There’s a moment early in The Phantom of the Opera when the famous overture swells — that thunderous organ, the shimmering strings, the brass that seems to echo from the depths of the Opera House. At that instant, sitting in Baltimore’s Hippodrome Theatre, I felt goosebumps. This new tour doesn’t just restage Phantom — it reignites it. From the orchestra’s first chord to the Phantom’s final, trembling whisper, it’s pure theatrical magic.
The orchestra deserves every ounce of praise. Under the direction of a superb conductor, Isaac Hayward, the musicians delivered Andrew Lloyd Webber’s legendary score with both precision and passion. The overture alone was enough to make the audience sit up straighter, but the emotion carried through every piece — from the tender strains of “Think of Me” to the lush, heartbreaking “All I Ask of You.” The brass and strings built worlds out of sound. “The Music of the Night” was spine-tingling — sensual, haunting, and beautifully paced. And of course, the title song, “The Phantom of the Opera,” perhaps the most iconic moment of the show, was so overwhelmingly perfect that the echo will forever remain inside my mind. The orchestra didn’t just support the story; they told it.
The staging by David Harris and Christine Peters was magnificent — that rare blend of grandeur and atmosphere that makes Phantom feel timeless. The sets glide and shift like magic: corridors of the Paris Opera House, the dizzying height of the grand staircase, the misty candlelit depths of the Phantom’s underground lair. The famous chandelier, glittering above the audience, remains one of theater’s great effects — both beautiful and menacing. When it finally crashed, the audience gasped instantly.
Lighting by Andrew Bridge played a major role in the storytelling. Soft golds and vibrant reds painted each scene like a moving painting, giving the show an almost dreamlike quality. The visual world of this Phantom is both romantic and gothic, and the result is breathtaking.
And then, of course, there are the performances. The Phantom, portrayed by Isaiah Bailey, is the soul of this production — tortured, brilliant, terrifying, and heartbreakingly human. The actor’s voice soared through the theater with astonishing control and emotion. His “The Music of the Night” was hypnotic; you could feel the audience collectively leaning in, drawn under his spell. He portrayed not just a villain, but a man consumed by loneliness and love — one who believes beauty is the only thing that might save him. By the time he reached the finale and whispered, “It’s over now, the music of the night,” the entire theater was still, holding its breath. His voice moved my spirit.
Jordan Lee Gilbert, our Christine, was luminous. Her “Think of Me” sparkled with youth and hope, while “Wishing You Were Somehow Here Again” was heartfelt and haunting. You could feel every note ripple through the audience. Her chemistry with both Raoul, played by the talented Daniel Lopez, and the Phantom gave the story real emotional depth — she wasn’t just a damsel caught between two men, but a woman discovering her own voice and courage. Raoul, for his part, brought sincerity and warmth to the stage. Together, his and Christine’s “All I Ask of You” felt like a beam of light breaking through the show’s dark undercurrent — tender, romantic, and beautifully sung. And let’s not forget the original prima donna, Carlotta, played by Midori Marsh. Her voice is top-tier, and I was simply awestruck every time she sang. I felt her voice in my blood. Just sublime.
And then came “Masquerade” — the show-stopping ensemble number that never fails to dazzle. The entire stage burst into motion and color: glittering masks, swirling gowns, and gold and crimson lights bouncing around the entire room. The choreography was crisp and lively; the energy was electric. It’s a joyous moment, but beneath the spectacle lurks something sinister — and when the Phantom suddenly appears at the top of the staircase, cloaked in red, you remember that this is a story about the thin line between beauty and terror.
What makes this production so satisfying is its balance of scale and intimacy. Yes, it’s grand — everything about Phantom is designed to impress — but it also finds time for quiet, tender moments. The Phantom’s gentle touch as he guides Christine’s voice, the stillness when she removes his mask, the hushed anguish of the final scene — these are moments that remind you why this story has endured for nearly four decades.
The sound design and acoustics at the Hippodrome deserve special mention as well. Touring productions often struggle with balance, but this one was near perfect: every lyric clear, every instrument distinct, yet nothing overwhelming. You could feel the music in your chest without ever losing the words.
Ultimately, what makes this tour of The Phantom of the Opera so extraordinary is that it remembers what the show is truly about. Beneath all the spectacle — the chandeliers, the costumes, the smoke and mirrors — lies a story of longing and acceptance, of the beauty and cruelty of love. The Phantom isn’t just a monster; he’s the embodiment of what it means to want to be seen. And this cast, this orchestra, this staging — they make you feel every note of that truth.
I left the Hippodrome exhilarated, haunted, and deeply moved. As I walked out into the cool night air, I could still hear that final melody echoing in my head. If you love theater that sweeps you away, don’t miss this Phantom of the Opera.
Running Time: Two hours and 45 minutes with a 15-minute intermission.
Phantom of the Opera plays through November 15, 2025, at the Hippodrome Theatre’s France-Merrick Performing Arts Center, 12 N. Eutaw Street, Baltimore, MD. Purchase tickets ($175–$704) online or call 410.837.7400.
Complete cast and creative credits for the touring company are in the online program here.
