CAMERON MACKINTOSH AND THE REALLY USEFUL GROUP PRESENT
THE BEST WEST END SHOW OF ALL TIME * *January 2020 survey published on The Independent website
The Phantom Awaits at His Majesty’s Theatre
Phantom London 2023 | The Phantom of the Opera
Experience the thrill of the West End’s most haunting love story, starring Jon Robyns as The Phantom, Lily Kerhoas as Christine Daaé and Joe Griffiths-Brown as Raoul.
The Phantom of the Opera is widely considered one of the most beautiful and spectacular productions in history, playing to over 160 million people in 46 countries and 193 cities in 21 languages. Andrew Lloyd Webber’s romantic, haunting and soaring score includes Music of the Night , All I Ask of You , Wishing You Were Somehow Here Again , Masquerade and the iconic title song.
'SPECTACLE ABOUNDS. THE SHOW HAS ONLY GROWN IN ITS ARTISTIC POWER'
'THIS WEST END SPECTACULAR MORE THAN DESERVES ITS CLASSIC STATUS'
'THE MUSIC OF THE NIGHT IS BACK'
'SCARILY GOOD - THIS IS THE WEST END AT ITS CROWD-PLEASING BEST'
'THIS NEW PRODUCTION, WITH ADDED GREATNESS, IS WORTHY OF ITS PLACE IN THEATRE HISTORY'
'THE STAGING HAS NEVER LOOKED MORE SPECTACULAR'
Stars, spectacle, score and story
Sumptuous and unashamedly stagey
The Phantom of the Opera Tickets
Andrew Lloyd Webber’s sensational musical has been enchanting audiences since 1986 with its haunting tale of love and obsession.
A West End Icon: Phantom of the Opera Tickets
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SeatPlan Recommends: For the best vantage point of the iconic chandelier, choose seats in the central stalls (around row H) before the overhang of the Dress Circle impacts the view in the rows behind.
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CAMERON MACKINTOSH AND THE REALLY USEFUL GROUP PRESENT
MAJESTIC THEATRE, NEW YORK
January 26, 1988 – april 16, 2023.
The Phantom of the Opera on Broadway | Celebrating 34 Years on Broadway
The longest-running show in Broadway history, Andrew Lloyd Webber ’s The Phantom of the Opera debuted in 1988, winning seven Tony Awards® including Best Musical.
Based on Gaston Leroux’s horror novel, it tells the enticing story of The Phantom, who haunts the stage of the Paris Opera and subsequently falls in love with a beautiful young soprano. Audiences are in for a thrilling night of spectacle and romance, accompanied by an unforgettable musical score.
THE PHANTOM OF THE OPERA. Jon Robyns as The Phantom. Photo by Johan Persson.
THE PHANTOM OF THE OPERA. Paige Blankson as Christine. Photo by Johan Persson.
Jon Robyns (The Phantom) and Lily Kerhoas (Christine). Photo Johan Persson.
Company. Photo by Johan Persson.
Company. Photo by Johan Persson
The Phantom Of The Opera
Experience the thrill of the West End’s most haunting love story, starring Jon Robyns as The Phantom, Lily Kerhoas as Christine Daaé and Joe Griffiths-Brown as Raoul.
The Phantom of the Opera is widely considered one of the most beautiful and spectacular productions in history, playing to over 160 million people in 41 countries and 186 cities in 18 languages. Andrew Lloyd Webber’s romantic, haunting and soaring score includes Music of the Night , All I Ask of You , Wishing You Were Somehow Here Again , Masquerade and the iconic title song.
Arguably the most popular of Andrew Lloyd Webber’s musicals alongside his mesmerising score, along with jaw-dropping scenery and breathtaking special effects, magically combine to bring this tragic love story to life each night. Get to know more about The Phantom Of The Opera’s composer, Andrew Lloyd Webber !
The show has won over 70 major theatre awards, including three Olivier Awards in the West End and seven Tonys on Broadway. It was the winner of the Olivier Audience Award, voted by the public, in the 2016 Laurence Olivier Awards .
The Phantom Of The Opera London is currently showing, as well as in London, New York, Budapest, Stockholm and on tour in the US. Looking for more about The Phantom Of The Opera ? Check out our ‘Everything You Need To Know About Phantom in London’ guide !
Now in its 35th year, The Phantom Of The Opera continues to captivate audiences at His Majesty’s Theatre in London’s West End, after more than 12,000 performances, having become the first stage production to reach worldwide grosses of $6 billion. Worldwide, a staggering 140 million people have seen The Phantom Of The Opera in 35 countries and 160 cities in 15 languages.
Grab your Phantom Of The Opera London tickets now to come and experience this iconic musical.
And if you’re a teacher/careers advisor, Education Packs for this show (and more) are available in our Schools Resources area.
Looking to see some musical theatre? Find out more about London musicals.
The Phantom - Jon Robyns
Christine Daaé - Lily Kerhoas
Joe Griffiths-Brown - Raoul, Vicomte de Chagny
Alternate Christine Daaé - Paige Blankson
Carlotte Guidicelli - Kelly Glyptis
Monsieur Andre - Adam Linstead
Monsieur Firmin - Matt Harrop
Ubaldo Piangi - David Kristopher-Brown
Madame Giry - Francesca Ellis
Meg Giry - Maiya Hikasa
Swing - Hollie Aires, Lily De-La-Haye, Connor Ewing, Tim Southgate and Andrew York
Wild Woman - Federica Basile
The Ballet Chorus Of The Opéra Populaire - Corina Clark, Serina Faull, Florence Fowler, Eilish Harmon-Beglan, Yukina Hasebe, Grace Hume and Jasmine Wallis
Hairdresser - Michael Colbourne
Buquet - Leonard Cook
Page - Colleen Rose Curran
Don Attilio - Hywel Dowsell
Auctioneer - James Gant
Wardrobe Mistress - Melanie Gowie
Monsieur Reyer - Samuel Haughton
Slavemaster / Il Muto - Thomas Holdsworth and Jacob Hughes
Monsieur Lefevre - Tim Morgan
Princess - Eve Shanu-Wilson
Confidante - Zoë Soleil Vallée
Ensemble - Victoria Ward
Marksman - Ralph Watts
Porter / Passarino - Simon Whitaker
Producer - Cameron Mackintosh and The Really Useful Group Ltd.
Music by - Andrew Lloyd Webber
Lyrics by - Charles Hart
Additional Lyrics by - Richard Stilgoe
Book by - Richard Stilgoe and Andrew Lloyd Webber
Orchestrations by - David Cullen and Andrew Lloyd Webber
Musical Supervisor - Simon Lee
Production Designer - Maria Björnson
Set Designer - Matt Kinley
Associate Costume Designer - Jill Parker
Lighting - Andrew Bridge
Associate Lighting Designer - Warren Letton
Sound by - Mick Potter
Musical Staging and Choreography by - Gillian Lynne, recreated and adapted by Chrissie Cartwright
Director - Seth Sklar-Heyn
Contains adult themes, strobe lighting, lightning effects, and gun shots.
Age Suitability For This Show
Unlike film, theatre doesn't have an official age classification organisation. That means all age recommendations are subjective and should be treated as guidelines unless otherwise stated. With this in mind, we ask you to use your judgement in regards to a show’s suitability prior to purchase. However, we are more than happy to help you make a decision. Please email our Customer Care team to find out more about your chosen show.
Everyone, regardless of age, must have their own ticket to enter the theatre. Latecomers may not be admitted until a suitable break in the performance. Children under the age of 3 will not be admitted. Children under the age of 16 must be accompanied by and sat next to a ticketholder who is at least 18 years old. Babies and children under the age of 4 cannot be admitted to the venue.
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Unlike film, theatre doesn't have an official age classification organisation. That means all age recommendations are subjective and should be treated as guidelines unless otherwise stated. With this in mind, we ask you to use your judgement in regards to a show’s suitability prior to purchase. However, we are more than happy to help you make a decision. Please email [email protected] to find out more about your chosen show.
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Culture | Theatre
The Phantom of the Opera: I take it all back - this West End spectacular more than deserves its classic status
Here’s an embarrassing secret: I love nothing more than an 80s mega-musical with a synthesiser-heavy soundtrack. Les Misérables? Sobbed through it more times than I can remember (it’s a downward spiral from I Dreamed a Dream, which arrives… about 15 minutes into a near three-hour marathon). Chess? You had me at “music by Benny Andersson and Björn Ulvaeus from ABBA.” Blood Brothers? It’s an anti-Thatcher parable showcasing Scouse accents of varying quality - extremely On Brand (I am yet to meet anyone outside my Merseyside secondary school who also had to study it as part of GCSE English).
All of those musicals name-checked above are edging towards (or in the case of Chess, happily exist within) the realm of the uncool, but I have always written off one West End show as too kitsch even for my own dubious tastes. The Phantom of the Opera is a production that I’ve spent years avoiding as assiduously as I’d dodge, well, a creepy man in a half-mask trying to make me take a haunted gondola ride down to his sewer because he just, like, really wants me to listen to the songs he’s written.
What were my grounds for this aversion? None, really, aside from the vague notion that Phantom, with its massive light fixtures, made-up operas and dry ice, is the most Andrew Lloyd Webber of Andrew Lloyd Webbers, and therefore something to be endured, not enjoyed. And yet one question kept haunting me, like a disembodied voice terrorising a theatre: surely a show doesn’t run for 35 years on the West End without good reason?
With Phantom returning after an 18-month Covid-imposed hiatus, complete with a new cast, an even bigger chandelier and tweaked staging, it was time to boldly go where many daytrippers have gone before in search of answers.
Based on the 19th century novel by Gaston Leroux, the tale of the Phantom is objectively bonkers - but the packed auditorium of Her Majesty’s Theatre seemed to already know that, because this is a musical that, like my beloved Les Mis, inspires devoted fans to return again and again; none of my neighbours seemed to flinch at a handful of surprisingly dark moments (why did no one tell me that this show has so many garrotings?)
Here is the abridged version. A masked Phantom (played by Killian Donnelly) haunts a Parisian opera house and gets a monthly stipend of several thousand francs and a spare seat in box five for the privilege of scaring off the top soprano and generally causing mayhem (lurking is lucrative). He has also been teaching chorus girl Christine (Lucy St Louis) how to sing via distance learning; his protegée has no idea who he is, or what he looks like.
When she lands a leading role then falls in love with posh boy Raoul (Rhys Whitfield), who exclusively wears dinner jackets, Phantom gets jealous and drags her to his watery underworld (red flag: he has a wedding dress, pure Havisham couture, waiting there for her). A quasi-love triangle emerges, culminating in the Phantom forcing the terrified theatre company to perform his new opera, a truly novel way to jumpstart your career in the arts.
From the moment that the huge chandelier went careening from the stage up onto the ceiling as that organ riff played, I was hooked on the high-camp melodrama. This is a show that makes no apologies about being bombastic and revels in being extra, from the pyrotechnics to the eye-catching costumes to the jaw-dropping ensemble numbers.
Second act opener Masquerade is especially dazzling, while that gondola journey down into the depths, lit by hundreds of candles that emerge from the darkness, makes an unforgettable set piece. This is the West End at its crowd-pleasing best, buoyed by a standout turn from St Louis as Christine, who flits effortlessly through the show’s many musical styles. Her character is hardly an empowered heroine, yet the actress makes her vital and engaging; Donnelly, meanwhile, makes a nuanced Phantom, despite the part’s cartoonish trappings.
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Much has been made of the decision to scale back the orchestra (previously the biggest in the West End) from 27 performers down to 14; I don’t have the original set-up as a point of comparison, of course, but the score still feels suitably epic.
Is the Phantom an incel? Absolutely. Is the love triangle convincing? Not entirely. But for a glorious slice of camp escapism, executed at the highest possible standard, this show is hard to beat. You’ll find me agitating for a West End revival of Love Never Dies.
The Phantom of the Opera, Her Majesty’s Theatre; thephantomoftheopera.com
Full New Cast Announced for The Phantom of the Opera West End
Cameron Mackintosh is delighted to announce new casting for Andrew Lloyd Webber’s The Phantom of the Opera at His Majesty’s Theatre from Monday 31 July 2023 . Lily Kerhoas joins the company as Christine Daaé , with Joe Griffiths-Brown as Raoul, David Kristopher-Brown as Ubaldo Piangi and Maiya Hikasa as Meg Giry. Continuing in the show will be Jon Robyns as The Phantom, Kelly Glyptis as Carlotta Giudicelli, Adam Linstead as Monsieur André, Matt Harrop as Monsieur Firmin and Francesca Ellis as Madame Giry. At certain performances the role of Christine Daaé will be played by Paige Blankson .
The cast is completed by Hollie Aires , Federica Basile , Corina Clark , Michael Colbourne , Leonard Cook , Colleen Rose Curran , Lily De-La-Haye , Hywel Dowsell , Connor Ewing , Serina Faull , Florence Fowler , James Gant , Melanie Gowie , Eilish Harmon-Beglan , Yukina Hasebe , Samuel Haughton , Thomas Holdsworth , Jacob Hughes , Grace Hume , Tim Morgan , Eve Shanu- Wilson , Tim Southgate , Zoë Soleil Vallée , Jasmine Wallis , Victoria Ward , Ralph Watts , Simon Whitaker , and Andrew York .
Lily Kerhoas made her West End debut as Cosette in Les Misérables: The Staged Concert, continuing with Les Misérables at the Sondheim Theatre. Originally from Paris, France, Lily trained at the Royal Academy of Music. Joe Griffiths-Brown has most recently appeared in the West End company of Hamilton at the Victoria Palace Theatre, and previously in Frozen at Theatre Royal Drury Lane.
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The Phantom of the Opera
The phantom of the opera extends and releases new west end images.
The show will play into next autumn at His Majesty’s Theatre
New photos have been released for The Phantom of the Opera as it extends its run at His Majesty’s Theatre.
Lily Kerhoas ( Les Misérables ) recently joined the company as Christine Daaé, with Joe Griffiths-Brown ( Hamilton ) as Raoul, David Kristopher-Brown ( The Play That Goes Wrong ) as Ubaldo Piangi and Maiya Hikasa ( Billy Elliot ) as Meg Giry.
Continuing in the show are Jon Robyns as The Phantom, Kelly Glyptis as Carlotta Giudicelli, Adam Linstead as Monsieur André, Matt Harrop as Monsieur Firmin and Francesca Ellis as Madame Giry. At certain performances the role of Christine Daaé is played by Paige Blankson.
View this post on Instagram A post shared by WhatsOnStage (@whatsonstage)
The cast is completed by Hollie Aires, Federica Basile, Corina Clark, Michael Colbourne, Leonard Cook, Colleen Rose Curran, Lily De-La-Haye, Hywel Dowsell, Connor Ewing, Serina Faull, Florence Fowler, James Gant, Melanie Gowie, Eilish Harmon-Beglan, Yukina Hasebe, Samuel Haughton, Thomas Holdsworth, Jacob Hughes, Grace Hume, Tim Morgan, Eve Shanu-Wilson, Tim Southgate, Zoë Soleil Vallée, Jasmine Wallis, Victoria Ward, Ralph Watts, Simon Whitaker, and Andrew York.
The show has extended its booking window to 28 September 2024.
The music for the production is composed by Andrew Lloyd Webber, with lyrics by Charles Hart and additional lyrics by Richard Stilgoe. The book for the musical is written by Stilgoe and Lloyd Webber, and it is based on the novel Le Fantôme de l’Opera by Gaston Leroux. The orchestrations for the music are done by David Cullen and Lloyd Webber, while the musical supervision is handled by Simon Lee.
The production design for the show is created by Maria Björnson, with set design adapted by Matt Kinley and associate costume design by Jill Parker. Lighting for the show is designed by Andrew Bridge with associate lighting design by Warren Letton, and the sound design is done by Mick Potter. The musical staging and choreography for the show was handled by Gillian Lynne, recreated and adapted by Chrissie Cartwright.
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The Phantom of the Opera extends West End run
1 minute read
Featured Image: MrsEllacott / CC BY-SA 3.0 / Edited for size
The Phantom of the Opera has extended its West End run at His Majesty’s Theatre, with bookings being taken until September 28, 2024.
Andrew Lloyd Webber’s production recently marked 37 years on London’s West End, in the same year the play closed on Broadway.
The Phantom of the Opera had featured on Broadway for 35 years, playing 13,981 shows and grossing more than $1.3bn (£1bn/€1.3bn) before closing in April .
It first opened on the West End in 1986 and in New York in 1988 at the Majestic Theatre, where it remained for more than three decades.
The Phantom of the Opera was the longest running show in Broadway history, and the second longest-running West End musical behind Les Misérables. It is the third longest-running show overall behind The Mousetrap and Les Misérables.
😍 Let the spectacle astound you 😍 Delighted to share the new & official photographs of #PhantomLondon 's new cast at His Majesty’s Theatre. Booking now extended until September 2024! Book to see our cast in London's West End at https://t.co/xmvNMBsY2E 🌹 📸 Johan Persson pic.twitter.com/4DWqcZ3C2N — The Phantom Of The Opera (@PhantomOpera) October 13, 2023
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Gerard Butler's 'Phantom of the Opera' Was Good, You Guys Are Just Mean
Underrated? Maybe. Over-hated? Definitely.
Ah, yes, everyone's favorite or least favorite musical movie. A film that you can ask someone about, and they will either sing its praises with fond nostalgia or go on an hour-long rant about how it's the greatest misuse of a stage production of all time . The Joel Schumacher-directed The Phantom of the Opera is by far not the worst adaptation of Gaston Leroux 's novel, those who have seen the 1998 Dario Argento film can verify, but it sure isn't the best. When I first became obsessed with the masked musician, I had many unkind words for the 2004 movie, and it's not as if all of my complaints were unfounded.
There are reasons that this movie is so polarizing. While the production is gorgeous, Alexandra Byrne 's costumes are amazing, the sets are sweeping, and the orchestra is on point, in short: it's a pretty movie. But how it fails is the two things the Andrew Lloyd Webber musical needs: it needs the depth of emotionality, and even more importantly it needs a great cast of actors to tie it all together.
RELATED: Andrew Lloyd Webber's Movie Musicals, Ranked
Patrick Wilson as Raoul De Chagny is a total exception; he was brilliant, perfect for the role, even. The supporting cast was also perfectly fine, but that's not where the real issue is, because the two characters people have their eyes on are the ingénue Christine Daae, here played by Emmy Rossum, and the Opera Ghost himself, played by none other than Gerard Butler . Rossum's issue was plain and simple: She was way too young, being 17 years old at the time of filming. This is even more uncomfortable considering how hard they leaned into the romantic and seductive elements of the story, given that both Wilson and Butler were twice her age.
Why Don't People Like Gerard Butler's Phantom?
Butler, on the other hand, is a whole other story, and a lot of it comes down to being given the burden of playing such an iconic character. This film has a very, very long production history, being in the works since the days of Sarah Brightman and Michael Crawford, who were originally considered before it became way too late. A lot of actors were considered to play the eponymous role, including Hugh Jackman and Antonio Banderas, which maybe would've been a shock to average moviegoers, but not to those in the know. Why didn't they just pull a Jesus Christ Superstar and cast understudies from the Broadway or West End production? I don't know. No matter which direction they went in, someone was bound to be upset either way. Eventually, Butler was cast, and people had some notes.
Let's get the complaints out of the way. No, Butler was not a classically trained singer, and his performance is at times mentioned in the same category as Pierce Brosman in Mamma Mia and Russell Crowe in Les Misérables. He wasn't awful, but a character like the Phantom needs to be more than not awful, being one of the most enduring and iconic roles in all of musical theater. The deformity that condemned him to a life of violence and seclusion looked more like a bad rash.
Those who took issue with this version of the Phantom just didn't like how purposefully attractive they made him, which is a perfectly valid issue to have. That was the direction that they went with for this film in most regards. The costumes are the same way, as are a lot of the directions for the performances. It's considerably easier to tell when comparing the film and the stage production side by side where the weaknesses are.
He Might Be Underrated, But He Was Absolutely Over-Hated
However, none of this is Butler's fault, and he tried his absolute best. He was not an experienced singer before shooting this film. He was in a rock band as a student, and he was aware of how strange it was to be in that position. But both Schumacher and Webber believed Butler's singing voice had an edge to it that they felt fit the character, and Butler put the hard work in to be ready for this movie. More importantly, in spite of the idea that the director and producer, Andrew Lloyd Webber, had in their head for the Phantom, which was more of the darker side of a love triangle than a sympathetic villain, Gerard's performance as the Phantom is actually pretty underrated.
This role makes so much sense when you learn that it was his performance in Dracula 2000 that drew Schumacher's eye, playing a darkly brooding, revenge-driven monster. Singing aside, which really was just fine, where Butler shines is in the acting performance of The Phantom. He almost works in spite of the emotionally clumsy direction, and the whole Mills & Boon vibe the movie had. He wasn't afraid to go to a terrifying and ugly place when he needed to, like in the murders, and at the moment when Christine rips off his mask. He played the role as if his charm is a very fragile veneer for something furious and unstable. He can act superior around the people he's haunting, throwing his voice around and openly mocking the Opera House staff because he knows they're too scared to do anything about it, but when Christine shows him affection, he fully breaks down and weeps like a lost little kid.
An Olive Branch For 2004's Phantom
The Phantom, as a character in any of his many adaptations, is one with a lot of layers. Just watching one man slowly chip away bit by bit until the ending gives way to the center: Someone who has been devoid of love his entire life and is desperately crying for help. Butler plays his layers quite well. Starting off with seductive, dominant, and alluring, then becoming volatile and domineering, and the Final Lair where he stands in front of Christine and just starts sobbing. It still gets me, Gerard Butler had his moments as The Phantom, and does it with an edge and a danger that someone who would go on to play Leonidas could give it.
I really do anticipate that both camps won't really be happy with my conclusion, either in saying that Gerard Butler as the Phantom is okay, or in saying that it was just okay. I think it's time this film moved into the same territory as the first Twilight movie, and that we, those who really didn't like this movie, made peace with its existence. The first eight years were undeniably hard, at a loss for any other version of the Andrew Lloyd Webber musical that was accessible. But 2012 came along, and the 25th-anniversary performance at the Royal Albert Hall was released on DVD. So if you want a definitive version with a cast that many consider to be the best, there it is. There is so much more to the story beyond one musical and one movie , needless to say, Gerard Butler's Phantom is not the end of the world. Was it the greatest musical adaptation ever? No, far from it. But it had its strengths, and there are people out there who do love it, and now that I'm older, and hopefully wiser, I can kind of see why.