Isaiah Bailey and Joran Lee Gilbert Photo by Matthew Murphy and Evan Zimmerman

And now, The Phantom of the Opera is back in a newly launched North American tour being heralded as a reproduction of the lavish original production, complete with the late Maria Björnson's lush costume and set design. I have only ever seen The Phantom of the Opera on tour, so cannot offer a personal comparison to the original production, but I can say that the extravagance, imagination, and detail invested in the show's design is astonishing. It has once again taken up residence at the appropriately ornate Orpheum Theatre in downtown Minneapolis.

There are legions of fans who adore The Phantom of the Opera, with its sweeping Andrew Lloyd Webber melodies, romantically poetic Charles Hart lyrics (additional lyrics by Richard Stilgoe), and grand guignol book by Richard Stilgoe and Andrew Lloyd Webber that all the gorgeous design is meant to embellish. It is the lavish stage equivalent of staying at a five-star resort. Everything about this touring production reinforces those judgements.

Phantom rolls out the story, based on Gaston Leroux's novel published in 1910, of a musical genius with a hideous facial deformity. Enraged that his scarred visage causes people to ridicule or run from him, so that he is unable to actualize his gifts, he takes refuge in a labyrinthian chamber below the Paris Opera House. There he charms a talented young soprano, Christine Daaé, and becomes her tutor, concealing himself from view and known to her only as the "Angel of Music."

The Phantom proceeds to terrorize the opera company, including its two new owners and its star prima donna, Carlotta, causing "accidents" and using enchantments that result in Carlotta's fall and Christine's rise. When he realizes that Christine has become enamored with Raoul, a handsome and wealthy vicomte, the Phantom becomes insanely jealous, culminating in a dramatic confrontation between the two men, and leaving Christine with a choice that will determine their fates.

In addition to offering an ardent love story–the Phantom's unrequited yearnings and Christine's conflict between attaining perfection in her art and the starry-eyed love Raoul offers her–the show takes advantage of the opulence of the opera, with scenes in rehearsal and performance, including a charming corps de ballet and a spectacular costume ball. These settings inspire Lloyd Webber's passionate score, with the swooping title song worthy of the most depraved grand guignol, whole-hearted love songs, comical patter numbers, faux opera pieces, a precious charm song ("Think of Me"), a gracious waltz ("Prima Dona"), and, in "Masquerade," a muscular anthem.

If the stagecraft in this production is a mirror image of the original, the artistry of its performers is a match for any I have seen. Isaiah Bailey is an impassioned Phantom, forcefully expressing anger and desire, and he brings a soaring voice to the powerful "Phantom of the Opera," "Music of the Night," and a spine-chilling "The Point of No Return." Jordan Lee Gilbert gives Christine a sense of agency that is not always present, making it clear that she is not content to just watch as masculine archetypes do battle for her. Gilbert has a glorious soprano, worthy of the Angel of Music's protégée, that beautifully delivers "Think of Me," "Angel of Music," and an especially stunning "Wishing You Were Somehow Here Again."

Daniel Lopez is excellent as Raoul, convincingly drawn to renew an old friendship with Christine that quickly becomes a romance, with a chemistry between Lopez's Raoul and Gilbert's Christine that makes their love feel genuine. His clear tenor beautifully delivers throughout the show, especially in the love duet "All I Ask of You." As Carlotta, the old-school diva whose career is shattered by the Phantom, Midori Marsh has both the comic chops for this narcissistic character, and a powerful and pleasing soprano that makes her status, as the show begins, as star of the opera believable.

Lisa Vroman commands our attention as Madame Giry, the ballet mistress who has a mysterious understanding of the Phantom's past. William Thomas Evans and Carrington Vilmont are delightful as new co-owners of the opera, who have walked into more intrigue and danger than they bargained for, which they amusingly sort out in song by way of nefarious notes left by the Phantom. The entire ensemble performs with conviction, and the Corps de Ballet executes their dances with utter grace.

Those entrancing dances and the epic production on the opera house's grand staircase for "Masquerade" are based on Gillian Lynne's original choreography, recreated and adapted by Chrissie Cartwright. The fifteen-member orchestra is conducted by music director Isaac Hayward, sounding magnificent. Mick Potter's sound design is terrific for a show where the pristine quality of the voice is key, and also creates the illusion of the Phantom speaking from every corner of the theater. Andrew Bridge's lighting design works wonderfully in tandem with Matt Kinley's adaptation of Maria Björnson's original work to create elaborate, eye-catching sets, which includes the iconic chandelier that crashes to the ground to bring the first act to a startling end.

While The Phantom of the Opera is beloved by audiences, it also has its detractors. Some have opined that the show is bloated, with a shallow and melodramatic plot, and that its extravagant design elements emphasize style over substance. This is a legitimate perspective. The plot is a stretch of credibility that, for all its thrills, makes it difficult to form an emotional connection with any of the characters or their travails. I admit that in my past viewings of Phantom, I found myself greatly impressed but not terribly moved by it.

However, at this, my third Phantom, I experienced something more human in the telling of the tale than I had in the past, beyond the incredible artistry and stagecraft. Whether it is the high caliber of performances, a shift in focus made by director Seth Sklar-Heyn, or a change in myself that had me view the show through a different lens (or all three), I found this Phantom more satisfying than I ever believed it could be.

The Phantom of the Opera runs through December 7, 2025, at the Orpheum Theatre, 910 Hennepin Avenue, Minneapolis MN. For tickets and information, please call 612-339-7007 or visit hennepintheatretrust.org. For information on the tour, visit www.thephantomoftheopera.com.

Music: Andrew Lloyd Webber; Lyrics: Charles Hart; Additional Lyrics: Richard Stilgoe Book: Richard Stilgoe and Andrew Lloyd Webber, based on the novel Le Fantôme de l'Opéra by Gaston Leroux; Director: Seth Sklar-Heyn; Originally Directed by: Harold Prince: Original Choreography by Gillian Lynne recreated and adapted by: Chrissie Cartwright: Orchestrations: David Cullen & Andrew Lloyd Webber; Original Production Design: Maria Björnson; Costume Design Recreated by: Jill Parker; Set Design: Matt Kinley; Lighting Design: Andrew Bridge; Sound Design: Mick Potter; Video Design: George Reeve; Wig, Hair, Makeup Design: Stefan Musch; Music Supervisor: Kristen Blodgette; Music Director: Isaac Hayward; Resident Director: Dalia Ashurina; Production Stage Manager: Jovan E. Shuck; Stage Manager: Mariah Young; Casting: The TRC Company/Clarie Burke, CSA & Peter Van Dam, CSA.

Cast: Aloria Adams (Corps de Ballet), Isaiah Bailey (The Phantom), Christopher Bozeka (Ubaldo Piangi), James Channing (Joseph Buquet), Carlyn Connolly (Madame Firmin), Keenan English (Hannibal's Guard/Shepard/Corps de Ballet), William Thomas Evans (Monsieur Firmin), David Young Fernandez (Hairdresser), Alyssa Giannetti (Page), Jordan Lee Gilbert (Christine Daaé), Stanley Glover (Hannibal's Guard/Shepard/Corps de Ballet), Matthew Griffin (Marksman), Jennifer Gruener (Corps de Ballet), Jeremy Harr (Don Attilio), Daniel Lopez (Raoul, Vicomte de Chagny), Melo Ludwig (Meg Giry), Midori Marsh (Carlotta Giudicelli). Evelyn Mé-Linh (Princess), Scott Mikita (swing), Liv Mitchell (Corps de Ballet), Trista Moldovan (swing), Alexa Xioufaridou Moster (Christine Daaé at certain performances), Bronson Norris Murphy (swing), Eureka Nakano (Corps de Ballet), Charlotte Oceana (Corps de Ballet), Camila Rodrigues (swing), Ben Roseberry (Auctioneer/Monsieur Reyer), Lacy Sauter (swing), Alexandria Shiner (Confidante), Dennis Shuman (Jeweler), Donovan Elliot Smith (Passerino), Stephen Tewksbury (Monsieur Lefevre/Fire Chief), Andy Tighe (swing), Carrington Vilmont (Monsieur André), Lisa Vroman (Madame Giry), Krista Wigle (Wardrobe Mistress)