This stands to reason since Phantom is into its third decade in London and swept Broadway’s Tony Awards nineteen years ago. The quality of the costumes is also remarkable, especially for the operas shown in rehearsal or performance. This production shines with well-engineered special effects, even if they are not always “spot on.” And the sets and effects superbly serve the story and the characters. Touring company sets often are less than 100% satisfactory in comparison to the technical sophistication and wizardry of the permanent sets on Broadway or London’s West End – there are just too many variables of theatre size and space configuration with which to contend on the road. It really isn’t necessary to schlep up to New York City – you won’t get an appreciable better Phantom experience there. But we don’t need a sequel because, fortunately, the Kennedy Center’s touring production of Phantom of the Opera is a first-class, top-drawer, A-1 production – far from a CATStastrophe. Book by Andrew Lloyd Webber and Richard StilgoeĪ recent headline announced “Cat Destroys Lloyd Webber’s Phantom Sequel Score.” Well, Phantom‘s run has surpassed the phenomenal run of Cats – so it’s not surprising that a really pissed pussycat would strike a blow for feline-kind.
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