The Phantom of the Opera at the Royal Albert Hall Reviews

Page 1 of 4
Super Reviewer
May 5, 2012
Fabulous! The woman that plays the part of Christine (Sierra Boggess) sings like an angel. The music from this is some of the most memorable of all musicals out there, in my opinion. Beautiful production. There is a 25th Anniversary performance afterwards that actually involves Andrew Lloyd Webber himself. Very cool!
Cameron W. Johnson
Super Reviewer
December 22, 2012
Yes, people, let there be a celebration for twenty-five phant-astic years of keeping opera alive, essentially single-handedly. I don't know if people are still seeing operas, but I am quite sure that people are still seeing this opera, because this puppy has grossed over $5 billion, total, (Choke on that, James Cameron) and would have made more if it wasn't for them continuing to thrust it into the convenience of lazy bums' homes. Even when people do go see the play, it ends up recorded and on Blu-Ray that's actually clearer than the normal human eye's vision, and quite frankly, as fun as it would be to actually go to the theater, I'm too lazy to pay money to go see something that I could just watch on PBS, where people just tell me to pay them. People, I've got DVR, why should I go buy the DVD, especially seeing as how there will most likely be another, probably better version on the way? I joke, but they haven't adapted Andrew Lloyd Webber's play to the screen too often, or at least not compared to Gaston Leroux original novel, which has been done to death, then back to life and then back to death, so much so that Leroux isn't too likely to ironically haunt this opera as a phantom, saying, "Hey, doesn't anyone remember my book?" Yeah, I don't know about you guys, but going to see a massive musical production of near-unparalleled proportions sounds like it would be a little bit more fun than reading an early-1900s French Gothic novel, but hey, either way, you get a good story, and one that sure does make for a good show, or rather, three good renditions of a good combined into one good movie, or whatever in this world this play-on-film thing is. Still, as much as I enjoy some good old fashion theatrical entertainment, as seen on a newer format of entertainment, this presentation of a strong production is hardly faultless, as sure that the production itself is hardly faultless.

Certainly, Gaston Leroux's original story concept is an intriguing one, and Andrew Lloyd Webber's stage vision of such a story is nothing short of a compelling success, and yet, I've always found something of a problem within Lloyd Webber's storytelling concept of musical exposition, broken up by the occasional piece of traditional dialogue, because although the production's musicality is consistently commendable and adequate in its serving as exposition, unevenness within the production's jumps between occasions of dialogue and massive chunks of music is not likely to have ever been truly dismissed from a performance, and is most definately present within this performance. This moderate degree of storytelling unevenness and, shoot, for that matter, the storytelling's often falling as too enslaved by the aimless fluidity of musical exposition taint the production with a somewhat heavy-handed pacing, if not a degree of repetition, exacerbated by the subjective direction of the cinematic presentation of the theatrical production. As much as I complain about the play's musical storytelling's getting rather repetitious, were you to join this production's true original audience in objectively observing the performance as spectacle, I'd imagine substance would go thinned out, and with it, storytelling faults, which may very well be thinned to the point of obscurity, but this film presentation's subjective focus upon about as much substance as spectacle emphasizes the dynamicity limitations of staged storytelling, thus repetition ensues, but not alone. Stage and film are two quite different storytelling formats whose going combined rarely proves to be all that consistently organic of a marriage, and while this film presentation of a staged production is surprisingly not quite as awkard as you would expect, it suffers from the usual problem of, well, staginess that isn't too intense in this production, but palpable enough to be disengagingly detrimental to the effectiveness of subjective atmosphere, particularly when the subjective storytelling breaks to really emphasize the presence of the objective viewers and other objective environmental aspects in a fashion that further damages the subjective viewpoint through which this film presents the story. Now, I'm not asking editor Nick Morris to leave the film to awkwardly omit a whole audience's applause or, Heaven forbid, a single audience member's cough, boo or exclamation of, "Tell some jokes!" (That doesn't ever happen during this production, but can you imagine?), but this film presentation's leaps between subjective storytelling and objective storytelling often prove to be disconcertingly uneven, and by the time we come to the end of the production, nearly 30 minutes prior to the presentation's conclusion, and find ourselves facing random additional, fan service-tastic post-show comments by Andrew Lloyd Webber himself and additional musical performances by veterans of the "Phantom of the Opera" stage, you'd be hard pressed to deny that this film's storytelling format marriage doesn't always work when it comes to keeping up subjective storytelling momentum. Don't get me wrong, touches such as these are nice and really add much color to the film presentation, as sure as they must have added an ocean of color the production, as seen by the audience that you yourself can see in this film, yet as far as substance flow is concerned, storytelling doesn't always gel, with other storytelling missteps being of no help, thus the production that is presented must be darn good and the presentation of the production must itself be darn good. Well, it should all but go without saying that the former criteria goes met, and as far as the latter criteria is concerned, while there are natural shortcomings and questionable directorial decisions, this film presentation does rewarding justice to the production, which in turn does rewarding justice to Andrew Lloyd Webber's original vision.

Again, I'm not entirely animalistic about Andrew Lloyd Webber's musical touches as supplements to storytelling, feeling that they plague things with a degree of heavy-handedness and perhaps even a touch of repetition, but when it comes to straight musicality, Lloyd Webber's original musical concepts delivered on plenty of power, with dynamicity, sweep and depth that have been successfully brought to life time and again throughout 25 years of fine orchestral performances, including this one conducted by Anthony Inglis, whose band keeps fabulously faithful to Lloyd Webber's grand musical tastes with poignant inspiration and near-faultless skill. As for the singing behind which the music stands, the performers deliver on upstanding vocals that are rich with range and grip aesthetic investment firmly, and also turn into some genuinely charismatic performances, with Ramin Karimloo standing out by delivering on not only spirited vocals, but spirited emotional range that bonds with the singing seamlessly and leaves you to go gripped by both striking vocal skill and convincing bursts of emotion, married with haunting charisma, that prove to be enough to sell you on the layered depth, engrossing mystery and overall essence of the titular iconic Phantom character as you sit in the audience, alone, and with the subjective camerawork of this film presentation planting you upon the stage that is looked upon by said audience, you get a good look at the just as emotionally-involved and, to the character's effectiveness, complimentary expressiveness upon Karimloo's face, or at least the half that isn't obscured by that cool white mask. Karimloo quite steals the show, much like the very character he portrays, standing as a compelling force who commands attention, though not necessarily to him, but rather, to the compellingness within the story itself, because as rich with artistry and style as Andrew Lloyd Webber's original musical vision and this performance of said musical vision are, neither full investment nor the play itself would anything if it wasn't for what was brought to the table well over 25 years years ago by Gaston Leroux, whose subject matter drips with intrigue that both Andrew Lloyd Webber and this production stay faithful to, bypassing aforementioned questionable storytelling decisions enough to draw much of the compellingness from Leroux's rudimentary vision, whose essence is further absorbed by Laurence Connor's presentation of this stage adaptation that already does enough justice to its worthy source material. The final film product's director, Laurence Connor, makes his share of uneven storytelling decisions, thrusting atmospheric viewpoint back and forth between subjective and objective rather awkwardly, but when Connor's subjective storytelling tastes do find a comfortable flow, as they often do, intricate and often rather elaborately well-staged up-close footage and Nick Morris' clever editing plant you upon the stage and give you a genuine film feel that may be diluted by natural stage limitations and some degree of staginess' being undeniable, but remains effective enough for you to more often than not bond with this story's substance and world in a fashion that you just can't find as an audience member in the highly respectable yet objective world of theatre. Of course, the usual problem with subjective storytelling is that it takes a fair bit of the spark out of spectacle, and sure enough, while there's no escaping entertainment value or compellingness when watching this production, theatrical thrills go thinned out, but just barely, as Connors' storytelling, even at it's most subjective, is just distanced enough for you to take in this production's technical value, which is nothing if not dazzling. What can make or break the full success of any major stage production, especially one of this much scale and significance, is production value, and with this particular rendition of a particularly grand production being particularly special (Yes, all of those, "particulars" were on purpose, grammar geeks), production needs to be especially impressive, thus they go all out in restoring the late, great Maria Björnson's set and costume designs intricately and brilliantly, with unique touches that further color things up and compliment one dazzlingly elaborate set piece after another. Cameron Mackintosh's production goes pumped with inspiration, and the final result is a thoroughly entertaining and affectionately faithful tribute to Andrew Lloyd Webber's mega-hit that is presented generally very well in this film, thus making for a final product that makes for quite the rewarding watch.

As the music of the night fades yet again, the production is left tainted by a degree of heavy-handed pacing, while the production's film presentation's subjective viewpoint emphasizes repetitious spells and staginess with a moderate degree of awkwardness, made worse by momentary breakings of subjective illusion, both accidental and questionably intentional, thus making for a final product that is improvable, yet not so much so that it doesn't rewarding, as the production delivers on fine faithfulness to Andrew Lloyd Webber's upstanding musicality, as well as charismatic performances - particuarly that of the compellingly near-transformative Ramin Karimloo - and dazzling production values, while Laurence Connor's film presentation of the event delivers on excellent camerawork and clever editing by Nick Morris' that much more often than not to a fine job of plunging you into Gaston Leroux's compelling story, thus making "The Phantom of the Opera at the Royal Albert Hall" a thoroughly entertaining stage production and film that rewards as a tribute to Andrew Lloyd Webber's unparalleled hit of a spectacular.

3/5 - Good
½ March 18, 2012
Beautifully presented on the gorgeous stage of the Royal Albert Hall. The Phantom of the Opera is as enchanting and haunting as ever.
August 8, 2012
Now THAT, Gerard Butler, is how you play the Phantom.




I am a megafan of the original show who *hated* the movie. In particular, I hated Butler, for two major reasons. First of all, the man is not a TERRIBLE singer, but this is the worst possible musical for him. I had similar feelings seeing Nick Jonas in the concert cast of Les Miserables. His singing voice does not fit the character, the theatrical style, or the songs, and as such, he destroys everything he sings in the movie (including my second favorite showtune of all eternity). Secondly, Butler's Phantom is a very odd portrayal. The Phantom is equal parts menacing and pathetic, but Butler simply comes across as fairly cranky in every scene.




Ramin Karimloo fixes all those problems. I've seen three different live performances of Phantom, and he was easily on par with the best of those. His Phantom is fascinating to watch - at times, he is the most pitiful creature, and then he suddenly switches gears and is in a murderous rage. He has the voice to go with the character, too - it's easy to believe his talent has made him both Christine's vocal teacher and seductor.




Although at first I wasn't sure about Sierra Boggess, she ultimately brings a level of compassion to the role that I haven't seen in many other Christines. Her Christine is not drawn to the Phantom solely because of his voice and her lack of willpower - she is pulled back again and again because she *wants to help*. The final scene, where she bids the Phantom goodbye, was extremely moving - even as she gains her independence and takes it, you can see her wishing she could bring the Phantom some happiness. Not because she is in love with him, by any means, but because his sorrow touches her deeply.




This production's Raoul is the low point, however. Patrick Wilson was my favorite part of the 2004 version, and Hadley Fraser is... rather despicable. Instead of being the Phantom's antithesis, a sweet and reassuring character, he, too, treats Christine as if she were a child, singing every line with an oddly commanding tone. "All I Ask of You" was particularly bizarre - in the scene leading up to it, he responded to her (very legitimate) fears with annoyed facial expressions and deliveries that did not match his words. When he did begin the famous love song, he looked not at Christine, but directly out at the audience, giving the impression that he was saying what needed to be said to calm down his hysterical girlfriend, but that he'd really rather not be there. I kept thinking any minute he was going to roll his eyes as he sang words he clearly didn't believe. I usually dislike the character of Raoul, but for his spinelessness - and here I found him *missing* that spinelessness, because at least it had a touch of the sweet to it.




The show is shot fairly well, although there are moments I wish we saw more of the stage (I always love seeing Phantom from the last row of the theater, since so many scenes are SO BIG and SO BUSY). For technical reasons, the spectacular Act 1 finale chandelier crash couldn't happen, so instead the chandelier merely sparks and goes out - so much less impressive, but still fairly effective.




Overall, despite the bizarre acting choices of Raoul, I loved this. It's been far too long since I've seen this show on stage, and I forgot how transcendant this show can be for me. It was the first professional stage production I ever saw, and it remains one of my very favorites, and I'm delighted there is a movie version I can not-hate now. Definitely worth a watch for anyone who likes musicals.
March 31, 2012
I had never had the privilege of seeing this show on stage, so I was very excited when I heard this DVD was being released. Now that I've watched it, I can understand why it's been so well-loved for so long. The production is beautiful, the casting is perfect, the theater is gorgeous, and despite the long running time, I was sad to see it end. This only further convinces me that I need to see the show in person.
June 30, 2014
simply stunning. incredible elements missing but stands to a sublimely stunning musical
½ December 18, 2013
Okay, I must be the only one out there that actually enjoyed Joel Schumacher's 'The Phantom of the Opera'. Having listened to the cast recordings from the theatrical production, I thought Gerard Butler, Emmy Rossum, and Patrick Wilson did fine with the stage-to-screen translation. However, theatrical connoisseurs derided the film - most likely due to the fact that Schumacher isn't well-liked in Hollywood. So my expectations going into seeing the drama unfold on stage was pretty high, since the Broadway authorities that be say it's much better than the film. Well, I'm here to say it's not. Oh, sure, Ramin Karimloo, Sierra Boggess, Hadley Fraser, Wendy Ferguson, Liz Robertson, and the rest of the cast does fine with their songs and acting, but it just feels so shortchanged and claustrophobic having seen and enjoyed the film version. I'm sure it's different in person, but I just wasn't blown away. Even when Sarah Brightman (the original Christine) sang at the end, I was underwhelmed. Too theatrical and focused on hitting the right notes, and not nearly enough emotion. I'm harping. I'll stop. Clearly theater isn't my forte.
October 26, 2013
Although I love the Phantom of the Opera I put off watching it because somehow the idea of watching a stage play as a movie didn't mesh well in my mind. I was pleasantly surprised from the very beginning with the soundtrack and the way that the camera angles were able to sometimes focus in where you sometimes forget it's a stage play. (For those who say that he was a grown man the whole time he mentored her I don't believe that was true, he was older than her which made him seem to her like an angel or father) I found myself several times wishing it was the movie version...it's just so hard to recreate on stage. And oh why does the phantom's hair magically disappear in the ending sequence? Removing a face mask doesn't remove hair. That aside, I never cried watching the movie and oh, during this one I did. Really solid performance, if you're a fan of the story you won't be disappointed with this- truly a fantastic stage play.
June 24, 2013
Even though "The Phantom of the Opera" is a musical (not an opera!) it does call for operatic singing, and there is a very big difference between that kind of singing and what the leads were doing. Ms. Boggess has a fine voice, but she sounds more like a mezzo than a soprano and her high notes make Emmy Rossum sound okay in comparison. Both she and Mr. Karimloo sound like they have a vocal wobble, and they are continuously sacrifice pitch for vibrato. However, I'm sure they sound very good in more conventional musical theatre.
April 20, 2013
Absolutely engaging-- Ramin and Sierra's chemistry is undeniable. Ramin's gentle side of the Phantom makes it impossible to hate the Phantom, and Sierra absolutely becomes Christine. You can see it, hear it, and feel it. A job well done with a brilliant cast.
December 28, 2012
A lavish and amazing production of Andrew Lloyd Webber's musical masterpiece! Great sets, costumes, acting and singing! In a word: Epic!
January 17, 2013
Absolutely awesome! Captivating performances. The only negative is that I was not in Royal Albert Hall to see this momentous performance in person!
Cameron W. Johnson
Super Reviewer
December 22, 2012
Yes, people, let there be a celebration for twenty-five phant-astic years of keeping opera alive, essentially single-handedly. I don't know if people are still seeing operas, but I am quite sure that people are still seeing this opera, because this puppy has grossed over $5 billion, total, (Choke on that, James Cameron) and would have made more if it wasn't for them continuing to thrust it into the convenience of lazy bums' homes. Even when people do go see the play, it ends up recorded and on Blu-Ray that's actually clearer than the normal human eye's vision, and quite frankly, as fun as it would be to actually go to the theater, I'm too lazy to pay money to go see something that I could just watch on PBS, where people just tell me to pay them. People, I've got DVR, why should I go buy the DVD, especially seeing as how there will most likely be another, probably better version on the way? I joke, but they haven't adapted Andrew Lloyd Webber's play to the screen too often, or at least not compared to Gaston Leroux original novel, which has been done to death, then back to life and then back to death, so much so that Leroux isn't too likely to ironically haunt this opera as a phantom, saying, "Hey, doesn't anyone remember my book?" Yeah, I don't know about you guys, but going to see a massive musical production of near-unparalleled proportions sounds like it would be a little bit more fun than reading an early-1900s French Gothic novel, but hey, either way, you get a good story, and one that sure does make for a good show, or rather, three good renditions of a good combined into one good movie, or whatever in this world this play-on-film thing is. Still, as much as I enjoy some good old fashion theatrical entertainment, as seen on a newer format of entertainment, this presentation of a strong production is hardly faultless, as sure that the production itself is hardly faultless.

Certainly, Gaston Leroux's original story concept is an intriguing one, and Andrew Lloyd Webber's stage vision of such a story is nothing short of a compelling success, and yet, I've always found something of a problem within Lloyd Webber's storytelling concept of musical exposition, broken up by the occasional piece of traditional dialogue, because although the production's musicality is consistently commendable and adequate in its serving as exposition, unevenness within the production's jumps between occasions of dialogue and massive chunks of music is not likely to have ever been truly dismissed from a performance, and is most definately present within this performance. This moderate degree of storytelling unevenness and, shoot, for that matter, the storytelling's often falling as too enslaved by the aimless fluidity of musical exposition taint the production with a somewhat heavy-handed pacing, if not a degree of repetition, exacerbated by the subjective direction of the cinematic presentation of the theatrical production. As much as I complain about the play's musical storytelling's getting rather repetitious, were you to join this production's true original audience in objectively observing the performance as spectacle, I'd imagine substance would go thinned out, and with it, storytelling faults, which may very well be thinned to the point of obscurity, but this film presentation's subjective focus upon about as much substance as spectacle emphasizes the dynamicity limitations of staged storytelling, thus repetition ensues, but not alone. Stage and film are two quite different storytelling formats whose going combined rarely proves to be all that consistently organic of a marriage, and while this film presentation of a staged production is surprisingly not quite as awkard as you would expect, it suffers from the usual problem of, well, staginess that isn't too intense in this production, but palpable enough to be disengagingly detrimental to the effectiveness of subjective atmosphere, particularly when the subjective storytelling breaks to really emphasize the presence of the objective viewers and other objective environmental aspects in a fashion that further damages the subjective viewpoint through which this film presents the story. Now, I'm not asking editor Nick Morris to leave the film to awkwardly omit a whole audience's applause or, Heaven forbid, a single audience member's cough, boo or exclamation of, "Tell some jokes!" (That doesn't ever happen during this production, but can you imagine?), but this film presentation's leaps between subjective storytelling and objective storytelling often prove to be disconcertingly uneven, and by the time we come to the end of the production, nearly 30 minutes prior to the presentation's conclusion, and find ourselves facing random additional, fan service-tastic post-show comments by Andrew Lloyd Webber himself and additional musical performances by veterans of the "Phantom of the Opera" stage, you'd be hard pressed to deny that this film's storytelling format marriage doesn't always work when it comes to keeping up subjective storytelling momentum. Don't get me wrong, touches such as these are nice and really add much color to the film presentation, as sure as they must have added an ocean of color the production, as seen by the audience that you yourself can see in this film, yet as far as substance flow is concerned, storytelling doesn't always gel, with other storytelling missteps being of no help, thus the production that is presented must be darn good and the presentation of the production must itself be darn good. Well, it should all but go without saying that the former criteria goes met, and as far as the latter criteria is concerned, while there are natural shortcomings and questionable directorial decisions, this film presentation does rewarding justice to the production, which in turn does rewarding justice to Andrew Lloyd Webber's original vision.

Again, I'm not entirely animalistic about Andrew Lloyd Webber's musical touches as supplements to storytelling, feeling that they plague things with a degree of heavy-handedness and perhaps even a touch of repetition, but when it comes to straight musicality, Lloyd Webber's original musical concepts delivered on plenty of power, with dynamicity, sweep and depth that have been successfully brought to life time and again throughout 25 years of fine orchestral performances, including this one conducted by Anthony Inglis, whose band keeps fabulously faithful to Lloyd Webber's grand musical tastes with poignant inspiration and near-faultless skill. As for the singing behind which the music stands, the performers deliver on upstanding vocals that are rich with range and grip aesthetic investment firmly, and also turn into some genuinely charismatic performances, with Ramin Karimloo standing out by delivering on not only spirited vocals, but spirited emotional range that bonds with the singing seamlessly and leaves you to go gripped by both striking vocal skill and convincing bursts of emotion, married with haunting charisma, that prove to be enough to sell you on the layered depth, engrossing mystery and overall essence of the titular iconic Phantom character as you sit in the audience, alone, and with the subjective camerawork of this film presentation planting you upon the stage that is looked upon by said audience, you get a good look at the just as emotionally-involved and, to the character's effectiveness, complimentary expressiveness upon Karimloo's face, or at least the half that isn't obscured by that cool white mask. Karimloo quite steals the show, much like the very character he portrays, standing as a compelling force who commands attention, though not necessarily to him, but rather, to the compellingness within the story itself, because as rich with artistry and style as Andrew Lloyd Webber's original musical vision and this performance of said musical vision are, neither full investment nor the play itself would anything if it wasn't for what was brought to the table well over 25 years years ago by Gaston Leroux, whose subject matter drips with intrigue that both Andrew Lloyd Webber and this production stay faithful to, bypassing aforementioned questionable storytelling decisions enough to draw much of the compellingness from Leroux's rudimentary vision, whose essence is further absorbed by Laurence Connor's presentation of this stage adaptation that already does enough justice to its worthy source material. The final film product's director, Laurence Connor, makes his share of uneven storytelling decisions, thrusting atmospheric viewpoint back and forth between subjective and objective rather awkwardly, but when Connor's subjective storytelling tastes do find a comfortable flow, as they often do, intricate and often rather elaborately well-staged up-close footage and Nick Morris' clever editing plant you upon the stage and give you a genuine film feel that may be diluted by natural stage limitations and some degree of staginess' being undeniable, but remains effective enough for you to more often than not bond with this story's substance and world in a fashion that you just can't find as an audience member in the highly respectable yet objective world of theatre. Of course, the usual problem with subjective storytelling is that it takes a fair bit of the spark out of spectacle, and sure enough, while there's no escaping entertainment value or compellingness when watching this production, theatrical thrills go thinned out, but just barely, as Connors' storytelling, even at it's most subjective, is just distanced enough for you to take in this production's technical value, which is nothing if not dazzling. What can make or break the full success of any major stage production, especially one of this much scale and significance, is production value, and with this particular rendition of a particularly grand production being particularly special (Yes, all of those, "particulars" were on purpose, grammar geeks), production needs to be especially impressive, thus they go all out in restoring the late, great Maria Björnson's set and costume designs intricately and brilliantly, with unique touches that further color things up and compliment one dazzlingly elaborate set piece after another. Cameron Mackintosh's production goes pumped with inspiration, and the final result is a thoroughly entertaining and affectionately faithful tribute to Andrew Lloyd Webber's mega-hit that is presented generally very well in this film, thus making for a final product that makes for quite the rewarding watch.

As the music of the night fades yet again, the production is left tainted by a degree of heavy-handed pacing, while the production's film presentation's subjective viewpoint emphasizes repetitious spells and staginess with a moderate degree of awkwardness, made worse by momentary breakings of subjective illusion, both accidental and questionably intentional, thus making for a final product that is improvable, yet not so much so that it doesn't rewarding, as the production delivers on fine faithfulness to Andrew Lloyd Webber's upstanding musicality, as well as charismatic performances - particuarly that of the compellingly near-transformative Ramin Karimloo - and dazzling production values, while Laurence Connor's film presentation of the event delivers on excellent camerawork and clever editing by Nick Morris' that much more often than not to a fine job of plunging you into Gaston Leroux's compelling story, thus making "The Phantom of the Opera at the Royal Albert Hall" a thoroughly entertaining stage production and film that rewards as a tribute to Andrew Lloyd Webber's unparalleled hit of a spectacular.

3/5 - Good
November 25, 2012
Even if you've seen this live, and seen every other adaptation of this classic, this version is formidable and certainly worth seeing. Perhaps only second to seeing it live with Crawford & Brightman years ago!
September 15, 2012
This is probably the most beautiful and fantastic performance ever given by man. I'm serious. The Phantom of the Opera 25th Anniversary is Brilliantly acted, sung beautifully, filled with fantastic spectacle and excitement! Rating: 100%/ Overall: Masterpiece
April 26, 2012
Fabulous production- far outweighs the movie version! You get the sense and feel of live threatre- which is what it is- a video of a live production. The special features post curtain call are also entertaining and rewarding to view.
April 10, 2012
This is my first ever stage musical I've seen. I saw it on blu-ray though. An amazing performance by the complete cast. The singing, music, performances, costumes and above all the stage settings just added to the celebration. You will enjoy it only if you like musicals.
February 24, 2012
Had goosebumps throughout
February 22, 2012
amazing...... just amazing everything about was just......god i wish i was there seeing it live but this is the next best thing. congratulations phantom of the opera for 25 amazing years of an amazing story and music
February 15, 2012
A particularly well-acted production. Stand out performer was Wendy Ferguson as Carlotta. She puts a lot of humanity into the role and is not the annoying stereotypical "diva". I think Firmin and Andre miss comedic timing often, unfortunately.
Page 1 of 4