By Matthew Wexler
“Follow me!” “This way!” “Hurry!” I doubt Andrew Lloyd Webber and his collaborators imagined there’d be so much shuffling and calls-to-action when they first conceived of a musical adaptation of Gaston Leroux’s Le Fantôme de L’Opéra. But the catacombs of what was once the home of the American Society of Civil Engineers require nimble navigation for cast, crew, and attendees of Masquerade, a mostly mesmerizing immersive reimagining of The Phantom of the Opera.
After over 14,000 Broadway performances, three U.S. national tours, and hundreds of international engagements, most are familiar with the opera ghost, his muse, Christine, and the cast of characters that fall under his spell. Here, creator-director Diane Paulus, along with a 40-person acting company and a production crew of over 100, distills the story down to its essence. Along with 100,000 Preciosa crystals.
Black, white, and silver attire is required, as is a mask. (Those without 20/20 vision, fear not. Masks provided on site fit snuggly, so you can wear your glasses and still play the part.) The evening begins with the overture featuring a thrilling violin soloist. (Nikita Yermak at the performance I attended). The fact that he’s the only live musician imparts a manufactured auditory element to the rest of the evening. Still, the eager cast, many with Broadway credits, sing to the tracks with abandon as attendees move through various rooms, up and down stairs and escalators, and even a brief passage across the roof.
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The groups, approximately 50 each, are occasionally divided and reconfigured, and reemerge throughout the logistically masterful evening. When it works, Masquerade is breathtaking in its intimacy, putting you front and center as the Phantom (Telly Leung) bears witness to his traumatic past, then seduces Christine (Haile Ferrier) into his cellar lair. (Note: the production features six different Phantoms and Christines and a host of other duplicate castings, with staggered entry times.)
The evening’s participatory aspect sometimes feels forced (Do we need to learn the Masquerade dance? It’s not my Bar Mitzvah.) At other times, it’s intoxicating. Some naysayers might guffaw that its creators have turned the musical into what purists may consider a theme park attraction, feeling the phantom pain of the performers trapped in a dimly lit and fog-filled Groundhog Day. But Paulus and team have pulled off something miraculous: an immersive evening that retains the essence and dramatic arc of its source material. Finally, a reason to dress up and get lost in New York.
Fast facts: ‘Masquerade’
- 218 West 47th Street, New York City
- Running time: Approximately two hours, no intermission. Staggered entry times between 7 p.m. and 8:15 p.m.
- Tickets on sale through February 1, 2026.
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