The Phantom Of The Opera
Cadillac Palace Theatre
151 W. Randolph Chicago
Be part of the magic when Cameron Mackintosh's spectacular new production of Andrew Lloyd Webber's The Phantom of the Opera comes to Chicago's Cadillac Palace Theatre as part of its North American Tour. This breathtaking production features a brilliant new scenic design by Paul Brown, Tony Award-winning original costume design by Maria Bjornson, lighting design by Tony Award winner Paule Constable, new choreography by Scott Ambler, and new staging by director Laurence Connor. The production, overseen by Matthew Bourne and Cameron Mackintosh, boasts many exciting special effects - including the show's legendary chandelier. The beloved story and thrilling score (with songs like "Music of the Night," "All I Ask of You" and "Masquerade") will be performed by a cast and orchestra of 52, making this Phantom one of the largest productions now on tour.
Thru - Jan 5, 2020
Show Type: Musical
Running Time: 2hrs, 30mins; one intermission
Cadillac Palace Theatre Seating Chart
The Phantom Of The Opera Reviews
- Highly Recommended
- Somewhat Recommended
- Not Recommended
Chicago Tribune - Recommended
"...The current long-serving Phantom, Davis, is right up there with the best of 'em: his work is richly toned, respectful of the material and the time-proven blend of sensual and macabre. His work has only deepened The new Christine, Emma Grimsley, sings the role perfectly well, although this young performer could do to asset herself more and command more focus. The Raoul, Jordan Craig, feels whiny, when he should be a non-complicated romantic destination for Christine, just so the Phantom can offer the opposite. And a tip of the mask to Chicago's own Rob Lindley, terrific as Monsieur Andre, the hapless theater owner who makes the mistake of thinking he runs the place. We all know it's the Phantom who owns the theater."
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Chicago Sun Times - Highly Recommended
"...In Cameron Mackintosh's lavish revival of Andrew Lloyd Webber's mega-hit, Christine's "angel of music" (who she believes was sent to her by her dead father) brings her to the edge of a windswept rooftop in the first act, eyes gazing blankly outward, teetering on the verge of an abyss. The Vicomte de Chagny has to yank her back to safety. Such is the emotional fallout when one is lured into the bowels of the storm sewer system for secret voice lessons by a masked stranger with a gondola."
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