The musical was a whole new experience. Sitting on the ground floor, not far from the stage allows you to see the musical as it was intended. An immense stage of unparralled beauty which is the perfect format for the musical’s new age.

Forget everything you know about the musical. This cast has given the audience a much richer version that ever before. The music itself is deeper and played with more feeling. The performers utterly destroyed any idea of this being a ‘pop opera’ by giving forth true opera on the stage.

To specifics then. Both Mauer as the Phantom and Southward as Christine were brilliant. Here is a couple truly in the most exalted throes of love before the unmasking. Then of course the young composer is spurned despite the fact that he is still the same man. Yet Christine still loves him and struggles whether to accept a bland but safe love with Raoul (ever the fop) or the all-consuming passion the Phantom offers.

Let’s not forget the triumphant return of the diva Carlotta as played by the star. Here is a diva rightly angered over this ingenue taking her roles from her. Her viscousness stems from the uneasy feeling all older women have when faced with a younger opponent. Will the directors remember her in the face of this fresh beauty? More than likely no, and her spirited fight to keep her role as prima donna is to be applauded.

It must be admitted that the directors and even Raoul were solid in this production. The former are outraged over the Phantom’s blackmail and directing penchant. The latter goes from a non-believer who treats Christine as addle-patted to a man who respects his opponent.

But the most important parts of any production are thus. The Music of the Night reaches into the hearts of the audience and refuses to let go. Here is utter loneliness and true devastation of the soul. There is a despairing note of despair for the Phantom already knows his dream cannot be. But yet he pleads as do we all to be loved and cherished despite what the world sees him as.

Masquerade whirled a frightened Christine around the dance floor, trapping her in a room of menacing Phantoms. As the music swells in triumph her unwanted suitor appears as the Red Death, reminding her who she truly belongs to. The references here to the devil arising to the stage in many an opera were blatant in a wonderful way. They also set up a delightful shriek from the audience at his explosive exit.

To close, a word about attendance. The show was clearly sold out at a time when other venues have fallen to the wayside. That those of us who bleed black and gold would forsake a day of AFC championship revels to attend the show says more for the abiding love this town has for the Phantom than any words ever could. I thank the entire cast and crew for making us truly blissful, once more.