The Phantom of the Opera

Beneath the vaults of the Paris Opera lives a man in hiding—disfigured, highly gifted, radically isolated. Gaston Leroux’s Phantom is more than a figure of horror: he embodies exclusion, the longing for recognition, and the destructive force of unrequited love. At the center stands Christine Daaé, a young soprano caught between artistic awakening and emotional possession. What unfolds between her, the Phantom, and Raoul is no mere love triangle, but a psychological chamber piece about projection, obsession, and self-determination.

Forty years after its London premiere, Andrew Lloyd Webber’s musical now returns to a German stage— for the first time in over a decade. Directed by Seth Sklar-Heyn, the production follows the original concept by Laurence Connor and is presented under the artistic supervision of Matthew Bourne and Cameron Mackintosh. This is not about nostalgic reproduction, but about the careful evolution of a classic that continues to question itself.

The current version preserves its iconic elements—among them Maria Björnson’s costume designs—while reimagining them for today. Paul Brown’s set design opens up a space that is both opulent and fluid, allowing the legendary chandelier to unfold its symbolic power. Choreographer Scott Ambler and lighting designer Paule Constable provide precise accents, while Mick Potter’s sound design renders Webber’s score with clarity and nuance.

The result is a production that strives less for spectacle than for atmosphere—and poses the timeless question of how closely art and the abyss truly lie together.