Critics are raving that this breathtaking production is bigger and better than ever before and features a brilliant new scenic design by Paul Brown, Tony Award-winning original costume design by Maria Bjrnson, 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 shows 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.

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By then, it had wowed audiences in London and, with its over-the-top opulence, towering sets, excessive use of fog, and the ringing voice of Michael Crawford in the title role, it was, in many ways, the Hamilton of its day.

And if you needed further proof, see the new production of Phantom thats playing at the Hobby Center as part of the Broadway Across America series.

But Christine doesnt reciprocate, so this becomes a story of spurned love, revenge, and operatic sensibilities.

While Eva Tavaress Christine was glistening throughout, with gorgeously enunciated diction and a bell-like soprano, Quentin Oliver Lees Phantom didnt fully come to life until Act Two, which was a shame, because his voice is excellent.

Yet his laid-back Act One performance made Music of the Night, one of the shows signature songs, adequate at best and lackluster at worst.

His lush phrasing and excellent range were coupled with a performance that demonstrated clearly his characters protection for his love.

It wouldve been much better all around if he and Tavares had actual chemistry between them, but their duets were lovely representations of what happens when operatic trained voices tackle this show.

Its not even operetta, and the fantastic 1980s phrase rock opera doesnt much do it justice, either.

But Webbers music certainly borrowed from opera composers in the late 1700s and early 1800s, with dizzying orchestrations and deeply layered musical themes.

But they wander into gooey on occasion, too, in All I Ask of You.

Webbers score is delicious in their handsmoody and brooding, sensual and seductive, bright and catty, hopeful and lovestruck.

The orchestra brings a richness to already rich experience, permeating every corner of Paul Browns setswhich veer from vast to jewel box across the eveningand heightened by Paule Constables lighting and Nina Dunns video projections.

Maria Bjornsons costumes are as glorious now as they were three decades ago.

Its all still here, those grand sets, the tragic storyline, the idea that love still triumphs and saves, the beautiful voices.

Phantom Of The Opera Broadway