Review: THE PHANTOM OF THE OPERA, A Timeless Masterpiece

Singapore--In 2013 and 2019, Base Entertainment Asia previously presented Andrew Lloyd Webber’s acclaimed musical “The Phantom of the Opera.” On May 13, 2025, this timeless masterpiece's haunting love story and hypnotizing musicality returned to a packed house in the 2,183-seat The Sands Theatre, Marina Bay Sands.

In association with The Really Useful Group and Crossroads Live, Base Entertainment Asia presents a stellar cast of 37 performers from America, South Africa, and Australia, among others. Directed by “Phantom” Associate Director Rainer Fried, Music Supervisor Kristen Blodgette, and Associate Choreographer Denny Berry, this production is part of the global tour, which sees the production travel through Asia throughout 2025.

With music by Webber, “The Phantom of the Opera” has lyrics by Charles Hart and additional lyrics by Richard Stilgoe. The book by Stilgoe and Webber is based on the classic novel “Le Fantôme de l’Opéra” by Gaston Leroux, with orchestrations by David Cullen and Webber.

One evening over coffee, Webber asked the late director Hal Prince if “The Phantom of the Opera” was musical material. Prince was instantly hooked and surprised. For Prince, the secret to the unparalleled success was working from the creatives to his protean casts.

The legacy of the perfectionist production designer Maria Björnson still lives on in this production. Her majestic and complete thought-through vision for the costumes is lovely, vivid, and splendidly showcased.

Working on the musical staging and choreography, the late Gillian Lynne gives a microcosm of theatre life within. With Webber’s melodies and Prince’s directions, Lynne’s styles and sways are on point, which will enthrall meticulous audiences.

A musical in two acts tells the tale of a disfigured musical genius, the Phantom, who haunts the depths of the Paris Opera House. Behind the mirror, the Phantom appears as the angel of music, mesmerized by the talent and beauty of a young soprano, Christine Daae. The Phantom draws her into the dark beyond the mirror, lures her as his protégé, and falls fiercely in love with her.

When Christine’s childhood love, Raoul, returns, the room is empty. Unaware of Christine’s love for Raoul, in the ensuing pandemonium, Christine flees with Raoul for safety on the opera house's roof. Hiding from the gigantic statue of an angel, the Phantom’s obsession sets the scene for a dramatic turn of events where jealousy, madness, and passion collide.

In 2016, at Her Majesty’s Theatre, Ben Forster took on the title role in The Phantom, leading into its 30th anniversary with an Olivier Award-winning and five-star reviews. For his Singapore debut, Forster receives a 10-star rating for his over-the-top performance throughout the acts. Unlike the previous Phantom of the international tour, who was quite a disappointment, Forster gives a new sensational act as you listen to the music of the night.  Stress should be given to his effortless control in the musical soliloquy, “All I Ask of You (Reprise)” and 11 o’clock numbers, “The Point of No Return” and “Down Once More/Track Down This Murderer.” Forster soars high, haunts deep, and hypnotizes dearly in this masterpiece.

However, the spectacle doesn’t astound with Grace Roberts’ portrayal as Christine Daae, with Caitlin Finnie alternating at certain performances. She has the caliber of an innocent-looking opera star, but her singing interpretation is a bit off multiple times. She is sounding rehearsed and not singing seamlessly for some of her parts. Her two signature soliloquies, “Think of Me” and “Wishing You Were Somehow Here Again,” are a failed rendition. She is acting dearly but resonating annoyingly.

Matt Leisy is delighted to return as Raoul, Vicomte de Chagny. In this touring production, audiences are treated to a mesmerizing interpretation and loving expression of the dashing Leisy.

At first, Raquel Suarez Groen (Carlotta Giudicelli) and Thabiso Masemene (Ubaldo Piangi) fail to establish a moving rendition. However, as the story goes, Groen and Masemene have had a significant leap in “Notes/Prima Donna.”

Curt Olds (Monsieur Gilles André) and James Borthwick (Monsieur Richard Firmin) are a perfect duo. They have the ideal voice for creating perfect harmony, and Olds and Borthwick also create a symbiotic relationship theatrically.

Marni Raab and Claire Lander play the mother and daughter, Madame Giry and Meg Giry, whose faces are stunning at a distance. Raab and Lander are impressive in their scenes that audiences should watch for.

The musical is known for its lavish and ornate design from the proscenium arch to the famous chandelier. The illusion of the boat floating over the water during the labyrinth underground scene, “The Phantom of the Opera,” is a miss. The amount of dry ice doesn’t cover the stage area to achieve a river-like setting. The sound of the crashing chandelier is also missing. “The Phantom of the Opera” is known for its stinging, sweeping, full-bodied sound that creates an immersive sound experience, but lacks in orchestration. However, the operatic songs and dramatic melodies are sounding just fine.

“The Phantom of the Opera” is widely considered one of history's most beautiful and spectacular productions, playing to over 160 million people in 47 territories and 195 cities in 21 languages. Having premiered at Her Majesty’s Theatre in London’s West End in October 1986 and debuted on Broadway at the Majestic Theatre in January 1988, it has won over 70 major theatre awards. On January 9, 2006, it became the longest-running show in Broadway history, surpassing “Cats” with its 7,486th performance. The production’s nearly 14,000 performances have been seen by 19.5 million people and grossed $1.3 billion.

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