The Phantom of the Opera

These days, it seems like you can't take a step in so-called 'Theatreland' without encountering a new musical. Bold as you like, they shimmy and shuffle in with their 'Dirty Dancing' and their star-studded, star-spangled casts, bewitching audiences with their 'Wicked' ways. But as popular as they are now, where will they be in five years time? Probably not at Her Majesty's Theatre: proud home of the indefatigable 'The Phantom of the Opera' since 1986.

In the 20 years since its London premiere, Andrew Lloyd Webber's musical (based on the 1911 book by French novelist Gaston Leroux), has become a cultural icon. Playing to worldwide audiences of more than 100 million and winning countless awards, it has also been being declared the biggest box office draw in entertainment history. Not bad for a story about a volatile composer who battles with a lantern-jawed himbo for the heart of his beautiful protégé.

Christine (the excellent Katie Knight-Adams) is a talented but shy chorus girl who, under the mysterious tutelage of the 'Angel of Music', is elevated to the principal lead at her Paris opera house. However, it soon becomes clear that her shadowy saviour is more Phantom (an absorbing but one-dimensional performance from Earl Carpenter) than angel. Madness, tragedy and a vicious love triangle ensues, punctuated by some great songs.

Critics of 'Phantom', and there are many, call it bland and tired. I'd call it retro. Sure, the effects, magnificent flying chandelier aside, are less than special. The acoustics are distractingly tinny, and the music has more synthesizers than Jean Michel Jarre at his electro-pop best, but 'Phantom' is a product of its time. Its lavish and bold set design is still awe-inspiring, and at the heart of the play is a touching story of love and desire. It may be mass-produced entertainment, but its still massive fun.