Unofficial, fan-made guides to seeing every production of Phantom of the Opera, written by Phans, for Phans.
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Enter the Summer GiveawayThe 2025–2027 (and beyond) North American Production · Latest update: July 13, 2026
I created this guide so Phans have a central place for accurate, helpful information about the touring production. For deep dives, behind-the-scenes, and spoiler content, join me on Patreon. I also co-host the Between Two Phans podcast, where we talk about every Phantom production around the world. Listen on YouTube or wherever you get your podcasts. This guide is completely unofficial and not affiliated with Cameron Mackintosh Productions or LW Entertainment.
Official sources: us.thephantomoftheopera.com, @phantomtour on Instagram and Twitter, and individual venue box offices.
What is this? LW Entertainment (formerly RUG) and Cameron Mackintosh's touring production of Phantom, based on the 2021 London restaging, which is based on the original Harold Prince / Maria Björnson / Gillian Lynne production. This is not the 2013 "reimagined" tour.
Key differences from Broadway: a 14-piece orchestra (instead of 27), slightly streamlined touring staging, a circular chandelier (it doesn't begin on stage, but the crash more than makes up for it), and the same songs, story, and iconic moments.
| Category | Broadway (Majestic, closed Apr 2023) | U.S. Tour | London Remount (His Majesty's) |
|---|---|---|---|
| Production basis | Original Prince/Björnson staging, evolved over 35 years | Touring adaptation of the 2021 London remount | 2021 remount inspired by the original |
| Venue model | One permanent theatre built around the show | Many theatres, different sizes and acoustics | One redesigned West End theatre |
| Set design | Large-scale, permanent, highly detailed | Modular, lighter, designed to travel | Streamlined for one fixed house |
| Orchestra size | 27 players | 14 players | 14 players |
| Sound profile | Full, symphonic, consistent | Leaner, more amplified, venue-dependent | Leaner but tightly controlled |
| Consistency | Extremely high | Variable by city, theatre, and seat | Extremely high |
| Chandelier effect | Calibrated for one theatre | Adjusted per venue; impact varies | Calibrated for one theatre |
| Primary strength | Scale, orchestral weight, visual density | Accessibility, interpretation, reach | Precision, clarity, controlled design |
| Primary tradeoff | No longer available | Variability city to city | Limited geographic access |
The Phantom of the Opera is touring North America again, and it's the real thing: the Harold Prince / Maria Björnson / Gillian Lynne original staging, adapted for the road. The cast are Phans themselves, the energy is palpable, and if you've been missing Phantom since Broadway closed, this is your show.
Cameron Mackintosh's touring production based on the 2021 London restaging at His Majesty's Theatre. It preserves the original Harold Prince direction (adapted by Seth Sklar-Heyn), Maria Björnson's costume designs, Gillian Lynne's choreography, and all the iconic staging moments. Same songs, same story, same chandelier crash. It uses modern technology (LED walls, updated sound design, 3D-scanned prosthetics) to enhance what's always worked while making the show practical for touring.
This is not the 2013 "restaged" tour, which was a completely redesigned production. This tour has been marketed as a replica production from day one. Look at the ads and you'll see the Masquerade staircase and the black and blue color scheme (the restaged tour used red). This is the original production.
The show has evolved since 1986. Costumes have been updated, blocking has shifted, technical elements have improved. This tour preserves the core (Prince's vision, Björnson's designs, Lynne's choreography) while adapting for touring. The orchestra is 14 pieces instead of 27 (same as the current West End). LED technology adds visual depth without extra trucks. Modern sound design helps fill larger venues. Some of the original Broadway sets and costumes are actually part of the tour.
Arrive at least 20–30 minutes before your start time, earlier if you want merch. That gives you time to navigate parking or transit, pick up will-call tickets, find your seats, use the restroom, and browse merchandise. Most theaters won't seat latecomers until a suitable break, which could mean missing the entire first act.
About 2 hours 30 minutes with one 15–20 minute intermission. Act I is ~1 hour 10 minutes (ending with the chandelier crash), then intermission, then Act II at ~55 minutes.
Opening weekend audiences included many people who hadn't seen Phantom since the 1980s or early '90s, and there was genuine surprise and delight at moments they'd forgotten. Standing ovations after major numbers like Music of the Night are common. The energy is palpable.
The chandelier stays lowered about five feet above the audience, a great photo opportunity. Use the restroom early; lines get long. The merch stand is open then too.
There's no dress code for the tour. Wear whatever you're comfortable in. Some people dress up, some wear jeans, and if you want to cosplay, go for it. The show is only in town for a few days, so be passionate and weird. If you do want to dress for the occasion, here's where I shop and a few of my own looks.
Fairy Tong makes handcrafted, fairytale-worthy gowns. Use code ANDREA for 10% off. My everyday picks and accessories live on my Amazon storefront.
As an Amazon Associate and affiliate, I may earn a small commission from these links at no extra cost to you.
A few of my own theater looks:
(Video: Merch!.) An extensive selection is available in the lobby before, during intermission, and after. Some items are also on the Platypus Productions website. Items include T-shirts (~$30–40), a sparkly Phantom tee, hoodies and sweatshirts (~$50–70), a retro pullover, vinyl records, window cards, fans, blankets, magnets and keychains (~$10–15), MinaLima prints (~$60), mask ornaments, and a photo-op area. A souvenir photo booklet with tour production shots is coming. Tour-specific city designs haven't appeared yet, but in Chicago there were window cards in local businesses, and I got one for free near the theater, so it's worth asking at shops near the venue. The stand accepts cash and credit.
| City | Venue | Dates | Notes |
|---|---|---|---|
| Los Angeles, CA | Hollywood Pantages | Jun 24–Aug 9, 2026 | On sale · Tickets |
| Costa Mesa, CA | Segerstrom Center | Aug 12–30, 2026 | On sale · Tickets |
| San Diego, CA | San Diego Civic Theatre | Sep 2–13, 2026 | Not yet on single-ticket sale · More info |
| Tempe, AZ (Phoenix) | ASU Gammage | Sep 16–Oct 4, 2026 | Not yet on single-ticket sale · More info |
| San Jose, CA | San Jose Center for the Performing Arts | Oct 7–18, 2026 | On sale (single tickets June 9) · Tickets |
| Las Vegas, NV | The Smith Center | Oct 21–Nov 1, 2026 | Not yet on single-ticket sale · More info |
| Oklahoma City, OK | Civic Center Music Hall | Nov 4–15, 2026 | On sale · Tickets |
| Tulsa, OK | Tulsa Performing Arts Center | Nov 18–29, 2026 | On sale · Tickets |
| Kansas City, MO | Music Hall | Dec 2–13, 2026 | Not yet on single-ticket sale · More info |
| Dallas, TX | Music Hall at Fair Park | Dec 16, 2026–Jan 3, 2027 | Not yet on single-ticket sale · More info |
| San Antonio, TX | The Majestic Theatre | Jan 6–17, 2027 | On sale · Tickets |
| Austin, TX | Bass Concert Hall | Jan 20–31, 2027 | Not yet on single-ticket sale · More info |
| Nashville, TN | TPAC | Feb 3–14, 2027 | Not yet on single-ticket sale · More info |
| Omaha, NE | Orpheum Theater | Feb 17–28, 2027 | Not yet on single-ticket sale · More info |
| Des Moines, IA | Des Moines Civic Center | Mar 3–14, 2027 | On sale · Tickets |
| Pittsburgh, PA | Benedum Center | Mar 17–28, 2027 | On sale · Tickets |
| Appleton, WI | Fox Cities Performing Arts Center | Mar 31–Apr 11, 2027 | On sale · Tickets |
| Cleveland, OH | Playhouse Square (KeyBank State Theatre) | Apr 14–May 9, 2027 | On sale · Tickets |
| Columbus, OH | Ohio Theatre | May 12–23, 2027 | On sale · Tickets |
| Durham, NC | DPAC | May 26–Jun 6, 2027 | Not yet on single-ticket sale · More info |
| Philadelphia, PA | Academy of Music (Ensemble Arts) | Jun 9–20, 2027 | On sale · Tickets |
| Schenectady, NY | Proctors Theatre | Jun 23–Jul 4, 2027 | Not yet on single-ticket sale · More info |
| Charlotte, NC | Belk Theater | Jul 7–18, 2027 | On sale · Tickets |
| Boston, MA | Citizens Opera House | Jul 21–Aug 8, 2027 | Not yet on single-ticket sale · More info |
| Grand Rapids, MI | DeVos Performance Hall | Aug 11–22, 2027 | Not yet on single-ticket sale · More info |
| East Lansing, MI | Wharton Center | Aug 25–Sep 5, 2027 | Not yet on single-ticket sale · More info |
| City | Venue | Dates | Notes |
|---|---|---|---|
| Detroit, MI | Detroit Opera House | Feb 4–15, 2026 | Run completed |
| St. Louis, MO | The Fabulous Fox | Feb 18–Mar 1, 2026 | Run completed |
| New Orleans, LA | Saenger Theatre | Mar 4–15, 2026 | Run completed |
| Denver, CO | Buell Theater | Mar 18–Apr 5, 2026 | Run completed |
| Salt Lake City, UT | Eccles Theater | Apr 8–26, 2026 | Run completed |
| Portland, OR | Keller Auditorium | Apr 29–May 10, 2026 | Run completed |
| Seattle, WA | Paramount Theatre | May 13–24, 2026 | Run completed |
| San Francisco, CA | Orpheum Theatre | May 28–Jun 21, 2026 | Run completed |
The show will be in Florida in fall 2027 and early 2028, as some theaters (including the Blumenthal Center in Fort Myers) have already announced that far out. More cities will be announced. This is a multi-year tour. For the most current updates, follow @phantomtour on Instagram, @bwayamerica, and individual theater accounts.
Where to buy: official venue websites and Ticketmaster (all official links are in the schedule above). Resale sites (StubHub, Vivid Seats, SeatGeek) are marked up and should be a last resort.
Prices vary by city, day, and seat location, but across the tour they tend to run about $60 to $250 for most seats, with premium seats higher. The priciest markets have reached the $400 to $700 range for premium locations, while balcony and weeknight seats can sometimes be found closer to $60. As a rule, Tuesday and Wednesday evenings are the cheapest and Saturday nights are the most expensive.
Most stops offer some same-day discount, an in-person rush line, a digital lottery, or both, though the format and price vary by city. In-person rush is typically sold at the box office about two hours before curtain, subject to availability, usually cash or credit, limit two per person, and often obstructed-view or limited-location. Digital lotteries run through the local presenter's app or website. Across cities, rush and lottery prices have generally fallen between about $45 and $60. Check the current city's entry below and the local venue or presenter for exact details.
Most venues offer 15–20% discounts for groups of 10 or more. Contact venue group sales departments directly.
Overall: Orchestra Row D to wherever the overhang starts in your theater. Don't sit behind the overhang, it cuts off the chandelier view. For overall view: Front Mezzanine / Dress Circle Rows A–E. Best value: Rear Mezzanine, Tuesday/Wednesday nights.
For all venues, contact the theater directly for parking, accessibility, and local information. Detailed guides are added for cities I attend personally. If you have local intel, or you're a business interested in being featured, email flagbridgedesigns@gmail.com.
Six-plus weeks is the longest run on the current schedule, and the Pantages is one of the great touring houses in the country. Venue: 6233 Hollywood Blvd. Getting there: the Hollywood/Vine Metro Red Line stop is steps away; there's a validated parking agreement with the lot at 6201 Hollywood Blvd, but the Metro is genuinely easy here. Ways to save: there is a $45 digital lottery through the Broadway In Hollywood app, and $55 in-person rush tickets at the box office two hours before the show, subject to availability since inventory is very limited. To gauge what is actually available, check the blue dots on Ticketmaster. As for how early to line up for rush: when I went, the first person in line had arrived two hours before the box office opened — a full four hours before showtime. Your mileage may vary. Where to stay: our official hotel pick for the LA run is the Kimpton Everly Hotel Hollywood, a stylish boutique hotel a short walk from the Pantages. Let them know you heard about them from FlagBridge when you book. FlagBridge is a proud partner of the Kimpton Everly Hotel Hollywood. Sightlines: the chandelier hangs so far forward here that the overhang is not really an issue.
Alexa Xioufaridou Moster appears as Christine Daaé at these Los Angeles performances. Casting can change, so always check the cast board at the theatre on the day.
Schedule shared by @alexamoster on Instagram.
Six Hollywood Walk of Fame stars tied to The Phantom of the Opera, running east to west along Hollywood Blvd from the Pantages toward La Brea Ave. About one mile end to end.
Watch my Hollywood stars walk on Instagram
Open the walking route in Google Maps
Segerstrom Center for the Arts, 600 Town Center Dr, in Orange County. The next stop after Los Angeles. Getting there, where to stay, pre-show dining, and sightlines are TBD.
San Diego Civic Theatre, 1100 3rd Ave, downtown near the Gaslamp Quarter. Getting there, where to stay, pre-show dining, and sightlines are TBD.
Buell Theater, Denver Performing Arts Complex, 1400 Curtis St. Lots of parking around, and we had no issues getting out. There are a zillion restaurants in the area; most people eat at the diner two blocks away. The Buell is super wide, so if you're far over to one side, be mindful it could impact your view of things like the Phantom in the mirror. The overhang is very far back, so that isn't as big a deal as it was in Baltimore.
Portland has a Thursday matinee. We're pleased to partner with the Mark Spencer Hotel: use code ERIK at checkout for 15–20% off your stay at markspencer.com. A cosy, independent 100-room hotel in downtown Portland, steps from Powell's City of Books, Portland Center Stage, and the Pearl District, with luxury bedding, custom furniture, Carrera marble flooring, and artwork by local artists.
Seattle ads are using restaged tour footage. Ignore them. This is the replica production. Guide coming.
Four weeks is one of the longer runs on the tour, enough time to plan a trip. When SF had a sit-down production, it ran at the smaller Curran Theatre, where current Madame Giry Lisa Vroman performed as Christine.
Venue: Orpheum Theatre, 1192 Market St. Getting there: BART and Muni both stop at Civic Center / UN Plaza directly across from the theater, one of the most transit-accessible venues on the tour. Driving in this part of SF is not recommended. Where to stay: Hayes Valley (a 10-minute walk) is far more pleasant than Mid-Market. Hotel Bijou (111 Mason St) is a theater-themed boutique hotel; Hotel Zetta (55 5th St, SoMa) is well-located and well-reviewed. Pre-show dining: Hayes Street has a strong restaurant scene; Zuni Café (1658 Market St) is an SF institution, and Rich Table (199 Gough St) is excellent but needs advance reservations. Sightlines: far left and right of the orchestra are obstructed. Personal note: after dark, the area around the theater has many unhoused people between there and the hotels. As a New Yorker, I found it a very different environment and not the most pleasant walk alone, though it is well lit and patrolled by police.
Guides coming for Costa Mesa, Phoenix, San Jose, Las Vegas, Oklahoma City, Tulsa, Kansas City, Dallas, San Antonio, Austin, Nashville, Omaha, Des Moines, Pittsburgh, Appleton, Cleveland, Columbus, Durham, Philadelphia, Schenectady, Charlotte, Boston, Grand Rapids, and East Lansing. Detailed guides are added for cities I attend personally. Local intel welcome at flagbridgedesigns@gmail.com.
Most tour venues are ADA compliant with accommodations for guests with disabilities, though some are historic theaters that may not have elevators to the second floor.
Wheelchair access: wheelchair-accessible seating is available at all venues, typically in the Orchestra. Call the box office directly rather than booking online so they can ensure proper placement. Assistive listening devices are available at all venues; ask an usher or the box office. Service animals are always permitted.
Sensory considerations: the show includes loud sound effects and music, strobe lights and pyrotechnics, fog and haze, sudden bright lights (the chandelier crash), and periods of darkness. Most venues have dedicated accessibility coordinators; contact the box office or check the venue website.
| Role | Actor |
|---|---|
| The Phantom | Isaiah Bailey |
| Christine Daaé | Jordan Lee Gilbert |
| Christine (at certain performances) | Alexa Xioufaridou Moster |
| Raoul, Vicomte de Chagny | Daniel Lopez |
| Carlotta Giudicelli | Midori Marsh |
| Ubaldo Piangi | Christopher Bozeka |
| Madame Giry | Lisa Vroman |
| Meg Giry | Melo Ludwig |
| Monsieur André | Carrington Vilmont |
| Monsieur Firmin | William Thomas Evans |
| Auctioneer / Monsieur Reyer | Ben Roseberry |
| Joseph Buquet | James Channing |
The alternate Christine typically performs twice a week, usually one of the two shows on two-show days. I'll share these dates per city as they're announced. Los Angeles scheduled alternate (Alexa Xioufaridou Moster) performances: 6/25 mat, 6/27 mat, 6/28 eve, 7/1 mat, 7/3 mat, 7/5 eve, 7/11 mat, 7/12 eve, 7/18 mat, 7/19 eve, 7/21 eve, 7/22 eve, 7/25 mat, 7/26 eve, 8/1 mat, 8/2 eve, 8/8 mat, 8/9 eve.
Madame Firmin: Carlyn Connolly. Princess: Evelyn Mê-Linh. Page: Alyssa Giannetti. Confidante: Alexandria Shiner. Wild Woman: Olivia McMillan. Don Attilio: Jeremy Harr. Passarino: Donovan Elliot Smith. Monsieur Lefèvre / Fire Chief: Stephen Tewksbury. Hairdresser: David Young Fernandez. Jeweler: Dennis Shuman. Wardrobe Mistress: Krista Wigle. Marksman: Matthew Griffin. Hannibal's Guard / Shepherd: Stanley Glover, Weston Krukow, and Nick Meyers (rotating by date).
The Ballet Chorus of the Opéra Populaire: Aloria Adams, Stanley Glover, Kayla Goldsberry, Jennifer Gruener, Weston Krukow, Liv Mitchell, Eureka Nakano, Charlotte Oceana.
Swings: Bronson Norris Murphy, Scott Mikita, Trista Moldovan, Lacy Sauter, Andy Tighe. Dance Captain / Swing: Camila Rodrigues.
| Role | Understudies |
|---|---|
| The Phantom | Bronson Norris Murphy, David Young Fernandez, Matthew Griffin |
| Christine Daaé | Alyssa Giannetti, Evelyn Mê-Linh |
| Raoul | Matthew Griffin, Andy Tighe |
| Carlotta | Olivia McMillan, Alexandria Shiner, Trista Moldovan (likely) |
| Monsieur André | Scott Mikita, Ben Roseberry |
| Monsieur Firmin | James Channing, Scott Mikita, Stephen Tewksbury |
| Ubaldo Piangi | Donovan Elliot Smith, Dennis Shuman |
| Madame Giry | Carlyn Connolly, Trista Moldovan, Krista Wigle (likely) |
| Meg Giry | Kayla Goldsberry, Charlotte Oceana |
Follow the tour's social media for understudy performance announcements, and check the cast board at the theater entrance.
This is one of the most diverse replica casts in Phantom history: racially diverse, varied in age, and including performers of different body types and sizes. It looks like an actual opera company, not the result of casting everyone to match a single aesthetic.
Yes, there's an LED wall. No, you won't notice it unless you're actively looking. (Video: LED Wall.) It adds visual depth without extra trucks: the graveyard's weeping angel statues that look like carved stone are LED projections, and some backdrops are traditional painted drops while others are more vibrant LED. The technology helps achieve Björnson and Prince's original vision, like the sparkly tile in the lair walls and the rats with the rat catcher that Cameron Mackintosh finally got after 39 years. With three-day load-ins and one-week stands in some cities, the LED wall makes that possible while maintaining visual quality.
The elephant is enormous and bejeweled, the glitziest Hannibal elephant in any current production, because it's the Broadway elephant. The North American staging has two performers inside drinking and smoking (London has them playing cards). The energy in this number is exceptional.
Follows the 2021 London staging. The Phantom and Christine start at the top of the travelators and descend together. Raoul emerges from the dressing room while Madame Giry crosses with the ballet girls. The boat enters and the duo boards. It's a different flow than Broadway and took me a moment to adjust to, but it works well.
The candles telescope up through the stage deck. Large candelabras enter from the sides (classic second and third national tour style). The projections are clever: projected stairs above the real travelator make it feel like they've been descending forever, a subtle touch that enhances the physical staging without replacing it.
A gorgeous spinning candelabra sits at the base of the staircase. Look at the top of the staircase: there are projections of additional masked figures up there, easy to miss until late in the number, but once you see them you can't unsee them. This is where you'll notice the 14-piece orchestra most, if you're listening for it.
The LED wall really earns its keep. The weeping angel statues are projections and look incredible. The scene feels richer and more atmospheric than any previous touring production I've seen.
Uses the London approach: a Pegasus statue instead of the traditional proscenium angel. The Pegasus swings out over the stage, and Isaiah Bailey comes up much higher out of the horse than West End Phantoms typically do. Why a Pegasus? Practical reasons: many touring venues have deep overhangs that would block a descending angel. The Pegasus ensures everyone can see the scene.
Same size as the current West End. The reduction from Broadway's 27 is most noticeable during Masquerade; otherwise the sound design fills the space. Purists will notice; most audience members won't care.
(Video: All about the chandelier.) The tour's chandelier is named after choreographer Gillian Lynne. It's a fully circular design, unlike the oblong Broadway and West End chandeliers (nicknamed Ruthie and Ruthie 2). The original oval shape was a product of 1980s weight and rigging limits; modern materials finally allowed a full circle. It's bigger, more detailed, and more imposing than any version before it.
At the top of the show, the chandelier starts covered and raised. Because so many touring houses have deep balcony overhangs, the production lowers it below the overhang first so everyone can see it. As the lighting shifts, the cloth comes off in a gorgeous reveal, then it rises as we transition to 1881. Instead of a quick blackout, the cast stays onstage as it ascends. It's more gradual, and it works beautifully.
The crash. Then there's the crash. If you remember the Las Vegas production, this will feel familiar. The chandelier drops straight down instead of swinging forward. Before it falls, the whole thing flickers and shakes, then plummets with a flashbang lighting effect and a blackout right before it stops. People scream at every performance. If you're underneath it, it's genuinely disorienting in the best possible way.
Here's the part I love: during intermission they leave the chandelier hanging about five feet above the audience. Most productions yank it out of sight immediately. This one lets you sit with it for the full 15–20 minutes before it rises back during the entr'acte. You can see every crystal and really appreciate the scale.
Yes, the chandelier doesn't start onstage. But the crash more than makes up for it, and the physics make more sense this way: it falls toward the audience, which is what the story actually calls for. This tour doesn't replicate the onstage starting position (modern rigging requirements), but the straight-down crash is the best chandelier moment since Vegas. That is not a small thing to say.
Isaiah's wig: Isaiah Bailey is the first Black principal Phantom to have a natural textured wig. The cut and shape are historically accurate for the Victorian period, and the texture is matched in the alopecia wig as well. Madame Giry's wig: three layers, a crown braid, additional structure, and a bun. The cast includes two Black corps de ballet members with different wig textures, and all the ballet members have individualized wigs rather than identical styling.
An entirely new sculpt, different from both the West End and Broadway's final prosthetics. The design team uses 3D scanning to create custom-fitted pieces for each performer instead of stock molds. The fit is precise and the coloring is effective: the right amount of shocking without being distracting.
Women's costumes are made in London; men's suits (the Phantom's and Raoul's) in New York at Eric Winterling, who made the Broadway costumes. The tour primarily uses West End costumes with some North American adaptations (Madame Firmin's dress follows the US style). The Masquerade costumes are particularly stunning.
The US Star Princess costume was iconic. The current version uses the London design, which is fine in London, but this execution has issues: the bodice doesn't match the skirt in color (it wasn't dyed), the skirt lacks volume, and the effect falls flat next to the detailed Masquerade costumes. That said, some old Broadway costumes have been pulled from storage into rotation, and the understudies will be wearing old Broadway and tour costumes, so it looks like the US version is coming back.
The Phantom's tailcoat uses the full velvet cuff standard in the West End for 20 years; the old North American minimal-trim distinction is now gone. Raoul's Hussar is a completely new design, still recognizably a Hussar uniform but with updated details. Overall the cast represents different sizes, heights, and body types, and everyone looks stunning. It resembles an actual opera company rather than a single aesthetic ideal.
Traditional proscenium, 2,000–3,000 seats. One Phantom / Christine / Raoul per show. $30–$250. No dress code. Best for a classic Phantom experience, families, and those outside NYC.
Immersive walkthrough, 60 people. Six Phantoms, six Christines, three Raouls (the pulse system). $170–$300+. Black/white/silver formal and a mask required. Best for a different experience, repeat viewing, and being inside the story. The key difference: Masquerade is immersive (you move through rooms), the tour is traditional (you sit and watch). Both are valid. I'm seeing both multiple times.
This is the production the tour is based on: same director, same design, same orchestra size (14), same staging. If you see London, you're seeing the tour's template.
Closed. This tour is the closest you'll get now.
Stop comparing to restaged. This is not the restaged tour. The ads show the Masquerade staircase, the black and blue color scheme, and "replica production" messaging. The restaged tour used red. This is the original production adapted for touring.
Which "brilliant original"? The show has evolved constantly since 1986. Every production is different, and within a production it changes year to year. There is no single "brilliant original" frozen in time; the show has always been a living, breathing production.
You're allowed to like this. You're allowed to like something because it's good, even if people online don't like it because it's different from a version they saw in a bootleg. Online discourse can be intense. The show itself is excellent.
Changes are normal. The Pegasus grew on many people who were initially skeptical. The LED wall enhances rather than replaces. The evolution is part of the show's legacy.
The cast are Phans. Isaiah Bailey almost quit the business before booking this role. The whole cast came through different paths, open calls, video submissions, EPAs, and they bring that energy to every performance. You can feel it.
Talk Phantom with us. I co-host the Between Two Phans podcast, where we cover every production of Phantom around the world. Listen on YouTube or wherever you get your podcasts.
Stage door logistics vary by venue. Generally, cast members come out 15–30 minutes after the final curtain call, though this varies (in Chicago there were two subzero evenings where they didn't stage door). The cast have been welcoming and gracious, and many attend the stage door regularly when they're able.
As someone with social anxiety, here's a guide to your first stage door. Introduce yourself: "Hi! I'm [name]. I loved the show! [Optionally mention one specific thing you liked.] Could I have your autograph or a selfie?" That's it. Bonus: "Here's some cool fanart I made!" (give it unwrapped or in a clear container). It's okay to share how the performance inspired you, just be mindful not to monopolize their time.
Many cast are active on Instagram and TikTok and have joined Instagram Lives with the community. They're fans themselves and genuinely appreciate the enthusiasm. There's a line of being parasocial, but telling people you appreciate their performance is always acceptable. Don't post screenshots of private DMs with cast and crew.
For deep dives, scene breakdowns, and spoiler content, join me on Patreon. To keep this free guide updated, you can tip on Ko-fi.
Join on Patreon Support on Ko-fiThis is the Phantom tour we deserve. The cast is exceptional. Isaiah Bailey brings intensity and depth to the Phantom. Jordan Gilbert and Alexa Xioufaridou Moster both own "Wishing": among global Christines performing right now, their interpretations stand out. Daniel Lopez gives Raoul the dignity the character deserves. The ensemble is talented, diverse, and brings genuine love for this show. The understudies eat.
The production is beautifully executed. The chandelier works. The Pegasus works. The LED wall enhances without overwhelming. The costumes are gorgeous (Star Princess notwithstanding, though the understudies have US Star Princess). The wigs are impeccable. This is the 21st century Phantom production, honoring the legacy while using modern technology to enhance what's always worked.
If you've been missing Phantom since Broadway closed, this is your show. If you've never seen it live, this is an excellent introduction. If you're wondering whether to travel to catch it, yes. Go. Enter that lottery. Buy those tickets. See this cast while you can. We're so back.
Check out my YouTube playlist about the tour.
The Immersive Phantom of the Opera Experience · Latest update: July 22, 2026
I created this guide so Phans have a central place for accurate, helpful information. This is based on all publicly available information; I do not provide inside info, so please don't DM me asking for non-public details. It is completely unofficial and not affiliated with Masquerade. Official sources are masqueradenyc.com and info@masqueradenyc.com. I also co-host the Between Two Phans podcast, where we talk about every Phantom production. Listen on YouTube or wherever you get your podcasts.
Masquerade NYC — 218 West 57th Street. Run time: 2 hours, 15 minutes with no intermission. Tuesday through Sunday (matinees 13+ Saturday & Sunday, dark Monday). There is no difference between matinees and evening shows. Open run, extended for a sixth time and now playing through January 31, 2027.
Downscales since 2/1/2026: cutting of lair candles, elimination of one role in the carnival, and elimination of the Don Juan cards (since reinstated). The elimination of a second carnival character weakens the scene. Other downsizing rumors are just rumors; the remaining changes are fine.
6/4/2026: there is no fire breather at the moment, due to health concerns. It is unclear when the fire breather will return.
Masquerade NYC is an immersive Off-Broadway reimagining of Andrew Lloyd Webber's The Phantom of the Opera. Instead of sitting in a traditional theater, only about 50–60 audience members enter the Phantom's world per show, moving through a multi-story environment that recreates locations from the Paris Opera House. You step inside the story, from the grand masquerade ball to the rooftop of the opera house and the Phantom's subterranean lair, with scenes unfolding all around you.
The production is directed by Tony Award winner Diane Paulus in collaboration with Andrew Lloyd Webber, who adapted his famous musical into an intimate immersive production that surrounds the audience with the music and action. Webber wrote new incidental music, and rumor has it he went room-to-room to adjust the EQ himself.
Masquerade began previews on July 31, 2025 and officially opened in New York on September 28, 2025, at 218 West 57th Street, a century-old French Renaissance-style building that once housed Lee's Art Shop. While it was announced as a six-week run, it was never intended to be limited. Tickets have been released in batches to ensure sellouts and longevity.
It is often compared to immersive shows like Sleep No More, but it offers a more linear, story-driven experience that is easier to follow than abstract dance theatre. It condenses and "remixes" the Phantom plot into a two-hour walkthrough, adding new scenes and backstory (such as an all-new carnival sequence) while trimming or rearranging other parts. All the iconic songs and moments are still present in some form, mostly via recorded orchestration with live vocals, experienced up close. You don't need to have seen Phantom before, but at least some familiarity (the soundtrack or the 2004 film) is helpful.
Masquerade is staged as a guided immersive journey rather than a conventional sit-down show. Attendees enter in small groups at assigned start times (called "pulses"), and each group is led room-to-room through elaborate sets. You won't have an assigned seat. You walk, stand, and occasionally sit as scenes play out around you. Performers may be inches away, and you might become part of the scene, for example being handed a rose to throw to Christine, or learning a simple dance to join in.
The running time is about 2 hours (often slightly over, up to ~2:15) with no intermission. Because groups enter every 15 minutes, multiple performances happen simultaneously in different parts of the building. You stay with your group and experience the full story in order.
Plan to arrive early. Check-in is thorough and latecomers are not admitted. Staff verify ID (evening shows are 21+), provide a wristband or hand stamp, and require you to check large bags and coats. Photography and recording are strictly prohibited; butlers place stickers over phone cameras and enforce a "phones silent and out of sight" rule.
Audience participation: You won't sing or speak lines, but you'll be an "extra." Madame Giry might address the crowd, the Phantom might brush past or whisper, and you could be asked to dance a few steps or hold a prop. A few lucky guests are handed letters written by the Phantom. If you receive one, you may keep it, but don't actively try to get one.
When the story ends, you're ushered out to the on-site bar and boutique. There is no curtain call. The evening transitions into a casual after-party atmosphere with themed cocktails and merch. The bar stays open until 11:00 PM, and much of the cast often comes out for a drink. Masquerade is as much an event as it is a show.
Want to see how the whole thing flows? Here's my Guide to the Trailer:
Watch "Guide to the Trailer" on Instagram
A "pulse" is each staggered start time that launches a group into the show. Six pulses run each evening, typically at 7:00, 7:15, 7:30, 7:45, 8:00, and 8:15 PM (with Saturday/Sunday matinees around 1:00–2:15 PM mirroring the same pattern). Each pulse has its own cast for the principal roles, so six performances happen in rotation: six Phantom & Christine pairs and three Raouls simultaneously.
As of June 30, Nicholas Edwards moves from Raoul to the Pulse 2 Phantom. Paul Adam Schaefer is also returning to cover Raoul over the summer.
Each team stays with their group for the entire journey. Supporting roles (Carlotta, Meg, Madame Giry, Piangi, the managers) are double-cast across pulses in a complex matrix. For example, the Meg in Pulse 1 is the Christine in Pulse 2. No two timeslots have exactly the same cast, so each Phantom brings a different flavor and tells a slightly different story. All the performers are top-notch. Masquerade is never exactly the same twice.
See the Pulse-Time Cast Matrix for the full table.
Videos on how the casting and pulses work:
Official email: boxoffice@masqueradenyc.com
Sold online via the official website and authorized partners (Telecharge), released in blocks. Performances often sell out quickly when sales are extended. This is an open run, not a limited run, but the show needs people to show up to stay running. If you're from out of town, relax — tickets will probably be available when you want to travel. If you're nearby, go now. Regular evening prices run roughly $195 to $241.50 (plus fees, and this has varied higher and lower). The experience is general admission. OG's List includes some lore-deepening and personal experiences for an extra $200. Evening shows are 21+; matinees allow ages 13+ with an adult. There is a 6-ticket limit per order.
An in-person, pre-show lottery offering a limited number of tickets at $66.60 (a nod to "Lot 666," the chandelier). The first was held November 16, 2025, with entries at 5:00 PM and winners drawn at 6:00 PM, giving away about 40 tickets. They have continued intermittently. To enter you must show up in person and meet the dress code (at least cocktail attire). Winners can buy up to 2 tickets at $66.60 each and typically join a later pulse that evening. Watch Masquerade's Instagram or sign the Phantom's Ledger (their email list) for dates.
The "Black Tie Standby Line" makes a very limited number of tickets available in person on the day of the show from cancellations or no-shows. Standby sales begin 1 hour before each performance at the venue box office. Tickets are $170 each, first-come, first-served, and you must be in proper attire. Limited to one per person present. On random weeknights, people have reported success showing up about 30 minutes before their preferred pulse. I showed up on a completely sold-out night at 6:45 and was offered 7:30 or 7:45. A digital cancellation line via TodayTix (announced December 9, 2025) offers tickets at $178, on sale at 9 AM the day of the performance, roughly 60 each. They aren't available every day, but it's worth checking back through the day; I've had luck in the afternoon.
Ticketing tips: Buy early. If a date is sold out online, the standby line may be an option if you're local, and the box office is currently allowing returns and exchanges, so keep refreshing. Official policy doesn't allow refunds, but you can contact the box office to transfer a ticket to a friend (they check ID). Avoid scalpers. When you secure a ticket, you'll receive instructions by email including a password, which is very important, and a warning that late entry is not allowed. Read it carefully.
In the Phantom's words: "You must dress in black, white or silver, or a combination of these colors. You must at all times conceal your face. A masquerade mask in black, white, or silver is required." Spots of color are okay if they match the theme. Do not wear high heels. Think formal masquerade ball: monochrome elegance with a mask, and prioritize comfort for movement. If you show up in less than formal attire, you will be given a cloak.
Black, white, and silver only. You can mix them (a black suit with a silver tie, a white dress with black accents), but no significant additional colors. Staff will turn away off-code colors or provide accessories to cover bright hues. Black and white formalwear is easy to find, and silver allows for some sparkle.
Cocktail or formal attire required. Most guests treat it like a black-tie event. Long dresses are popular (be mindful of length in small spaces). You don't have to rent a tux or ballgown, but wear something dressy. The vibe ranges from modern chic to period-inspired Belle Époque. There are no gendered requirements, and there have been amazing genderbent and fluid outfits.
You need a masquerade mask (half-face or eye mask, not a full Halloween mask). Make sure it's comfortable and doesn't obstruct vision or breathing; avoid giant feathered creations. If you don't bring one, they provide a black fabric eye mask with the Phantom's rose logo woven in, a nice souvenir. Stuck on what to get? I keep a running list of masks and other essentials I recommend.
Comfort, comfort, comfort. Stiletto heels are banned. You'll walk on varied surfaces and stairs and stand for much of the show. Flats, low/block heels, or dressy boots are great. Unless you are on the ADA route, you will be walking up and down six flights of stairs and frequently standing for two hours.
Lace gloves, ornate jewelry, faux-fur wraps in black/white all elevate the look. Avoid large hats or anything with bright lights. A small clutch or pocket is useful since large purses must be checked. Make sure your outfit allows movement on stairs.
Everything I actually wear and recommend for Masquerade, in one place. Masks, gowns, suiting, gloves, and accessories that meet the black, white, and silver dress code.
Want a showstopper gown? Fairy Tong makes handcrafted, fairytale-worthy dresses and gowns. Use code ANDREA for 10% off.
As an Amazon Associate and affiliate, I may earn a small commission from these links at no extra cost to you. It helps keep this guide free.
A breakdown of the costumes in the show:
Watch "Costumes in Masquerade" on Instagram
A few of my own Masquerade looks:
Layout: The experience spans multiple levels and rooms corresponding to famous Phantom scenes: a grand ballroom, an opera rehearsal stage, a backstage fly loft, the rooftop (you go outdoors if weather permits), a graveyard, and the Phantom's lair underground. You start on an upper floor for the ball, descend via an escalator into the basement for the lair, then climb stairs and step outside onto the roof. You're always guided, usually by Madame Giry or in-character "Butlers," and move as one unit.
Accessibility: Despite the stairs, the venue is ADA-compliant. Elevators and accessible pathways can bypass steps. If you or someone in your party uses a wheelchair or cannot do stairs, contact access@masqueradenyc.com in advance. Staff discreetly guide guests to elevators at transition points, and audience members who used the ADA route have praised the production. If you're unsure whether you need the route, reach out and they'll help you decide.
Sensory warnings: Strong lighting effects (strobes, flashes), periods of darkness, loud sound effects (gunshots, pyrotechnic pops), and fog/haze throughout. Consider earplugs if sensitive. A few scenes are in tight quarters or close crowds; if claustrophobic, stay toward the back or edge. The show isn't gory but has intense, stylized moments and mild adult content.
Facilities: There is a restroom, but no intermission, so go right before the show. Each guest gets a complimentary glass of champagne on entry (21+; non-alcoholic option available). Later there's a small whiskey/water sample at the carnival scene (the drink varies). No food is allowed inside; eat dinner beforehand.
Climate & exit: The building is climate-controlled, though the rooftop is briefly outdoors (an indoor sequence replaces it in bad weather). The event ends by 10:30–10:45 PM for the last group. You exit into the ground-floor bar/merch area and can retrieve checked items. W 57th St is safe and busy even at 11 PM.
Minimal spoilers ahead. Masquerade reimagines Phantom as an immersive, room-to-room experience blending traditional musical numbers with physical storytelling and nonlinear transitions. The core story and music are preserved, but the structure, character focus, and presentation differ from the stage or film versions.
I map out the structure, the scene splits, and the new content in these:
Out-of-house swings and covers may not be listed in the program except at performances in which they appear, and many cast who "depart" come back to cover from time to time. Pro-tip: Dance Captain Nathan Keen is the best account to follow for understudy announcements.
| Character | Principals | Understudies |
|---|---|---|
| The Phantom | Kyle Scatliffe, Telly Leung, Hugh Panaro (until 2/1/2026), Quentin Earl Darrington, Nik Walker, Clay Singer, Ryan Vona, Jeff Kready (7/31/2025–1/18/2026), Derrick Davis, Austin Colby (through 7/23/2026), Nicholas Edwards (Pulse 2, as of 6/30/2026), Nick Cartell (Pulse 5, as of 7/24/2026) | Cooper Grodin, Jeremy Stolle, Chris Ryan (not put-in), Sean Seamus Thompson, Nkrumah Gatling, Nicholas Edwards |
| Christine Daaé | Eryn LeCroy, Haile Ferrier, Francesca Mehrotra, Kaley Ann Voorhees, Riley Noland, Addie Morales, Anna Zavelson (until 1/18/2026), Claire Leyden (promoted to principal) | Audrey Logan, Georgia Mendes, Tia Karaplis, Betsy Morgan, Stephanie Reuning-Scherer (vacation cover) |
| Raoul de Chagny | Gregory Lee Rodriguez (Pulses 1 & 4), Francisco J. Gonzalez (through 8/2/2026), Dan Hoy, Nicholas Edwards (moved to Phantom 6/30), Paul Adam Schaefer (7/31/2025–2/1/2026; covering Raoul over summer 2026) | Nkrumah Gatling, Lee H. Alexander, Chris Ryan, Jeremy Stolle |
| Madame Giry | Liz Pearce Diennet, Betsy Morgan, Maree Johnson (7/31/2025–1/18/2026), Tia Karaplis | Claire Leyden, Gabrielle Enriquez, Georgia Mendes, Audrey Logan, Courtney Balan (vacation cover, likely Giry) |
| Boy in the Cage / Young Phantom | Maxfield Haynes (out with an injury), Kody Jauron, Kevin Zambrano | Lee H. Alexander (covering most of the time for Maxfield Haynes), Tanner Quirk (vacation cover), Nkrumah Gatling, Nathan Keen, Dario Natarelli |
| Monsieur André | Matthew Curiano (Raymond J. Lee: 7/31–10/12/2025) | Charles Osborne, Nkrumah Gatling, Cooper Grodin |
| Monsieur Firmin | Mark Banik (Alex Ross departed) | Nkrumah Gatling, Cooper Grodin, Charles Osborne, Sean Seamus Thompson |
| Carlotta | Satomi Hoffman, Nicole J. Ferguson, and Tia Karaplis (rotating; Betsy Morgan also alternated Giry 7/31/2025–2/1/2026, and Satomi has been back in the show since late February 2026) | Claire Leyden, Georgia Mendes, Stephanie Jae Park (vacation cover) |
| Piangi | Sean Seamus Thompson, Michael Kuhn (the Piangis rotate), Phumzile Sojola (7/31/2025–12/19/2025) | Michael Kuhn, Cooper Grodin, Nkrumah Gatling, Charles Osborne, Jeremy Stolle |
| Buquet | Jacob Lacopo, Andrew Wotjal | Nathan Keen, Matthew Curiano, Charles Osborne, Cooper Stanton |
| Barker | Chris Ryan, Charles Osborne | Charles Osborne, Astan Ross |
| Violinist | Bryan Hernandez-Luch | Nikita Yermak, Sami Merdinian |
Carnival of Shadows: Anna Monoxide, Laura Lee Anderson, Rawb Lane (7/31/2025–2/1/2026, role cut), Joseph Kerr (Fire Breather). Covers: Alaska, Renne Renata Bergan, Faux Pas Le Fae, Judah Frank, River Glassberg, Cj Christina Johnson, Aurora North, Stefan Pildes, Cyclone Jack Sullivan (Fire Breather).
Ensemble: Gabriella Enriquez, Nkrumah Gatling, Maxfield Haynes, Kody Jauron, Nathan Keen, Jacob Lacopo, Georgia Mendes, Charles Osborne, Andrew Wojtal, Kevin Zambrano. Swings: Lee H. Alexander, Annelise Baker, Jacob Burns, Astan Ross, Nkrumah Gatling, Cooper Grodin, Cooper Stanton, Claire Leyden, Olivia Tarchick, Dario Natarelli, Milena Comeau, Audrey Logan, Sean Seamus Thompson.
Performers who have left the production (not exhaustive, and some return periodically to cover):
Watch "Easter Eggs" on Instagram
On occasion, Masquerade holds special parties that take over the entire venue. The opening night party was the blueprint, and the first open-to-the-public event was Le Bal Macabre on Halloween. These have two ticketed components, the show and the party, and you can buy either or both. For New Year's Eve, Le Bal Lumière also included a dinner option. These events feature cast members, specialty acts, and original ARG characters like Madame Zephyrine. The Soirée-only option goes fast. Expect more of these to come.
From the events and recent changes:
As of Spring 2026, Masquerade announced two new offerings. Nocturne turns the venue into a DJ/nightclub after weekend shows, with tickets sold separately on Friday, Saturday, and Sunday for $40, or included with admission to the show. It soft launched on March 28. The Lake Bar (the Lair Bar, if you're normal) is open to the public from 9:30. I attended Nocturne in late April. Here's my quick review:
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Support on Ko-fiA simplified sample of the principal cast for each entry pulse. This is a sample and, due to dynamic cast changes, it will no longer be updated as of June 2026. Always check your program for actual casting.
| Pulse | Phantom | Christine | Raoul | Carlotta | Andre | Firmin | Madame Giry | Piangi | Young Phantom | Meg | Mirror Bride |
|---|---|---|---|---|---|---|---|---|---|---|---|
| 1 (1:00 / 7:00) | Kyle Scatliffe | Eryn LeCroy | Gregory Lee Rodriguez | Satomi Hoffman | Matthew Curiano | Mark Banik | Liz Pearce Diennet | Sean Seamus Thompson | Lee H. Alexander (Maxfield Haynes out, injured) | Haile Ferrier | Gabriella Enriquez |
| 2 (1:15 / 7:15) | Nicholas Edwards | Haile Ferrier | Francisco Javier González | Satomi Hoffman | Matthew Curiano | Mark Banik | Tia Karaplis | Sean Seamus Thompson | Kevin Zambrano | Francesca Mehrotra | Gabriella Enriquez |
| 3 (1:30 / 7:30) | Hugh Panaro (summer, for Quentin Earl Darrington) | Francesca Mehrotra | Dan Hoy | Satomi Hoffman | Matthew Curiano | Mark Banik | Hoffmann / Morgan (alt every 2 days) | Sean Seamus Thompson | Kody Jauron | Kaley Ann Voorhees | Gabriella Enriquez |
| 4 (1:45 / 7:45) | Derrick Davis | Kaley Ann Voorhees | Gregory Lee Rodriguez | Satomi Hoffman | Matthew Curiano | Mark Banik | Liz Pearce Diennet | Sean Seamus Thompson | Lee H. Alexander (Maxfield Haynes out, injured) | Riley Noland | Annelise Baker |
| 5 (2:00 / 8:00) | Nick Cartell | Riley Noland | Francisco Javier González | Satomi Hoffman | Matthew Curiano | Mark Banik | Tia Karaplis | Sean Seamus Thompson | Kevin Zambrano | Claire Leyden | Annelise Baker |
| 6 (2:15 / 8:15) | Ryan Vona | Claire Leyden | Dan Hoy | Satomi Hoffman | Matthew Curiano | Mark Banik | Hoffmann / Morgan (alt every 2 days) | Sean Seamus Thompson | Kody Jauron | Georgia Mendes | Annelise Baker |
How the pattern works: Raoul and Christine performers double up (Nicholas Edwards is Raoul for Pulses 1 and 4, Francisco González for 2 and 5 (through 8/2/2026), Dan Hoy for 3 and 6), while each Phantom is unique to their pulse. Christine actors each get one pulse as Christine and appear elsewhere as Meg or ensemble (Haile Ferrier is Christine at 7:15 but Meg at 7:00). As Diane Paulus put it, "38 performers, some do one show, some do all six, a very complicated matrix." Casting director Kate Lumpkin pulled off quite a feat. Rest assured all combinations offer a high-quality experience, so there isn't a "bad" cast.
The full timeline and extras, grouped by topic. The videos that explain a part of the show are embedded up in their sections above. These are the archival and spoiler ones, kept as links to keep the page fast.
Part 1 · Part 2 · Part 3 · Part 4 · Part 5 · Part 6 · Part 7
Phone Number Reveal · Close Ups of Newspapers · The Newspaper Drops · I Got My Letter from the OG! · Recapping the Drops (April 2025) · Who Is the Ghost Hunter · Lee's Status Update · Ghost Hunter Update · Tarot Reading · Overview of the ARG · Another Offline Drop! · Mask Maker · Rumors? · The Seance at the Majestic · The OCs in the ARG · Jeremy Stolle, Is That You? · Ticket Launch · Initial Accessibility Info · The Ice Cream Truck · The Official Cast Announcement · I Got Tickets and Crashed Out · Reading the Fine Print
T-Minus One Day! · Invited Dress · Fit Check · Remember When the Show Almost Didn't Happen · And Then It Did · First Reaction (No Spoilers) · Recap (No Spoilers) · Spoiler Recap (Part 1) · Spoiler Recap (Part 2) · Spoiler Recap (Part 3) · Spoiler Recap (Part 4)
My Favorite Thing About Immersive Phantom · When Does Immersive Phantom Take Place? · Overall Thoughts · The Bed Thing · Foreshadowing · A 1v1 With the Phantom · A 1v1 With the Phantom (Explained) · LORE LORE LORE · Phantom Backstory! · Got a Ring! · 1v1 With Young Phantom · Kiss Cam · Emotional Support Human · Some Rooftop Goodness (Spoilers) · Georgia Mendes vs Sirens · Alternate Ending · Alternate Ending (Explained) · Memorabilia from Masquerade
The original at His Majesty's Theatre, the West End home of Phantom since 1986 · Latest update: July 13, 2026
I created this guide so Phans have a central place for accurate, helpful information about seeing Phantom in London. It is completely unofficial and not affiliated with The Phantom of the Opera, His Majesty's Theatre, or LW Theatres. Official sources are thephantomoftheopera.com/london and lwtheatres.co.uk.
Current alternate schedule: On Mondays and Fridays, Christine Daaé is played by Colleen Rose Curran. @phantomchristinesuk on Instagram is a good source for London Christine news.
His Majesty's Theatre on the Haymarket is the original West End home of The Phantom of the Opera, where the show has played continuously since 9 October 1986. This is the Hal Prince staging with Maria Björnson's designs and Gillian Lynne's choreography: the boat to the lair, the Masquerade staircase, the elephant in Hannibal, and the chandelier. It is a different production from the restaged US Tour and from the immersive Masquerade in New York. For many Phans, seeing it here is the point. This is where it started.
The theatre seats about 1,216 across four levels: Stalls, Royal Circle, Grand Circle, and Balcony. It is a historic Victorian-era house, which means sightlines vary far more than at a modern theatre, so seat choice matters. The sections below put the planning information first (how to get tickets, where to sit, how to get there, access), then the deeper context on the production, the cast, and the building.
Phantom in London: His Majesty's Theatre
Book direct and fee-free through LW Theatres, which owns and operates His Majesty's, at lwtheatres.co.uk. The official Phantom London site (thephantomoftheopera.com/london) and Official London Theatre are also authoritative. Authorised resellers include ATG Tickets, London Theatre Direct, LOVEtheatre, and TodayTix. Avoid unauthorised resale platforms, where prices balloon.
Phantom uses dynamic, demand-based pricing, so exact prices flex by date. The official lead-in is "from £25" for the cheapest standard seats (Balcony and restricted Grand Circle). The standard top price is around £125, rising to roughly £210 to £270 for premium centre seats on peak weekend dates. Mid-tier Stalls and Royal Circle seats usually fall in the £70 to £100 range. All LW Theatres prices include a small restoration levy and carry no booking fees when booked direct.
| Section | Typical price band | In short |
|---|---|---|
| Stalls | Premium to top band (up to ~£125+, higher on peak dates) | Closest to the action and the chandelier. Best immersion. |
| Royal Circle | Premium to top band | Front-centre rivals the Stalls for whole-stage view. |
| Grand Circle | Mid to lower | Elevated, good value, great for seeing the chandelier travel. |
| Balcony | From ~£25 | Cheapest, highest, most distant. |
For weekend and peak evening performances, book roughly 8 to 12 weeks ahead. Midweek matinees offer the best availability and value. A Wednesday matinee can be dramatically cheaper than a Saturday for the same seat. The show is currently booking through Saturday 13 March 2027. Group rates (10+) and school rates are available from the box office.
There is no standing policy. This is an all-seated house.
His Majesty's is a horseshoe-shaped historic auditorium with pillars and overhangs, so sightlines vary a lot. TheatreMonkey is the gold-standard fan resource for seat-by-seat reviews, and SeatPlan has photos taken from individual seats. Note that older pre-2021 seat reviews no longer apply to the Stalls and upper levels, because the layout changed in the refurbishment (the old central Stalls aisle was removed).
The chandelier: The London chandelier weighs over 1,500 pounds and features more than 6,000 crystals. It hangs over the auditorium and sweeps over the front Stalls before the famous Act 1 finale crash to the stage. To get the full chandelier moment, the centre Stalls or the front of the Royal Circle are best.
Best value and view: centre rows roughly D to H (some guides cite D15 to D26 as the very best, directly under the chandelier). Rows E to K centre are the sweet spot for taking in the whole stage. Watch out: the Royal Circle overhang begins to cut off the top of the stage from around row L back, and can obscure the chandelier rising to the ceiling. Rows Q to S have the circle overhang in view. Support pillars restrict seats in rows N and P and the rear corners.
Best: front-centre rows A to C (seats roughly 13 to 24) give arguably the best whole-stage view in the house, though the front-row rail means leaning forward is common, and the row ends are marked restricted. Watch out: the whole of row H is restricted by the overhang above. Seats directly behind the four central pillars (around row F back) are restricted, and side sections become side-on.
Best: central block, first 4 to 5 rows. Grand Circle D15 and B12 are cited as cheaper seats with a good chandelier view. Watch out: row ends (rows A to K) are marked sightline-restricted, and the section is high and steeply raked.
Sharply raked, very high, and distant from the stage. The long-standing verdict is to stretch to the Grand Circle if you can. That said, some Phans love the upper levels for watching the Phantom up to his tricks high above the stage and seeing the chandelier's full travel.
This is the question every Phan asks, so let's settle it. There is no real audience box physically numbered "5" at His Majesty's. "Box Five" is the fictional box the Phantom demands be kept empty for his exclusive use. The famous brass "Box 5" plaque people picture is at the Palais Garnier in Paris, a separate landmark, not London.
His Majesty's has four real stage-side boxes set between the columns of the auditorium, two stacked per side. For booking they are numbered 1 to 4, with online codes AA and BB (at Stalls/orchestra-pit height) and CC and DD (higher, around Royal Circle level). The production dresses a stage-side box to read as the story's Box Five.
The Phantom's voice is heard coming from around the onstage box during "Notes" and "Prima Donna" ("And in Box Five a new game will begin...") and during the "Il Muto" scene ("Did I not instruct that Box Five was to be kept empty?"), where Raoul sits in the stage box. The Phantom's box presence is vocal. There is no scripted scene where he sits in a box as an audience member.
Yes. Since the 2021 reopening, the once blacked-out stage boxes were restored to their original green and red and reintroduced for audience use, and tickets are now sold to the public.
Before you book a box: the view is side-on and partly obstructed. TheatreMonkey warns that the boxes miss action in the nearside corner, around a quarter of the stage, and because the show is staged toward all sides, box occupants often see the back of one actor's head while facing another. Boxes suit the repeat visitor more than a first-timer. If it's your first Phantom in London, sit in the centre Stalls or front Royal Circle instead, and save the box for a later visit as a novelty. Box capacity is small (roughly two prime seats per box). Exact box pricing only shows once you select a date in the live booking flow, so confirm the current price for your date on the official site.
The Boxes at His Majesty's
His Majesty's is operated by LW Theatres, which runs its own Access Scheme. You do not have to be a member to book access tickets by phone, but membership unlocks online access booking and pre-visit information.
Contacts: Access line 020 3925 2998, open 10am to 5:30pm, Monday to Saturday. Email access@lwtheatres.co.uk. Some third-party pages still list an old box-office number (020 7087 7966); use the LW access line above.
Registering and proof: Register via the online form. Accepted documents include the front page of DLA or PIP (no specific rate required), a Certificate of Visual Impairment, War Disablement Pension, a Blue Badge, a Disabled Railcard, a CEA Card, the Nimbus CredAbility / Access Card, or recognised Assistance Dog ID. Processing can take up to 4 weeks because demand is high, so register early. The postal address is The Access Scheme, LW Theatres, 65 Drury Lane, London, WC2B 5SP. For US visitors: in my own experience, a US Disabled Veteran letter was accepted as proof for the scheme.
Companion and Personal Assistant tickets: One companion ticket is offered at the same price the access customer paid, subject to availability. A Personal Assistant ticket is provided at no additional cost for those who need continuous one-to-one support, with extra eligibility proof required (for example PIP Daily Living Component, DLA high or middle rate care, Attendance Allowance, severely sight impaired registration, or the CredAbility Access Card). A Blue Badge alone is generally not enough for a free PA ticket.
Wheelchair users and step-free access: The Stalls have level access via the side entrance on Charles II Street, which leads straight into the Stalls and bypasses the foyer. There are three dedicated non-transferable wheelchair positions in the Stalls (aisle seats in rows E, J, and M), with additional companion seating. Any low-numbers-side aisle seat in the Stalls can be used to transfer from a wheelchair into a theatre seat. There is one accessible toilet at the rear of the Stalls. There is no lift to the upper levels, and the step counts from the foyer are significant (Royal Circle 32 steps, Grand Circle 62 to 63, Balcony 89 to 90), so wheelchair users and anyone with limited mobility should book the level-access Stalls. Blue Badge bays and a drop-off point are on Charles II Street.
Assisted performances: His Majesty's periodically hosts audio-described and captioned performances. The GalaPro app provides automated subtitles, audio description, and closed captioning at every performance on your own device, and an infra-red hearing system with headsets and neckloops is available. Specific signed, relaxed, audio-described, and captioned dates rotate, so check the show's access page or the LW Access newsletter for current dates. Assistance dogs are welcome, and staff will look after a dog during the show.
The theatre is at the southern end of the West End theatre district, near Piccadilly Circus, a short walk from Trafalgar Square and Leicester Square.
If you want to make a full day of it before a matinee or evening show, the Sofitel London St James (6 Waterloo Place, SW1Y 4AN) is directly around the corner from the theatre, a few minutes on foot. Its Rose Lounge has run a limited-edition Phantom of the Opera-themed afternoon tea presented in three "acts," from £70 per person, or £80 per person with a glass of fizz.
Check availability first: the Phantom-themed tea was advertised through 31 March 2026, so by now it may have reverted to the standard Rose Lounge afternoon tea. Confirm what is currently served, and the price, before you book.
The London show is the original Harold Prince staging, with Maria Björnson's designs, Gillian Lynne's choreography, Andrew Bridge's lighting, and Andrew Lloyd Webber's score (lyrics by Charles Hart with additional lyrics by Richard Stilgoe). The current West End staging is directed by Seth Sklar-Heyn, with set adapted by Matt Kinley.
How it differs from the versions you may know: the US and UK touring "spectacular" restaged by Laurence Connor used entirely new design and a more realistic direction, which Phans tend to find divisive. Masquerade in New York is a separate immersive adaptation. London keeps the iconic Björnson visual language.
The 2021 reopening changes (for the detail-oriented): When the show reopened in July 2021 after the pandemic closure, it was a refreshed, slightly reduced version. The orchestra was cut from 27 musicians to 14, which drew criticism from the Musicians' Union and others. Some set elements were simplified: Björnson's proscenium sculptures were lost, the levitating Angel statue during "All I Ask of You" was replaced by a stage-level statue, and the descent to the lair was simplified with fewer candles. Andrew Lloyd Webber described the show as "substantially identical." Most casual audiences still find it spectacular, but purists should know it is a modified version of the original.
Phantom is marking its 40th anniversary in London (it opened in October 1986), and the 40th anniversary cast was announced on 29 June 2026. Casts change every few months and limited star runs are common, so always verify the cast for your specific date before booking.
| Role | Performer | Engagement |
|---|---|---|
| The Phantom | Jordan Donica | From Tue 8 Sep 2026 through Spring 2027 |
| Christine Daaé | Beatrice Penny-Touré | 20 Aug 2026 to 24 Jul 2027 |
| Christine (alternate) | Colleen Rose Curran | Certain performances, through Spring 2027 |
| Raoul | Rhys Whitfield | 3 Aug to 21 Nov 2026 |
| Carlotta Giudicelli | Sierra Boggess | 3 Aug to 21 Nov 2026 |
| Monsieur André | Joseph Millson | 3 Aug to 21 Nov 2026 |
| Monsieur Firmin | Ian Pirie | 3 Aug to 21 Nov 2026 |
| Madame Giry | Joanna Riding | 3 Aug to 21 Nov 2026 |
| Ubaldo Piangi | Matt Bateman | 3 Aug 2026 to 24 Jul 2027 |
| Meg Giry | Millie Lyon | Through 24 Jul 2027 |
The Sierra Boggess return: One of Phantom's most celebrated former Christines returns, this time as Carlotta. Boggess originated Christine in Love Never Dies in the West End and starred in the 25th anniversary concert at the Royal Albert Hall. Reuniting with her Love Never Dies co-star Joseph Millson (here as André), this is the casting Phans are talking about. New Phantom Jordan Donica is also a Phantom alumnus, having played Raoul on Broadway.
A special anniversary performance is set for Friday 9 October 2026, the exact 40th anniversary of the 1986 opening. It is currently off sale, and no returning alumni have been confirmed for it. Sign up to Andrew Lloyd Webber's Box Five Club at phantomoftheopera.com/london40 for first access to updates. Treat any resale listings for that night with caution.
Note: a Saturday night 40th anniversary performance is currently on sale.
The 40th Anniversary Performance
The stage door is on Charles II Street, on the side of the theatre. Exit the main Haymarket entrance, turn left and left again, and it is clearly marked. Cast members often (but not always) come out after performances to sign and take photos. Bring your own pen, a bright marker works well, and something to sign. Be patient and polite. Performers are never obliged to appear and may leave quickly after a demanding show.
His Majesty's Theatre changes its name with the gender of the reigning monarch. It reverted from Her Majesty's to His Majesty's in 2023, following the accession of King Charles III. The current building, the fourth on a site with theatrical history dating to 1705, opened in 1897, designed by Charles J. Phipps in a French Renaissance style for actor-manager Herbert Beerbohm Tree, who founded RADA at the theatre. It is Grade II* listed.
Phantom opened here on 9 October 1986 (previews from 27 September) with Michael Crawford as the Phantom and Sarah Brightman as Christine. It is the West End's second-longest-running musical after Les Misérables, and was, until its 2023 closure, the longest-running show in Broadway history. The production passed its 10,000th West End performance in 2010 and has won more than 70 major theatre awards worldwide, including the Olivier and multiple Tonys. Worldwide, Phantom has played to over 160 million people in 217 cities, 52 territories, and 23 languages.
Disclaimer: This guide is completely unofficial and not affiliated with The Phantom of the Opera, His Majesty's Theatre, LW Theatres, or any related company. Prices, cast, dates, and schemes change frequently. Always confirm current details with the official box office before booking. Official sources: thephantomoftheopera.com/london and lwtheatres.co.uk.
International productions: Spain, Mexico, Japan, Germany, Netherlands, Romania, Serbia, Norway, Hungary, and Australia · Latest update: July 20, 2026
I created this guide so Phans have a central place for accurate, helpful information on where to see Phantom around the world. It is completely unofficial and not affiliated with any of the productions listed. It centralizes information from official sources, local press, and box office listings across ten countries; some sources required translation from Spanish, Japanese, German, Dutch, Romanian, Serbian, Norwegian, and Hungarian. Every effort was made to confirm details through official production and venue channels. Where something could not be confirmed, I have flagged it rather than guessed. Where I have seen a production myself, the section is marked, and those sections will keep growing with firsthand detail.
This guide covers ten countries outside the US, UK, and the immersive Masquerade NYC production (those have their own guides). For each country you'll find: production status, venue and city, the producing company, cast where it's known, how to get tickets, what language the show is performed in, and anything notable about that staging.
Sections marked "Seen in person" reflect firsthand experience on top of official sources, the same way my Masquerade and US Tour guides do. The rest are built from official production channels, local press, and box office listings, translated where needed. Firsthand sections will keep expanding as I travel.
Every production in this guide belongs to one of four "families," and knowing which one you're booking changes what you'll see:
1. Replica (the classic staging). The original Harold Prince direction with Maria Björnson's designs, the version that ran on Broadway for 35 years. Japan's Shiki company has performed it since 1988, and Rotterdam's 2028 production is being built as a replica of the original 1986 London production. With Broadway closed and the West End running its own updated iteration, these are among the few places left to see classic Phantom.
2. Bellone (the reimagined touring production). Director Federico Bellone's production premiered in English in July 2023 at the Politeama Rossetti in Trieste, Italy, produced by Broadway Italia, with Ramin Karimloo in the title role. It played Milan and the Opéra de Monte-Carlo that same year. A Spanish-language version opened in Madrid in September 2023, produced by LETSGO in partnership with Amigos Para Siempre, the company Andrew Lloyd Webber and Antonio Banderas formed in 2022, with West End alum Gerónimo Rauch originating the Phantom. Madrid closed in April 2025 after two sold-out seasons, and the production now lives on as Spain's national tour and the Mexico City production, with the same staging and creative team in both countries.
3. Mackintosh Restaged (the newer touring production). Cameron Mackintosh's reimagined production, created with Matthew Bourne and based on Laurence Connor's direction, which has been rolling out internationally around the show's 40th anniversary. Cologne is the German premiere of this version, following its Vienna run.
4. Non-Replica (fully original local stagings). Licensed productions where the local creative team builds everything from the ground up: new direction, new sets, new design. Hungary's Madách production is one of the most famous non-replicas in the world. Bucharest's National Opera production (Gary McCann sets, Răzvan Ioan Dincă direction) and Belgrade's Terazije staging (Aleksandar Denić sets, Jug Radivojević direction) are also in this family. Norway's 2027 revival is billed as a re-staging and most likely belongs here too, though the production hasn't confirmed details yet. Australia's closed Sydney Harbour spectacular was also an original staging in this family, and the only outdoor Phantom ever mounted. For phans who collect productions, non-replicas are the reason to travel: each one is a version of Phantom that exists nowhere else.
Casts listed here are current as of this guide's last update. Every production notes that covers, alternates, and swings can go on at any performance. Repertory houses (Bucharest, Belgrade, Budapest) release dates in batches rather than announcing a full run in advance, so "no future date listed" doesn't always mean a show has closed.
The International Tour is the production most people mean when they say "the World Tour." It is the replica staging that has been traveling since 2024, and in fall 2026 it reaches its finish line in China. This is a separate production from the North American Tour and separate again from the West End at His Majesty's Theatre. If you are trying to figure out which Phantom you are looking at, the International Tour is the one closing out a multi-year run across Asia. It is a slightly different version of the replica production from the North American Tour and the West End as it was originally produced before 2021, however all of these productions are influencing one another.
Fall 2026 is the final stretch of the tour, and all of it takes place in China. The run finishes in Shanghai with a limited season built around Phantom's 40th anniversary. This is billed as the grand finale of the largest Mainland China tour the production has ever staged, which began back in 2024.
Three cities carry the fall leg:
The Shanghai season runs 80 performances across roughly 10 weeks. It is the closing chapter of the whole tour, which makes it the stop most fans are trying to reach.
The biggest news for this leg is that Ramin Karimloo returns to the role of The Phantom for the Shanghai season. His casting is tied directly to the 40th anniversary celebration, and it is the reason the Shanghai finale carries the weight it does. Samuel Wyn-Morris plays The Phantom at certain Shanghai performances, and he leads the Wuhan and Chengdu stops.
| Role | Actor |
|---|---|
| The Phantom | Ramin Karimloo, with Samuel Wyn-Morris at certain performances |
| Christine Daaé | Bebe Moss |
| Raoul, Vicomte de Chagny | Ralph Watts |
| Carlotta Giudicelli | Raquel Suarez Groen |
| Ubaldo Piangi | Thabiso Masemene |
| Madame Giry | Melina Kalomas |
| Meg Giry | Claire Lander |
| Monsieur André | Curt Olds |
| Monsieur Firmin | John Ellis |
| Role | Actor |
|---|---|
| The Phantom | Samuel Wyn-Morris, understudy Stanley Allyn Owen |
| Christine Daaé | Caitlin Finnie at certain performances |
| Carlotta Giudicelli | Raquel Suarez Groen |
| Ubaldo Piangi | Thabiso Masemene |
| Madame Giry | Melina Kalomas |
| Meg Giry | Claire Lander |
| Monsieur André | Curt Olds |
| Monsieur Firmin | Nicholas Pound |
If you followed the tour earlier in its run, the fall principals will read as a noticeable turnover. Grace Roberts as Christine, Rory McCollum as Raoul, and Marni Raab as Madame Giry all finished their contracts on June 7, 2026. That departure date is why the finale cast is built around new names, with Karimloo brought in specifically for the anniversary season in Shanghai.
The same Federico Bellone production that ran in Madrid and Italy/Monte Carlo was brought to Mexico City by veteran producer Morris Gilbert (OCESA), opening November 6, 2025 at the newly remodeled Teatro de los Insurgentes. This was the first Phantom in Mexico City in about 25 years.
Running, open-ended. The show has extended repeatedly since opening and has no announced closing date. As of July 2026 it has passed 300 performances. Ticketmaster México releases performances gradually rather than posting the full run at once, so check back regularly for new on-sale dates.
Teatro de los Insurgentes, Av. de los Insurgentes Sur 1587, San José Insurgentes, Mexico City. Produced by Morris Gilbert / OCESA, using the Bellone staging with musical direction by Julio Awad.
| Role | Actor |
|---|---|
| The Phantom | Edward Salles; Luis Caballero Dussauge "Potro" alternates (often Sundays) |
| Christine Daaé | Lina de la Peña |
| Raoul, Vicomte de Chagny | Luis Anduaga |
| Carlotta Giudicelli | Cristina Nakad |
| Ubaldo Piangi | Jonathan Rubén |
| Madame Giry | Alicia Paola |
| Meg Giry | Emily Valdés |
| Monsieur André | Beto Torres |
| Monsieur Firmin | Andrés Pichardo |
The company includes 27 national performers and 15 live musicians. Casting is subject to change.
Ticketmaster México (ticketmaster.com.mx) and the box office. Prices range from roughly $1,062 MXN up to $3,294–3,844 MXN for VIP. Advance purchase discounts of about 20 percent have been advertised.
Wednesday to Friday at 8:00 pm; Saturday at 5:00 pm and 8:30 pm; Sunday at 1:00 pm and 5:30 pm. Runtime is about 2 hours 30 minutes with an intermission.
Performed in Spanish. Reviews of the production credit the translation to Álvaro Cerviño, the same Spanish adaptation used in the original 1999 Mexico City staging, which means the Mexican production sings different lyrics than the Spain tour (which uses the Silvia Montesinos adaptation). Pre-opening press had credited Montesinos here too, but that appears to have been recycled from the Spain materials. If you saw the 1999 production, the lyrics will feel like coming home.
Spain has a new, reimagined production directed by Federico Bellone. It started as a resident show at the UMusic Hotel Teatro Albéniz in Madrid, where it ran two sold-out seasons and drew more than 300,000 spectators before closing for good on April 20, 2025. From there it became Spain's first-ever national Phantom tour, hitting more than 20 cities.
Running (touring). The tour extends into early 2027, including a January 2027 stop in the Canary Islands. Confirmed stops include:
Touring, city by city. Produced by LETSGO in collaboration with Amigos Para Siempre. Some venue listings credit the promoter as Phantom Entertainment, S.L.
| Role | Actor |
|---|---|
| The Phantom | Daniel Diges (tour); Gerónimo Rauch originated the role in Madrid |
| Christine Daaé | Ana San Martín (tour); Talía del Val (Madrid) |
| Raoul, Vicomte de Chagny | Guido Balzaretti |
| Monsieur André | Enrique R. del Portal |
Gerónimo Rauch previously played the Phantom in London's West End. Casting rotates and is subject to change without notice.
Official site: musicalelfantasmadelaopera.com. Also available through venue box offices, tomaticket.es, and instanticket.es. Prices vary by venue and city.
Performed in Spanish. Lyrics translated and adapted by Silvia Montesinos, who is also the production's associate director. The character is referred to as "Erik."
Gekidan Shiki (the Shiki Theatre Company) has performed Phantom in Japan since its 1988 Japanese premiere, using the classic Harold Prince staging. Per Shiki's own numbers, the show has drawn roughly 8 million cumulative attendees across more than 8,000 performances, making it Shiki's third most-performed title behind The Lion King and Cats.
Running and expanding into new venues:
The Fukuoka engagement (Canal City Theatre) closed April 5, 2026, with the production moving on to Nagoya from there.
MTG Nagoya Shiki Theatre [Atsuta] in Nagoya, plus Osaka Shiki Theatre and venues to be confirmed for Yokohama and Tokyo. Produced by Gekidan Shiki, by arrangement with LW Entertainment Ltd.
Shiki uses a large rotating repertory cast and publishes the specific weekly lineup on their own site rather than announcing fixed principals far in advance. Check shiki.jp closer to your travel date for the actual week's cast.
Official site: shiki.jp. Also available through Lawson Ticket (l-tike.com) and Ticket Pia (t.pia.jp).
Performed in Japanese. Japanese book by Keita Asari, translation by Shinsuke Ando, direction by Harold Prince.
This is Cameron Mackintosh's reimagined "new production" of Phantom (created with Matthew Bourne, based on Laurence Connor's original direction), and it's the German premiere of this specific staging. It's also the first time Phantom has played a German stage in over a decade. The production follows a successful run in Vienna at the Raimund Theater and moves into the Musical Dome after Moulin Rouge! relocates to Hamburg. The timing lines up with the 40th anniversary of the original London production.
Upcoming. Previews begin November 5, 2026. Official German premiere is November 15, 2026.
Musical Dome Köln, Cologne, which also marks its own 30th anniversary in 2026. Produced by ATG Entertainment Germany.
| Role | Actor |
|---|---|
| The Phantom | Anton Zetterholm |
| Christine Daaé | Lisanne Clémence Veeneman; Lillian Maandag alternates at selected performances |
| Raoul, Vicomte de Chagny | Tobias Joch |
| Carlotta Giudicelli | Katharine Allen |
| Madame Giry | Patricia Nessy |
| Meg Giry | Laya Höfling |
| Monsieur André | Timo Verse |
| Monsieur Firmin | Claus Dam |
Anton Zetterholm and Lisanne Clémence Veeneman both reprise their roles from the Vienna production.
Note: starting January 17, 2027, the title role changes to Milan van Waardenburg.
ATG (atgtickets.de) and Eventim. Tickets start at €59.99. Print-at-home is free; postal delivery adds €5.90. Hotel-and-ticket packages are available through Travelcircus.
Performed in German. German translation by Michael Kunze.
A large-scale, homegrown production at the Bucharest National Opera (Opera Națională București), directed by Răzvan Ioan Dincă and conducted by ONB director Daniel Jinga. It first premiered March 31, 2023 and has become a signature ONB event, performed with a live 70-member orchestra.
Repertory revival. Ran 14 sold-out performances in January 2026. Returns for the fall 2026–2027 season with 13 performances: September 3, 4, 5, 6, 8, 9, 11, 12, 15, 16, 17, 20, and 21, 2026, all at 18:30. The first six performances of this run sold out within 24 hours through the priority-access registration system.
Opera Națională București, Bulevardul Unirii nr. 22, Sector 3, Bucharest. Produced by ONB under license from Cameron Mackintosh Ltd., arranged through The Really Useful Group.
| Role | Actor |
|---|---|
| The Phantom | Adrian Nour |
| Christine Daaé | Irina Baianț |
| Raoul, Vicomte de Chagny | Kyrie Mendél |
| Carlotta Giudicelli | Rodica Ștefan |
| Ubaldo Piangi | Andrei Petre |
| Madame Giry | Judith State |
| Meg Giry | Alina Petrică |
| Monsieur André | Cătălin Petrescu and Ernest Fazekaș (alternating) |
| Monsieur Firmin | Radu Ion |
| Monsieur Reyer | Cosmin Seleși |
| Monsieur Lefevre | Cătălin Petrescu |
| Joseph Buquet | Ionuț Burlan |
| Child Phantom | David Ioan Petrescu |
Performed with the full ONB Orchestra, Chorus, and Ballet.
Official: tickets.operanb.ro and the ONB box office. You can also register for release alerts at thephantomoftheopera.ro/alerta. Buy only through official channels: there was a fake-ticket scam around the January premiere.
Performed in Romanian. Translation and adaptation by Ernest Fazekas.
Serbia has had two separate Phantom productions. The one that's ongoing is the resident Serbian-language staging at Pozorište na Terazijama (Theatre on Terazije), the first Balkan production of the show, which premiered in October 2017 and is directed by Jug Radivojević. A separate English-language touring production (Broadway Entertainment Group) played a limited season at Belgrade's Sava Centar in April 2025, but that engagement has closed.
The Terazije Serbian-language production is in active repertory. It returned after a pause, played performances in late November 2025 (the 29th and 30th), and continues into 2026, with a performance confirmed for May 24, 2026. As a repertory house, Terazije releases dates in rolling batches rather than a full advance schedule.
Pozorište na Terazijama, Belgrade, produced in arrangement with The Really Useful Group Ltd. (The closed 2025 English-language run was at Sava Centar, produced by Broadway Entertainment Group with local organizers Ticket Vision and Locals Experience.)
| Role | Actor |
|---|---|
| The Phantom | Slobodan Stefanović and Dušan Svilar (rotating); Nikola Bulatović historically |
| Christine Daaé | Nevena Đoković and Mirjana Nedeljković (rotating); Marta Hadžimanov and Mirjana Matić historically |
| Raoul, Vicomte de Chagny | Slaven Došlo and Ivan Marković |
| Carlotta Giudicelli | Snežana Savičić Sekulić |
| Ubaldo Piangi | Ljubomir Popović |
| Madame Giry | Ivana Popović |
| Monsieur André | Dušan Šida |
| Monsieur Firmin | Milan Antonić |
Creative team — Conductor: Vesna Šouc. Choreographer: Konstantin Kostjukov. Set design: Aleksandar Denić. Costumes: Tatjana Radišić.
Official: bilet.pozoristeterazije.com and the theatre box office.
Performed in Serbian. Translation and adaptation by Slobodan Obradović.
Phantom returns to Oslo's Folketeateret, produced by Scenekvelder, following a sold-out Norwegian premiere run there in 2018.
Upcoming. Premieres Thursday, September 2, 2027, running to approximately November 5, 2027.
Folketeateret, Storgata 21-23, Oslo. Produced by Scenekvelder / Folketeateret Oslo AS, ticketed through Eventim.
No cast has been announced yet for the 2027 run in available sources. Check back closer to the on-sale date.
Eventim.no and folketeateret.no. Hotel-and-ticket packages available through Showpakker.no.
The 2018 Norwegian premiere was performed in Norwegian, and the 2027 revival likely follows the same pattern, but the marketing I found uses the English title "Phantom of the Opera" and doesn't explicitly restate the performance language. Confirm before assuming either way.
Phantom returns to the Netherlands for the first time in nearly 35 years, staged as a replica of the original 1986 London production. That makes Rotterdam a genuinely important entry on this list: with Broadway closed and the West End running its own updated iteration, this will be one of the few places in the world to see the classic staging. It's also a homecoming project: producer Iris van den Ende's father originally brought Phantom to the Netherlands.
Upcoming, not yet running. Opens spring 2028, likely February or March, at the Nieuwe Luxor Theater in Rotterdam. Ticket sales are expected to open sometime in 2027. Auditions drew nearly 1,400 musical and opera performers, described by creative director Maurice Wijnen as a bigger response than even The Lion King saw.
Nieuwe Luxor Theater, Rotterdam, with weekly performances Thursday through Sunday once the run begins. Produced by MediaLane Theater (CEO Iris van den Ende) in collaboration with LW Entertainment (CEO James McKnight) and GWB Entertainment.
Not yet cast or announced.
Not yet on sale. Fans can join the "De Front Row" membership program for €30 in ticket credit and guaranteed presale access, through luxortheater.nl or phantominluxor.nl.
Confirmed by the producer to be performed in Dutch.
Hungary's long-running production plays at the Madách Theatre (Madách Színház), directed by Tamás Szirtes, and it's one of the most famous non-replica productions of Phantom in the world. This is not the Prince staging and not a licensed copy of it: the Madách built its own direction, sets, and design from the ground up, which is exactly why phans who collect productions make the trip to Budapest. It has now passed its 1,000th performance and continues to play to full houses, making it one of the longest-running Lloyd Webber titles at the Madách alongside Cats.
In active repertory. Like Bucharest and Belgrade, the Madách releases performance dates in batches through its season programming rather than publishing a long advance calendar, so check current listings rather than assuming a gap means the show has closed.
Madách Színház, 1073 Budapest, Erzsébet krt. 29-33. Directed by Tamás Szirtes.
| Role | Actor |
|---|---|
| The Phantom | Attila Csengeri, Victor Posta, Sándor Sasvári (rotating) |
| Christine Daaé | Barbara Fonyó, Renáta Krassy, Andrea Mahó (rotating) |
Zsolt Homonnay, Gábor Bot, Bálint Magyar, Sándor Nagy, and Mónika Sáfár appear in other roles. Repertory casts shift between performance blocks, so confirm the current lineup on the theatre's listing for your specific date.
jegymester.hu, jegy.hu, and the Madách Színház box office (madachszinhaz.hu).
Performed in Hungarian.
Handa Opera on Sydney Harbour (HOSH) is Opera Australia's annual outdoor spectacular, performed on a floating stage over the water at Fleet Steps, Mrs Macquaries Point, with the Sydney Opera House and Harbour Bridge as the backdrop. When Phantom joined the series in 2022, it became the first major outdoor production in the show's history. The production returned in 2026 for the show's 40th anniversary, so it has now had two seasons, both directed by Simon Phillips with set and costume design by Gabriela Tylesova and lighting by Nick Schlieper, the same team behind the Australian production of Love Never Dies.
Closed. Two seasons have been staged: March 25 to April 24, 2022, and March 27 to May 3, 2026. The 2026 season was extended and had seats added to every performance due to demand. No future season has been announced, but HOSH rotates titles annually and has now brought Phantom back once, so a third season someday is plausible. Watch opera.org.au for future HOSH announcements.
Fleet Steps, Mrs Macquaries Point, Sydney, on a purpose-built over-water stage. Produced by Opera Australia as part of the Handa Opera on Sydney Harbour series, supported by Destination NSW and the International Foundation for Arts and Culture.
2022 season
| Role | Actor |
|---|---|
| The Phantom | Joshua Robson |
| Christine Daaé | Georgina Hopson |
| Raoul, Vicomte de Chagny | Callum Francis |
| Carlotta Giudicelli | Naomi Johns |
| Ubaldo Piangi | Paul Tabone |
| Madame Giry | Maree Johnson |
| Monsieur André | Martin Crewes |
| Monsieur Firmin | Michael Cormick |
Phans reading my Masquerade NYC guide will recognize that last name: the same Maree Johnson who came home from playing Madame Giry on Broadway for this production now plays Madame Giry at Masquerade.
2026 season
| Role | Actor |
|---|---|
| The Phantom | Jake Lyle |
| Christine Daaé | Amy Manford |
| Raoul, Vicomte de Chagny | Jarrod Draper |
| Carlotta Giudicelli | Giuseppina Grech |
| Ubaldo Piangi | Daniel Belle |
| Madame Giry | Debora Krizak |
| Meg Giry | Jayme Jo Massoud |
| Monsieur André | Martin Crewes (returning) |
| Monsieur Firmin | Brent Hill |
Jake Lyle's casting is a genuine Cinderella story: a 22-year-old classical voice student discovered during ensemble auditions and cast in the title role for his professional musical theatre debut. Amy Manford previously played Christine on the West End and the Australian in-theatre tour, and Jarrod Draper — Raoul — is a Wiradjuri man and the first Indigenous graduate of WAAPA's music theatre course.
Performed in English.
| Country | Family | Status | Venue / City | Dates | Language |
|---|---|---|---|---|---|
| Mexico | Bellone | Running, open-ended | Teatro de los Insurgentes, Mexico City | No closing date announced | Spanish |
| Spain | Bellone | Running (tour) | Touring, multiple cities | Through early 2027 | Spanish |
| Japan | Replica | Running / expanding | Nagoya, Osaka; Yokohama & Tokyo 2027 | Nagoya opens July 5, 2026 | Japanese |
| Germany | Mackintosh Restaged | Upcoming | Musical Dome Köln, Cologne | Previews Nov 5, 2026; opens Nov 15, 2026 | German |
| Romania | Non-Replica | Repertory, active | Opera Națională, Bucharest | Sept 3–21, 2026 run | Romanian |
| Serbia | Non-Replica | Repertory, active | Pozorište na Terazijama, Belgrade | Ongoing into 2026 | Serbian |
| Norway | Likely Non-Replica (unconfirmed) | Upcoming | Folketeateret, Oslo | Premieres Sept 2, 2027 | Likely Norwegian (unconfirmed) |
| Netherlands | Replica (1986) | Upcoming | Nieuwe Luxor Theater, Rotterdam | Spring 2028 (est.) | Dutch |
| Hungary | Non-Replica | Repertory, active | Madách Színház, Budapest | Dates released in batches | Hungarian |
| Australia | Non-Replica | Closed (archive) | Fleet Steps, Mrs Macquaries Point, Sydney | Seasons: 2022 and Mar 27–May 3, 2026 | English |
Disclaimer: This guide is completely unofficial and not affiliated with any of the productions listed. Casts, dates, and even whether a show is running can change quickly. Always confirm current details through the official production and venue channels before booking travel.