Broadway Legend Joined: 11/12/14
Someone in the Facebook group posted this breakdown (apparently the pairings are indeed the same for each show, contrary to what someone said earlier), I assume matinees follow the same schedule:
700- Kyle and Eryn
715 - Telly and Haile
730 - Hugh and Francesca
745 - Nik and Kaily
800- Clay and Riley
815- Jeff and Anna
Luscious said: "Anyone on the fence about seeing this, please don’t. The fewer audience members, the better. I’d rather it die early on the vine than become a massive hit. In fact, I wish they were selling at least100 fewer tickets per show. Yes, I know, very selfish of me. But here’s the thing,
I don’t care."
But here's the thing. If you don't care, then why are you here?
Luscious said: "Anyone on the fence about seeing this, please don’t. The fewer audience members, the better. I’d rather it die early on the vine than become a massive hit. In fact, I wish they were selling at least100 fewer tickets per show. Yes, I know, very selfish of me. But here’s the thing,
I don’t care."
Then don't attend and let other people enjoy themselves. I just solved your whole problem.
witchoftheeast2 said: "I can't help but get annoyed when people complain about age differences. Are they both under 18? No? Then why the eff does it matter? They need to touch grass, as they would most likely say"
Because both the original novel and the libretto of the musical refer to Christine's vacillation between two erroneous assumptions: that the Phantom is an "angel" sent to her by her dead father, or the Phantom is the reincarnation of her dead father. Consequently, the age difference between the actors should plausibly reflect that of a father and daughter.
So we're concerned that this murderer's privacy-invading, gaslighting attempts to romance and eventually force a girl to love him would come across as too creepy if the age gap is too big?
ChairinMain said: "So we're concerned that this murderer's privacy-invading, gaslighting attempts to romance and eventually force a girl to love him would come across as too creepy if the age gap is too big?"
If this is intended as a response to me, "too creepy" is your thought. I said "the age difference between the actors should plausibly reflect that of a father and daughter" in order to adhere to the storyline.
A little unusual that Nik Walker is doing both this and Bull Durham and that they’re opening in such close proximity. He’ll have to take a 6-8 week break starting sometime in September…wonder who will fill in?
Updated On: 8/6/25 at 11:42 AM
Y’all… I don’t even know where to begin on this. I’ll start with the fact that my feet hurt and if you’re thinking of testing out new dress shoes on this, think again. Ouch.
Anyway, this was garbage. Exactly the kind of sanitized, Disney World nonsense I feared it would be and hoped it wouldn’t. But my god, if there has ever been the definition of anticlimax, it’s this show. Every time a scene starts to pick up momentum (used loosely), we’re rushed off down another hallway. Or a staircase. Or an escalator. And not quickly, mind you. Slooooowly. If we were given something to look at while we went, I might have been less peaved. But given that about 40% of the show is walking from scene to scene for way too long, I expected more stuff to look at. It’s clear my ticket price went to rent and salaries; it sure as hell isn’t in the design.
The chandelier? Anticlimactic, and crashes so slowly, you wonder why they even bothered. Why are “All I Ask of You” and “Wishing You Were Somehow Here Again” staged on the roof? Not sure, probably a space thing, but it definitely didn’t please the man who shouted out his window “Shut the hell up!” mid-song. Why is there a 15-minute long carnival scene? I guess they needed 50 people out of the way for other audience to pass.
Save your money. The Phans who were primed to live for it were clutching their chest like they were Christine themselves, but I mostly couldn’t wait for it to be over. Also, good luck finding the coat check at the end of the show. I had to run into a stagehand who opened an unlabeled door for a bunch of us to escape the bar.
ColorTheHours048 said: "Y’all… I don’t even know where to begin on this. I’ll start with the fact that my feet hurt and if you’re thinking of testing out new dress shoes on this, think again. Ouch.
Anyway, this was garbage. Exactly the kind of sanitized, Disney World nonsense I feared it would be and hoped it wouldn’t. But my god, if there has ever been the definition of anticlimax, it’s this show. Every time a scene starts to pick up momentum (used loosely), we’re rushed off down another hallway. Or a staircase. Or an escalator. And not quickly, mind you. Slooooowly. If we were given something to look at while we went, I might have been less peaved. But given that about 40% of the show is walking from scene to scene for way too long, I expected more stuff to look at. It’s clear my ticket price went to rent and salaries; it sure as hell isn’t in the design.
The chandelier? Anticlimactic, and crashes so slowly, you wonder why they even bothered. Why are“All I Ask of You” and “Wishing You Were Somehow Here Again” staged on the roof? Not sure, probably a space thing, but it definitely didn’t please the man who shouted out his window “Shut the hell up!” mid-song. Why is there a 15-minute long carnival scene? I guess they needed 50 people out of the way for other audience to pass.
Save your money. The Phans who were primed to live for it were clutching their chest like they were Christine themselves, but I mostly couldn’t wait for it to be over. Also, good luck finding the coat check at the end of the show. I had to run into a stagehand who opened an unlabeled door for a bunch of us to escape the bar."
Wait. So if someone likes “Disney World nonsense”,they will like this? If so, SOLD.
As a moderate Disney World fan, I’d say this is on par with a queue line mixed with one of their stage shows.
Broadway Legend Joined: 4/26/16
ColorTheHours048 said: "Y’all… I don’t even know where to begin on this. I’ll start with the fact that my feet hurt and if you’re thinking of testing out new dress shoes on this, think again. Ouch.
Anyway, this was garbage. Exactly the kind of sanitized, Disney World nonsense I feared it would be and hoped it wouldn’t. But my god, if there has ever been the definition of anticlimax, it’s this show. Every time a scene starts to pick up momentum (used loosely), we’re rushed off down another hallway. Or a staircase. Or an escalator. And not quickly, mind you. Slooooowly. If we were given something to look at while we went, I might have been less peaved. But given that about 40% of the show is walking from scene to scene for way too long, I expected more stuff to look at. It’s clear my ticket price went to rent and salaries; it sure as hell isn’t in the design.
The chandelier? Anticlimactic, and crashes so slowly, you wonder why they even bothered. Why are“All I Ask of You” and “Wishing You Were Somehow Here Again” staged on the roof? Not sure, probably a space thing, but it definitely didn’t please the man who shouted out his window “Shut the hell up!” mid-song. Why is there a 15-minute long carnival scene? I guess they needed 50 people out of the way for other audience to pass.
Save your money. The Phans who were primed to live for it were clutching their chest like they were Christine themselves, but I mostly couldn’t wait for it to be over. Also, good luck finding the coat check at the end of the show. I had to run into a stagehand who opened an unlabeled door for a bunch of us to escape the bar."
I don’t know if this is a remotely fair review but it’s hilarious.
ColorTheHours048 said: "Why are “All I Ask of You” and “Wishing You Were Somehow Here Again” staged on the roof?"
Because both scenes take place outdoors, and "All I Ask of You" is literally set on the roof the opera house.
Lot666 said: "ColorTheHours048 said: "Why are “All I Ask of You” and “Wishing You Were Somehow Here Again” staged on the roof?"
Because both scenes take place outdoors, and "All I Ask of You" literally takes place on the roof the opera house.
"
That’s true in the show as written, but why we’re trotted out there in the context of Masquerade is deeply unclear. Especially when the backdrop is an office building and Nordstrom.
☝️
hehehe.
I guess the tik tok peeps were comped in and praised the show. Good thing I didn’t get a ticket. That sealed the deal. What a shame
Color The Hours, who was your Phantom and Christine? How were they? The names are the only thing that interests me with this production right now, outside of sheer curiosity.
And the TikTok people were 100% comped in. Anyone who knows anything about PR nowadays knows that's how things are done. Influencers are not naive to the arrangement either; they see the same firms in their inboxes for every show. Every publicist I know will immediately black out an influencer on their media list if they say something negative about a client. The dynamic has totally shifted in the industry.
$400 tickets now to get in front of the line and a mini bottle crazy crazy at least throw in a free t shirt
Updated On: 8/21/25 at 03:11 PM
My Christine was Eryn LeCroy (lovely) and Phantom was Cooper Grodin (singing, fine; acting, bad bad). I was in the 7:00 time slot, and I gather that my Phantom should have been Kyle Scatliffe, but he and his wife just had a baby, so I assume he had the evening off.
Updated On: 8/21/25 at 03:19 PM
ColorTheHours048 said: "Phantom was Cooper Grodin (singing, fine; acting, bad bad)"
I didn't care for him in the touring production.
Videos