The Phantom Of The Opera at Cadillac Palace Theatre

Our story begins with Opera Populaire's manager, Lefevre, leaving. His successors, Andre and Firmin, take over the opera, and bring with them their new patron, le Victome Raoul de Changy. To celebrate their new managers, the opera throws a gala, at which the leading diva refuses to perform, due to the mysterious 'Opera Ghost' who seems determined to have the screeching diva leave. Without a diva, Andre and Firmin are strong-minded to find a new leading lady, so they invoke the talents of a young, chorus-singer named Christine, who has been taking lessons from a mysterious tutor. Raoul, Christine's old childhood sweetheart, who recognizes her at her triumphant gala performance, wants to bring Christine back into his life. But, suddenly, Christine's mysterious tutor reveals himself to her… Now, will Christine ask everything of Raoul or listen to the Music of the Night?

The Phantom of the Opera! The spectacular production of Andrew Lloyd Webber and Cameron Mackintosh.

The Phantom of the Opera makes a triumphant return to Chicago, bigger and better than ever before. Featuring brilliant new scenic design by Paul Brown, Tony Award-winning original costume design by Maria Björnson, lighting design by Tony Award winner Paule Constable, new choreography by Scott Ambler, new staging by director Laurence Connor, and the now legendary chandelier! A cast and orchestra of 52 makes this one of the largest Phantom of the Opera productions now on tour!

Cameron Mackintosh has so far produced the three longest running musicals in history Les Misérables, The Phantom of the Opera and CATS. Cameron was knighted in 1996; recently was the first British producer to be elected to the Theater Hall of Fame; and is the recipient of the 2017 Stephen Sondheim Award.

“Well, you start with a story that reeks of sexuality, mystery, innocence and passion. Then you add music that weaves motif after motif together in a manner that even a tone deaf person could grasp. Add impeccable design – 19th century costumes and a set that is so enormous it dwarfs the cast and so spectacular that you can hardly keep track of where you are. Top it off with staging that is actor proof and voila!” – Tulis McCall, New York Theatre Guide.com

“Phantom” may be the riskiest reboot. Even Mackintosh regards the dark, shiny fable of the tortured, disfigured Phantom and the sweet soprano Christine as “the most beautiful of my big shows.” The new version is deliberately more prosaic.

“It’s more realistic in many ways,” Mackintosh says, drawing a comparison to the well-known set and costume design by Maria Bjornson, who died in 2002. “The original doesn’t attempt theatrical realism.”

“There is a realer sense of a backstage, of a theater world,” says new “Phantom” scenic designer Paul Brown, whose career has been mainly in the opera realm. “The glamour is only makeup deep.”

[Cameron Mackintosh profiled by The Post in 1996]