"The Phantom of the Opera"
Detroit Opera House
Detroit, Mich.
Through Feb. 15, 2026
I am far from the first person to list Andrew Lloyd Webber’s “The Phantom of the Opera” among my favorite musicals of all time. Following the Detroit Opera House performance of the current North American Tour, it still is.
This was, perhaps, my fourth time seeing the show live, each time a touring production, usually at the Detroit Opera House (a spectacular setting for the show). The current tour is based on the scaled-down, post-pandemic London production, which reopened in 2021.
Based on the novel by Gaston Leroux, “The Phantom of the Opera” is a love triangle set at the grand Paris Opera House in 1905. Young opera dancer Christine Daaé has been receiving expert vocal training from the mysterious “opera ghost,” a scarred, tortured genius who lives on the lake under the opera house, pining in his obsession for her. He arranges for her to become the opera’s new lead soprano, which catches the eye of Raoul, the handsome Vicomte de Chagny and new patron of the opera, which quickly rekindles their childhood romance. The Phantom becomes increasingly deranged in his pursuit and jealousy, and Christine must make a choice, with consequences that are a matter of life and death.
I won’t pretend I remember all the details of previous productions – especially since I’ve seen only the touring versions, not the beloved grand productions in Toronto, on Broadway and in the West End, but there were some notable changes.
The original production had the chandelier swinging down to the stage itself. The current version has the chandelier hanging over the audience the entire time, rising directly up and down. It’s still a thrilling experience, and the chandelier made beautiful shadow patterns on the walls of the opera house when it rose, which I don’t remember seeing before. This was also my first time sitting almost directly under the chandelier in the audience. I had a great view of the sparks and light flickers as it came alive and could smell the fumes from the pyrotechnics, which was a lot of fun.
One difference that did bother me was the changing of some of the lyrics, most notably in “Think of Me.” “Think of all the things we’ve shared and seen” has been replaced with “Think of August when the trees were green,” preceding “Don't think about the things which might have been.” Why? A musical that is one of the most beloved in the world, that holds the record of the longest show to run on Broadway (35 years), does not seem to be one ripe for change, at least not musically.
As the core trio, Isaiah Bailey (Phantom), Jordan Lee Gilbert (Christine) and Daniel Lopez (Raoul) lead a stellar cast with impressive vocals and palpable chemistry. Bailey’s Phantom captures the title character’s tormented intensity, though gives off almost childlike tantrum vibes. While I still felt Gilbert’s complicated attraction to Bailey, his Phantom did not have the appeal of a mysterious tortured artist. Instead, I found my friend’s description of him being “the incel of the opera” more apt.
That being said, the current production did not disappoint. With a fantastic mix of horror and comedy, the story remains compelling from start to finish. It captures the complex emotions of love, despair, jealousy and hatred – which can occur simultaneously – and the extreme consequences that can result from loss and cruelty, all amplified by a haunting score that both seduces and terrifies.
If you’re already a “Phantom” fan, embrace the opportunity to experience it again. And if you’ve never seen it before, come and see what you’ve been missing.
