It’s no secret that I’m a Phantom of the Opera superfan. Over the years, I’ve had the privilege of watching the show over a hundred times across six different productions. Excessive? Perhaps to some. But for me, this musical never loses its magic—it’s a world I can escape into again and again. Since moving to Atlanta in 1997, locally, I’ve been lucky to see both the Raoul Company (2nd National Tour) and the Music Box Company (3rd National Tour), the latter during its 2001, 2005 and 2010 stops. I'd seen both companies in other cities as well as the Broadway, Los Angeles and San Francisco productions many times prior to settling down in Atlanta. Even though I didn’t love the 2004 film adaptation, I’ll admit the soundtrack had its charm for what it was.
Fast forward to 2013, when I heard the new North American tour was heading to Atlanta. Naturally, I was intrigued. My friend Ernie even decided to visit and catch the show with me, people always seem to enjoy watching Phantom by my side. I guess knowing all the details—blocking, costumes, sets even sound cues—makes me a handy guide. From the advertisements, the production seemed like a modernized take on the original. So, with tickets secured, we set out for a night at the Fox Theatre.
Spoiler alert: it wasn’t what I’d hoped for.
Let’s rewind to the evening itself. Terry, Ernie and I arrived at the Fox Theatre, clutching our $100+ tickets. Our dress circle seats were tight—not quite what I remembered from previous shows. Was the view worth the price tag? Honestly, not really. Going in, I didn’t know much about the cast, other than Linda Balgord (whom I’d seen in Sunset Boulevard and Cats) and Ben Jacoby, son of Mark Jacoby—my very first Phantom and later on the Wizard in Wicked when Ernie and I snuck into the Fox. That connection was fun, at least.
As the Mighty Mo organ began to fill the theater prior to the show starting and as the audience filled their seats, I noticed something was off. Maria Bjornson’s breathtaking designs? Gone. The iconic proscenium? Nowhere in sight. Even the chandelier wasn’t the imposing centerpiece I was used to—it just hung there with a drop cloth. It became clear this production would be… different. Rather than a typical review of the show as a whole, I'm going to walk you through scene by scene from my memory of over 10 years ago.
Prologue
The auction scene didn’t kick off with the iconic gavel strike and dramatic “Sold!” Instead, it opened with actors casually entering the stage. A younger-looking Raoul, sans wheelchair, sang to the Monkey in Persian Robes music box, which came to life with a small, modernized design. When Lot 666 was revealed, the chandelier—already halfway lowered—was barely illuminated. I couldn’t help but feel let down.
Overture
The overture sounded rich and full, with updated orchestral elements that retained the melody we all know and love. If you're unaware it's mostly pre-recorded and the orchestra just plays along. But as the chandelier’s cloth was pulled away, the reveal of a scaled-down version with minimal effects was underwhelming. Gone was the dramatic magic of the chandelier rising as the curtains lifted. Instead, the stage was already filled with performers rehearsing Hannibal. This was the moment I realized the production might fall short of all of my expectations.
Hannibal/Think of Me
Jacquelynne Fontaine’s Carlotta handled the high notes with ease, in fact, she transitioned briefly into some whistle notes. Her her voice seemed more suited to Christine’s role. She lacked the commanding, brassy sound of an opera diva and her comedic moments felt muted. Carlotta’s Think of Me lacked flair, with sandbags falling far from her—a stark contrast to the Hal Prince production, where the backdrop narrowly misses Carlotta, sparking a more dramatic reaction. Julia Udine as Christine was a vocal standout. Her rendition of Think of Me was flawless, showcasing incredible vocal control as she delivered the Claire Moore/Rebecca Caine cadenza, typically heard in UK productions. I looked at both Terry and Ernie and said "she WILL be a Christine on Broadway one day soon." Yet the staging lacked luster; the scarf wasn’t prominently featured and a costume malfunction added some unintended humor. Thankfully, Hannah Florence (as Meg) cleverly recovered, turning the flub into a prop during the choreography. Ben Jacoby’s Raoul was another highlight, his voice uncannily reminiscent of his father’s. It was a lovely connection for me, considering Mark Jacoby was my very first Phantom.
Angel of Music
Linda Balgord’s Madame Giry felt more prominent in this version, stepping into the spotlight rather than lurking in the shadows. Christine’s dressing room—oddly spacious enough for ballet practice—added an unconventional dynamic. Julia and Hannah’s chemistry as Christine and Meg was a joy to watch. Hannah’s perfectly in-tune vocals stood out—a refreshing change from some past Megs who struggled vocally. Up to this point, aside from Ben and Julia knocking it out of the park during Think of Me, I am beyond underwhelmed. This is the section of the show where things begin to really take shape in the more familiar Hal Prince directed productions. Do you think it will for this one? Let's continue.
Little Lotte/The Mirror
Ben Jacoby was, without question, a standout as Raoul. His voice was pure perfection—flawless in tone and delivery, reminiscent of his father. I would LOVE to one day see Ben step into the role of Phantom. Julia Udine gave a solid performance as Christine, though her acting felt restrained. It seemed as though she’d been directed with a “less is more” approach, which left certain moments in this scene feeling muted. Now, let’s talk about that dressing room set. Something about it just didn’t sit right with me. It had an odd, mobile home vibe that felt entirely out of place for a glamorous opera house. The trailer-like door Raoul exited through didn’t help matters—it looked flimsy and cheap, which only added to the disconnect.
When the Phantom’s voice cut through the speakers with the opening lines of the Angel of Music reprise, my heart sank. Cooper Grodin’s voice wasn’t theatrical; it leaned more toward a pop or rock style that felt out of place in such a dramatic role. It reminded me of Dee Snider’s Broadway album, though Snider at least sang entirely in tune. The mirror scene, a moment steeped in eerie mystery in other productions, was a letdown here. The mirror itself was a massive, square-shaped object that looked out of place in Christine’s dressing room. When Christine entered the mirror, the transition felt rushed and clunky. Instead of the Phantom guiding her in with a patient, hypnotic allure, Grodin physically snatched her in, which robbed the scene of its usual nuance.
The Phantom of the Opera
Ah, the most iconic scene in the show—or at least, it’s supposed to be. This moment usually defines the production, with its candelabras, candles rising from the floor, ethereal blue lighting, swirling smoke and the unforgettable boat gliding across a misty lake. Unfortunately, this production stripped away much of that magic. This was the one scene where Cooper Grodin’s vocals were in tune, though, as in the original staging, his lines were pre-recorded. Instead of the travelator, the production featured a rotating “tower” with the Phantom and Christine descending down from the top as stairs extended from the tower walls, which I thought was actually a bit more cool than the original. Though I thought it was a nice touch but couldn’t make up for the absence of the iconic candles and candelabras. And the boat? Well, it was narrow, boxy and completely devoid of elegance. The breathtaking imagery of the Phantom and Christine crossing the lake, surrounded by glowing candles, was reduced to a cheap-looking boat moving over LED-lit fog.
The Phantom’s lair was equally disappointing. Gone were the throne, the Mirror Bride and the dual-purpose boat-bed. What remained was a sparse space with an organ, some real candles and a bed. It felt amateurish and underwhelming for such a pivotal scene. Grodin’s delivery of “Sing for Me…” at the song’s climax was loud and emotionless—more reminiscent of high school acting than the tortured brilliance we associate with the Phantom. Julia’s high notes were stunning, but her response to them felt disconnected, which lessened the impact of the moment, though that could have been attributed to the distance I was from the stage.
The Music of the Night
The lackluster portrayal of the Phantom continued here. Grodin stood stiffly in front of Christine, staring at her as though he were trying to impress a date at karaoke night. The performance was devoid of movement or charisma. There was no “floating, falling” pose, no ethereal energy. At one point, he even covered Christine’s eyes with a blindfold, which was awkward and uncomfortable to watch. And I hate to compare actors, but Grodin’s voice, for me, was less impressive than Gerard Butler’s in the 2004 film. At least Butler had some emotional resonance in his performance and I didn't mind that he didn't possess a legitimate voice.
I Remember/Stranger Than You Dreamt It
This scene is supposed to be an emotional turning point, where Christine’s curiosity leads her to uncover the Phantom’s vulnerability. In this production, however, the scene fell completely flat. Rather than pulling off the Phantom’s mask in a moment of fear and fascination, Christine simply picked it up off the organ while he applied makeup. Seriously? The dramatic tension was nonexistent. To make matters worse, the Phantom shoved Christine down and even pulled her hair—behavior that felt childish and entirely out of character. There was no suspense, no reason to feel sympathy for the Phantom. Instead of a tortured genius, he came across as a toddler throwing a tantrum. This pivotal moment lost all of its emotional weight.
Magical Lasso
Surprisingly, this scene was a highlight. Linda Balgord’s Madame Giry had a commanding presence that added depth to the character. Her portrayal even had a touch of Norma Desmond’s dramatic flair, which made the scene feel more impactful. I have seen several actresses as Giry, Leila Martin being my absolute favorite because she had a bit of a creepy vibe in her portrayal. Linda Balgord tapped into the creepiness of the role also, at least a little bit and she was a happy medium for me. Fun fact: Linda and I share the same birthday, though not the same year. Unfortunately, Linda passed away a few years ago, leaving a legacy of love and appreciation for her contributions to the productions she starred in, in her wake.
Notes/Prima Donna
The managers’ office was one of the more inventive sets, unfolding like a storybook. However, the bright red decor gave off “hooker hotel in New Jersey that I once stayed in” vibes—not quite the sophisticated atmosphere you’d expect from an opera house. Though I guess it's a bit of an upgrade to just a black background with a desk and a rolling chair as seen in the Brilliant Original. Mark Emerson and Brad Oscar, as the managers, had solid comedic timing, though their humor didn’t quite reach the heights of seasoned performers like DC Anderson or George Lee Andrews. Vocally, the ensemble delivered, but Jacquelynne Fontaine’s Carlotta still didn’t outshine Christine—an imbalance that felt odd for this scene.
This version seemed to also borrow elements from the 2004 film, with Carlotta being dressed on stage in her Il Muto costume. It was an interesting nod but didn’t add much to the overall impact.
Poor Fool, He Makes Me Laugh
This scene stuck fairly close to the original but included some odd choices that felt out of place. Don Attilio hiding in a wardrobe and gyrating along to Carlotta’s “ha ha’s” gave the scene a juvenile, “high school musical” feel. Carlotta’s infamous “FROG” moment lacked its usual humor and punch. Buquet’s death, staged onstage in this version, was another questionable choice. The audience saw the Phantom step out, use the punjab lasso and hang Buquet in full view. It came across as cheesy and lacked the chilling suspense that makes this moment so effective.
Why Have You Brought Me Here?/Raoul, I’ve Been There/All I Ask of You
This scene has always felt like stepping into a dream—a moment suspended between reality and fantasy. While the production retained some of that ethereal quality, the scenery was less impressive than in previous versions. The grandeur and romance that should define this moment were missing. With that said, Ben and Julia are EVERYTHING and their All I Ask of You felt authentic and left everyone wishing they could have a moment with one or the other.
All I Ask of You (I Gave You My Music)
The Phantom perched atop a statue on the opera house roof should have been a dramatic visual, but the lackluster staging let it down. The iconic chandelier moment was equally disappointing. Instead of the dramatic, high-speed descent and swing toward the stage, the chandelier lowered slowly and without impact, leaving the scene devoid of tension.
ENTR’ACTE
As in all productions, this section is pre-recorded and a perfect transition from intermission to one of the most grand scenes written for the show.
Masquerade/Why So Silent
I think I spoke too soon, did I say grand? Gone was the iconic staircase, the whimsical monkey girl and the dazzling costumes. Christine’s outfit was a watered-down version of her Broadway costume and the flat, mirrored backdrop gave me A Chorus Line vibes. Even Carlotta’s dress was plain and unremarkable. The Phantom’s entrance, typically a highlight, was a letdown. Instead of the dramatic “Red Death” costume, he wore his standard half mask. The moment where he usually snatches Christine’s necklace and declares, “Your chains are still mine,” was altered to, “Your voice is still mine,” with no physical interaction between the characters. The scene lacked intensity and impact.
Raoul and Giry
This scene was one of the rare moments that exceeded expectations. As Madame Giry recounted the Phantom’s origins, shadow projections illustrated her tale on the walls of the set. This added a layer of visual storytelling that made the scene more compelling than in the original production.
Notes/Twisted Every Way
Ah yes, another visit to what I lovingly call the New Jersey Hooker Motel (aka the manager’s office). Still decked out in garish red, this setting continued to be an eyesore. Carlotta’s line, “Christine Daae, she doesn’t have the voice,” always gives me a chuckle—mainly because in this production, Christine’s voice is leagues stronger than Carlotta’s. The irony was hard to ignore.
A Rehearsal for Don Juan Triumphant
This scene actually hit the mark. The chaotic energy of the rehearsal was captured well and Piangi’s struggle with his lines was more noticeable than in prior productions. While it may not have added much to the overall narrative, it did inject a bit of humor and personality into the moment.
Wishing You Were Somehow Here Again / Wandering Child / Bravo, Bravo
The sparse scenery continued in this sequence, with Christine’s father’s grave being shockingly small and the Phantom awkwardly hidden behind a nearby statue. The setup lacked the drama and gravitas this scene demands. That said, Julia’s performance of Wishing You Were Somehow Here Again was an absolute triumph. Her voice soared with emotional depth and she brought an aching vulnerability to the piece. Wandering Child was also a highlight. This production used the original London trio version, as heard on the Original London Cast Recording. Experiencing it live for the first time was a real treat. Cooper’s voice blended surprisingly well with Julia’s and Ben’s, creating a hauntingly beautiful harmony. Hey, I can't say I am all negative here, perhaps he was just not having the greatest of nights but I did like Cooper in this scene. The staging, however, was hit or miss. The Phantom’s flaring staff was replaced by flames erupting from the stage floor—a visually striking effect at first. But when the Phantom delivered his climactic “Now let it be war upon you both,” only five small flames shot up. It was anticlimactic and underwhelming, falling short of the tension this moment deserved.
Before the Premiere/Seal My Fate
This scene didn’t stray far from the usual staging of Seal My Fate. While it was solidly executed, there wasn’t much to distinguish it from previous productions. It was serviceable but otherwise unremarkable.
The Point of No Return
Despite Cooper Grodin’s less-than-stellar voice, this scene was executed fairly well overall. However, one glaring issue stood out: the pivotal moment when Christine realizes she’s singing with the Phantom instead of Piangi was entirely absent. That moment of recognition is crucial for building tension and drama and its omission left a noticeable void. Things took an odd turn after Piangi’s death was revealed. Raoul grabs a gun from the Fireman and fires at the spot where the Phantom had been moments before. Unfortunately, by that point, the Phantom had moved about 15 steps forward, making it look like Raoul unintentionally shot someone else. The staging here felt sloppy and unpolished, undermining the emotional weight of the scene.
Down Once More/Track Down This Murderer/Beyond the Lake
As Madame Giry led Raoul to the staircase, I couldn’t help but wonder how Raoul seemed to magically know exactly where to go once he descended. Upon reaching the lair, there was no boat to be found and Raoul emerged looking perfectly dry and composed—a detail that felt unrealistic but consistent with the original production’s similar oversight. When Christine appeared in the wedding dress, it became clear that the Phantom had dressed her himself—an unsettling yet intriguing detail. Most of this scene unfolded as expected, until the moment where the Phantom releases Christine and Raoul. In the original production, Christine kisses the Phantom, hugs him, kisses him again and then he lets Raoul lose from the grip of the lasso in an emotional moment before letting them both go. Here, she kissed him, hugged him twice and then he released them with very little hesitation, the emotional beats felt rushed and less impactful.
What followed was a significant departure from the original. Christine briefly returned after leaving, standing silently behind the Phantom as he picked up his music. She overheard him confess his love, placed his ring on the organ and left without him noticing until just before the mob arrived. In the original staging, Christine returns to hand him the ring directly and they hold hands during his confession—a deeply touching moment that can leave even the most stoic audience member in tears.
The mob’s arrival was yet another misstep. Despite being within arm’s reach of the Phantom, they inexplicably allowed him to put on his cloak and wander the room. When Meg grabbed him from behind, she dropped the cloak to reveal his mask inside and that was the end. In the original production, the Phantom disappears through the throne in a mysterious, dramatic exit. Here, he visibly crawled under the bed. I couldn’t stop myself from blurting out, “Are you kidding me? He disappeared by crawling under the bed?” It was an anticlimactic and almost laughable end to an otherwise pivotal moment.
Looking back, this production had a handful of good moments but was plagued by far too many missed opportunities. The magical and mysterious elements that make Phantom so captivating were almost entirely absent. Honestly, if this had been the production that opened in London and New York in the 1980s, I doubt it would have lasted past the 1990s. Ernie seemed to enjoy the show well enough, but Terry left at intermission—unimpressed and not feeling great. I stayed, mainly because I didn’t want to leave Ernie alone in the theater. As we left, I noticed only a handful of people waiting at the stage door. In the past, I’ve seen lines stretching down the block, full of fans eager to meet the cast.
On the drive home, I couldn’t shake the feeling that I’d been ripped off. Terry later admitted he knew from the start that I wouldn’t enjoy it. We both tried to convince ourselves otherwise, but ultimately, we couldn’t ignore the production’s amateurish feel and miscast Phantom. That said, remember when I mentioned that Julia Udine will be a Christine on Broadway one day? She joined the Broadway production not long after leaving this production and she remained with the show, on and off, until the production closed. She is incredibly talented and deserved a platform that allowed her performances to shine and it came to pass. But as for this tour? Once was more than enough, when it returned to Atlanta I politely declined comp tickets. Unfortunately, this was the last time I saw Phantom live, though I’m already itching to head to New York for the new Phantom of the Opera experience as well as the new North American Tour that will be opening this year with most of its original glory in tact.
What about you? Have you seen this production or another version of The Phantom of the Opera? I’d love to hear your thoughts and experiences in the comments below. If you’ve enjoyed reading this review and feel inspired to support my ongoing love of theater, your thoughtful engagement or sharing of this post means the world to me. Every little bit helps keep this passion alive and I’m grateful for your time and kindness.
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