We round up the reviews for this immersive adaptation of The Phantom of the Opera.
The New York Times: “Still, on its very many levels and for most of the assembled audience, “Masquerade” works. At the close of the final scene people all around me sobbed. Was this relief at our escalator rescue? More likely it was compassion for the Phantom’s tragedy. My eyes stayed dry. I don’t know about you, but I am tired of being made to care why bad men do bad things. The Phantom already has all the best tunes. Does he really need our sympathy, too? Either way, the music of the night plays on.”
The Guardian: *** “This reconfigured Phantom may be closer to a ride than high art, but it sure gives you a closeup look at a lot of terrific craft.”
The Vulture: “Oh God, we don’t need the backstory! I don’t need to know that he was a sad little boy whose mom abandoned him to creepy carnies. (As much as I like creepy carnies.) I think this is where the sentimentality of our own era runs up against the gothic, which is actually so much more hard core. We’re desperate to provide psychological explanations for our Phantoms, our Heathcliffs and Cathys. “Hurt people hurt people.” Yeah, okay. Just tell me a good ghost story.”
Time Out: **** “The main attraction of Masquerade is not its stars, its story or its music of the night; it’s the pleasure of re-exploring a property you already know and seeing it from deluxe new angles. Get dressed up, hide your face and give yourself over to the phantasy. “
amny.com: “As an event, “Masquerade” intrigues. As a social outing, it entertains. But as theater, it’s hollow. What’s on offer is not “The Phantom of the Opera” but its glossy, emptied-out cousin. The title says it all: A masquerade.”
The New York Post: *** 1/2 ““The Phantom of the Opera” may have vanished from the Majestic Theatre, but there’s plenty of majesty to be found on 57th Street.”
New York Stage Review: **** “Ultimately, it’s the intimacy of the environment that makes Masquerade such a special experience. You’re just a few feet away from the performers as they sing Andrew Lloyd Webber’s gorgeous score, and it’s safe to say you haven’t lived until you’ve had a performer of the caliber of Hugh Panaro singing “Music of the Night” to you directly, just inches from your face. It’s enough to make anyone a Phan.”
New York Theatre Guide: “Masquerade instantly had me under its spell. I’d call it the point of no return, except I definitely hope to return.”
To find out more visit: https://masqueradenyc.com/