, Jordan Craig, playing Raoul, and the live orchestra are also exceptional. Basically, it's a powerhouse ensemble.

Though the show nears three hours, it moves at lightning speed. Every scene seamlessly flows to the next, and every moment keeps the audience engaged. This Phantom tour is proof of why Webber's beloved musical will continue to stand the test of time.

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Experience the music of the night at Chicago's Cadillac Palace Theatre until January 8, 2017. For ticket information, visit www.broadwayinchicago.com.

Photo Credit: Matthew Murphy

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