Phantom Reborn: Inside NYC’s Daring, Immersive ‘Masquerade’ Experience

Andrew Lloyd Webber’s iconic Phantom of the Opera has returned to New York—not on a Broadway stage, but in a haunting, heart-pounding immersive experience titled Masquerade. Staged just south of Central Park, this radical reimagining trades orchestra pits for candlelit corridors and invites audiences into the Phantom’s twisted psyche.

What Is ‘Masquerade’?

Created and directed by Diane Paulus and conceived by Randy Weiner, Masquerade transforms Webber’s gothic romance into a multi-floor, 2-hour 15-minute journey through the Phantom’s “darkest dreams.” With only 60 guests per performance—360 nightly—it’s intimate, intense, and occasionally claustrophobic.

The Phantom and Christine in ‘Masquerade’ — photo: The New York Times

Key Features of the Immersive Experience

Multi-Level Staging: Performances span basement, multiple floors, and even a rooftop (weather permitting).
Prescribed Path: Unlike Sleep No More, guests follow a fixed route—no free roaming.
Dress Code: Formal black, white, or silver attire required; lace masks provided.
Recorded Score: Live violin opens the show, but the rest is pre-recorded for atmospheric effect.

How ‘Masquerade’ Reimagines the Classic

While the core story remains—Christine, Raoul, the Phantom’s obsession—the production trims songs, adds new lyrics co-written by Webber, and borrows heavily from the 2004 film version, including the ballad “Learn to Be Lonely.”

Original vs. ‘Masquerade’: A Quick Comparison

Feature	Original Broadway ‘Phantom’	‘Masquerade’ (2025)
Venue Capacity	1,600+ per show	60 per show
Performance Style	Traditional proscenium stage	Immersive, multi-room journey
Music	Full live orchestra	Recorded score + solo violin
Christine’s Role	Naïve but central	Reduced agency, often in negligee
Phantom’s Portrayal	Tragic antihero	Full psychological center; backstory expanded via circus flashback

Critical Reception: Thrilling Yet Problematic

Reviewers praise the adrenaline-fueled staging but question the ethics of humanizing a character described as a “murderer” and “sexual predator.” As The New York Times’ Alexis Soloski notes: “I am tired of being made to care why bad men do bad things.”