![]() ![]() The lush orchestrations (Webber and David Cullen), romanticism, clever pastiche of opera circa 1880, and heart-tugging, luxuriant melodies all remain. In an overwrought, overblown production overseen by Matthew Bourne (of the gender-switching Swan Lake fame) and original mega-producer Cameron Mackintosh, the sets and lights have been beefed up by Paul Brown and Paule Constable, respectively, but aside from a gorgeous giant gilded proscenium and an impressive staircase with vanishing steps, the only thing that visually impresses is Maria Björnson’s original costume design. Last night’s opening of The Phantom of the Opera, a refurbished revival of previous national tours, proves one thing: Since Andrew Lloyd Webber’s baby was born almost 30 years ago in London, the only thing that’s improved is theatrical technology, not aesthetics or storytelling or performers. ![]()
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