Masquerade is an entertaining and enjoyable rebirth of Andrew Lloyd Webber’s The Phantom of the Opera, which closed in 2023 as the longest-running musical in Broadway history. This show is an immersive multi-floor version of the original, produced in a warehouse on West 57th Street just off Broadway. This is a walk-through show – audiences are on their feet for most of the 2 ¼ hour run time, occasionally walking up and down flights of stairs – and is presented six times during the evening. Theater-goers, in groups of 60, enter at 15-minute intervals to experience up close and personal the story of The Phantom.
Most of the story and songs are the same from the original musical, which racked up almost 14,000 performances on Broadway. There are some differences, most notably a newly invented backstory for The Phantom as a young circus freak, but the overall production is very similar to the earlier version, which ran for almost 35 years.
A thumbnail recap of the story – The Paris Opera House has been besieged by a mysterious phantom, who falls in love with Christine Daaé, a chorus girl he secretly tutors to become a star. Enter Raoul, a friend from the past who falls in love with her, which antagonizes The Phantom. Undeterred, The Phantom, who hides behind a mask because of a facial deformity, writes an opera for his beloved. Raoul and the Opera House management see this as an opportunity to catch the shadowy figure. However, their plans go awry; chaos and mayhem follow as The Phantom seeks to secure his love and defeat his enemies. Or does he?
What makes Masquerade so much fun is the closeness to the action and performers. Sometimes very close. James Fuhr’s wide-ranging, eclectic production design, is both eerily and gaudily crafted. Theater-goers proceed their way around the building’s dozens of rooms, which include a dressing room (with just a handful of audience members in attendance); a circus sideshow; The Phantom’s Subterranean lair, including his gondola eerily floating by; and, of course, the a room with the infamous chandelier.
Director Diane Paulus has masterfully conceived the production, which employs six different actors and actresses portraying The Phantom and Christine. The logistics alone, which has six simultaneous performances, are a marvel to behold. In addition, Ms. Paulus is able to tease out heartfelt, passionate performances by the acting troupe. Sometimes it can be silly, but for most of the evening, it is a grand time. The Director has added little flourishes that bring the audience more into being part of the show. When entering the first room, while being serenaded by a lone violinist - in my performance the virtuosity of Bryan Hernandez-Luch - the audience is taught a few basic dance moves by ballet mistress Madame Giry. Through the night’s journey, we are treated to a glass of celebratory champagne and a candle (fake) to illuminate our way.
On the night I attended, all the performers were superb. Ryan Vona was a strong-voiced Phantom, yearning for compassion, while also dispensing havoc on those who crossed him. Addie Morale’s Christine was vulnerable, yet also strong, and showcased a magnificent voice.
Other members of the production team include Emilio Sosa, and his lavish costumes, and Ben Stanton’s shadowy lighting. Brett Jarvis’s sound design of distant voices and effects radiates throughout the building, never letting up the aural sensation.
While the grandeur of the original production is missing, there is enough stagecraft, charm, and mystery in Masquerade to make this reconceived, immersive show a wholly satisfying experience. Note: management encourages theater-goers to dress up in black and bring a mask. Lacey, black masks are distributed free-of-charge upon entering for those audience members, like myself, that don't possess one.
Click here for dates, times, and dates of Masquerade.
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