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[0:00] Jeff Malone: Welcome to Half Hour with Jeff & Richie, the podcast where we explore the latest shows we see, sharing our insights and opinions on the performances, storylines, and everything in between. In today's episode, we're discussing the immersive production of Masquerade, playing in New York City. Whether you cannot catch the show in person or you want to expand your thoughts after seeing it, this episode is for you. And as always, we want to inform you that this episode will contain spoilers. So if you're ready to dive into this production, stick around with us. I'm Jeff.

[0:27] Richie Grasso: And I'm Richie, and we're thrilled to be your hosts for this episode. But before we start the conversation about Masquerade, here are a few words from our advertisers. Welcome, everyone, to a new episode of Half Hour with Jeff & Richie. Today, we're discussing Masquerade. Masquerade blurs the lines of reality, bringing audiences inside and closer than ever before to the strange affair of the Phantom of the Opera, a mystery never fully explained. From the highest rooftop to the subterranean lair deep below the Opera Populaire, guests will be invited to experience the music of the night more intimately than ever before. Masquerade is based on the original musical, The Phantom of the Opera, with music by Andrew Lloyd Webber, lyrics by Charles Hart, additional lyrics by Richard Stilgoe, and book by Richard Stilgoe and Andrew Lloyd Webber. And Masquerade is presented by arrangement with The Really Useful Group Limited.

[1:09] Jeff Malone: All right, theater hot take for Masquerade. My hot take here is that if you care about musical theater at all, then Masquerade is your non-negotiable this year, as it has taken this Broadway legend and turned it into a full-body experience.

[1:20] Richie Grasso: Wow, that's great. My hot take and bold statement here is going to be that this is the best thing playing in New York City right now. Done, easily. It is the best thing currently playing in New York City, and one of the best things I saw all year. And that's the podcast, everyone. It's the best thing in New York City. So let's dive into this.

[1:43] Jeff Malone: Yes, let's get into it. So I think when you talk about immersion, let's talk about this trending theme of immersive theater that's happening in the world right now, really. It seems to be happening with Andrew Lloyd Webber's shows and Stephen Sondheim shows and these epic pieces, right? You also did have this Sleep No More that was off-Broadway, an immersive walkthrough experience that was very similar to this.

[2:07] Richie Grasso: And played for years.

[2:11] Jeff Malone: And played for a long time. But there's this sitting with acting all around you, or standing with acting going around you, immersing yourself in the plot. We've had the Pie Shop Sweeney Todd, right? We've had the, there's this Starlight Express in London right now where there's roller skating all around you, right? Like there's all these immersive things happening, which is great. I think the Evita seems to be somewhat immersive that Jamie Lloyd did in London, right? There's also the, the, I'm losing my train of thought here. Oh, the Sunset Boulevard, right? Where that was like outside and there was that. So there's so much of that going on right now that when I heard that they were doing this for Phantom, I'm like, oh, that's cool.

Like there's a lot of different locations that Phantom's in and this is going to be a cool experience. And I just kind of went in like, okay, I've heard everyone's saying it's great and whatever. And I don't really, and there's not a lot of press on it. It's a very like, you need to get your ticket and go and dress nice. And like the Phantom expects you. There's this whole like story to it, right? But the concept alone is there. It's not like this is not being done, right? But there's something about this masquerade that is unlike any other immersive thing I have done and witnessed. It's truly, it's a thing of its own.

[3:23] Richie Grasso: I think it's really different because you actually are getting a full musical done in the immersive style. So like when you talk about something like Sleep No More, it was not a musical. It was a play immersive. You know, you went on and you kind of went on your own journey. This one, you don't go on your own journey. You are taken on the journey through the musical in an immersive set. Like you are part of the set. You go in groups of 60 people and you're pulsed in every 15 minutes. And there are multiple casts happening and putting on this great musical. And what I will say, and I just want to pause for one second, because in the beginning we said there are spoilers, but I want to make that really, really, really clear right now that we are giving major spoilers to this show.

So if you are someone who really wants to see it first and does not want even an ounce of this ruined, because I knew nothing going in, just stop listening now and then start listening again after you've seen it, unless you really don't care. But there is a lot of spoilers. There's a lot. So like beware.

[4:25] Jeff Malone: So yes, you're in groups. You're taken with Madame Jury's kind of taking you around and there's ushers. And it's also very safe. Like it's dark at times, but there's so many ushers in front of us, people working this, that you're going up and down escalators into different rooms. Dark, there's fire. There's like so many different things. And you are on all levels of this building from the top of the roof down below, like you're all up and down. So like you are, but there's nothing to worry about in terms of like, where do I go? Everyone tells you where to go and where to stand and where to sit. So it's really nice in that way that I feel like they guide you, which is different than Sleep No More, as you said, which was kind of like go about yourselves and figure it out.

So now we're taking the Phantom of the Opera and we're turning this into Masquerade now. So if you think you're going in and you're getting the complete timeline that you get when you saw Phantom of the Opera, the musical that was on Broadway, it has changed slightly here. And, you know, I think that this is done in a completely different, smart way around having this intimate storyline between the Phantom and Christine and seeing from that perspective, you know, you are the fly on the wall that gets to go through this production now. And I think from a plot standpoint, this makes complete sense. It's the first time that I really feel like you are able to fully connect with the Phantom on so many different levels.

I think probably many people will walk away from this and say like, wow, I actually feel bad for the Phantom. Whereas like, you know, in the musical, you might have your own opinions on the Phantom and say like, you know, he has all of these problems and he causes all of these problems within the show. And this one, I think, gets you in a different look and light on it.

[6:04] Richie Grasso: Totally. And I also think that it's not necessarily 100% linear to the musical. We start with Masquerade and then we go to the Chandelier Rising and all that. But there's this like Masquerade starts, we know that's the start of Act Two, right? So it does take us out of the plot a little bit, but all the major musical numbers, they're most, I mean, it does seem like there's some like cut scenes and things because it is a little shorter. It's not quite the linear exact start to end of Phantom, but it's very close. There's a ton of all the major musical numbers that you know are in there and they're taking you through and the plot thickens. They say, come this way, the Phantom wants us to, when he's taking Christine down into her lair and we're going down escalators.

First of all, putting escalators in over stairs makes so much more sense because then you're given this theatrical descent. Could you imagine all of us like clunking down steps or having to wait for an elevator? Like actually escalator was the perfect way to, as he's taking that boat ride with her down, you're going down. And then there's these, and there's so many things I couldn't figure out. Like you're split, the group of 50 or 60 of us is split into two different groups at times, but then we come together again. We're all seeing this backstory we're going through. You truly don't know what time it is, what room you're in, what floor you're on. You're not using your phone. You're immersed.

And everyone's wearing a mask. I completely forgot to say that too. If you don't bring your own mask, they give you like this lace mask to put over your face so that it's like everybody is, and they ask you to dress nice, which is really, really cool too that you're dressed up.

[7:30] Jeff Malone: But you're in the masquerade.

[7:32] Richie Grasso: In the Paris Opera House. You're in the masquerade. But like, do you feel though, from the story perspective though, that it made it clearer or murkier when seeing this production?

[7:41] Jeff Malone: I think that you should know the Phantom of the Opera before you go into it. I think everyone should have seen the movie or the play first. However, I think that's important so that you see some more of this subtext and you go into the Phantom. I think the whole drift off into the Phantom's finding and how he was as a little boy and how they found him in the circus aspect and the fire breathing and all that, that is so cool because you see this whole, where did he come from? How has he found to come to the opera house and to be hidden? And that whole subplot is really, really cool. And I'm glad they added that into this.

[8:14] Richie Grasso: Yeah, I thought it made it clearer. Because if I really was looking at this, I found the writing of this was that you're making this more of a mystery experience. You're going around and if you know the show, you already kind of know what's going to happen. But if you didn't know the show, you're more on this mystery of who is the Phantom? Who is Christine? Why are we following them around? Are we supposed to care about them together? Are we supposed to not want them there? And it becomes the mystery for you to figure out. Seeing them and the relationships that they are connecting with each other and beyond is a major part of this. I also think it's nice that as an audience, we're not ignored.

They're not just doing the play and they're just standing there awkward. They guide us in. They talk to us. When I was standing in the opera house scene, when they were rehearsing before, one of my favorite lines, Christine, die if you can do it, sir. And that whole moment. But I was standing near the piano and one of the dancers was like, can you please play the piano for Christine? She's going to sing Think of Me. And we need a piano player. And I'm like, oh, okay. And the piano was moving the keys by itself and the music was going. And the actor to me was like, just play the piano. Can you sit and play his play for Christine? I'm like, okay. And I'm like, Think of Me. And I'm playing that.

And I'm not doing anything but sitting there putting my hands on the keys. And then she's like, thank you so much, sir. They immersed you. They added you in. You were a part of this. And it was just breathtaking to feel that, to feel like you're moving along. And I think when you kind of get to the score now as part of this as well, you know, we have the major hits in here and it is piped in music. And I will say that is a critique of mine with this. I am someone who's always an advocate for live music and support of that. How that would have been done here, I have no idea. But I don't think impossible. I think it would have just maybe either been more expensive or it would have been something that maybe there was an orchestra playing live in another room piping in.

But to play that score multiple times in one night because there's staggered casts, there would have been a whole other thing to figure out. I will say though, that hopefully, and I don't know, but hopefully like the Musicians Union was involved and there was a negotiation to say, hey, we're going to record this and we're going to pay you well to do a good recording of that that's going to be piped in every night. Hopefully there was like a good, I didn't hear anything in the news about it. So hopefully there was like a really good agreement because I'm usually really, really never a fan of piped in music in a Broadway or Off-Broadway space. But it flows you, you have to flow with it. And so hopefully the music was taken into consideration because I mean, there's nothing like hearing the Phantom of the Opera live on Broadway with a live full orchestra. So that's why like.

[11:31] Richie Grasso: Yeah, I mean, listen, the show is a live full orchestra. So if you were thinking that we're going to get six different orchestras in a space that could play all at the same time. I actually think it would be nearly impossible to figure out how to do unless that this score was written as a combo band and you could do something like that. And they were playing in every single room that you went into. Yeah, no, I didn't mind the piped in. You know, we had a live violin in the beginning of the show that took us in and played the score. And that could have been an agreement too. You have to hire a live musician every night to do that. Maybe that's part. I don't know what the agreements and that we're getting the live vocals. So, you know, I think that even makes it some semi semi harder for the.

[12:04] Jeff Malone: Welcome back to Half Hour with Jeff and Richie. Today, we're diving into the immersive experience of "Masquerade," the new revival of Andrew Lloyd Webber’s "The Phantom of the Opera" here in New York City.

[12:28] Richie Grasso: That's right, Jeff! This production is unlike anything we've seen before, with its unique approach to storytelling and audience engagement.

[12:54] Jeff Malone: Absolutely. The concept of the experience is fascinating. It takes place in multiple spaces, allowing the audience to navigate through the Paris Opera House, which really adds to the intimacy of the show.

[13:20] Richie Grasso: And the way the story is structured is quite innovative. The audience isn't just passive observers; they're guided through the space, which creates a sense of involvement that traditional theater often lacks.

[13:46] Jeff Malone: Right! The interaction between the cast and the audience is something special. There are moments where performers engage directly with the audience, which really enhances the overall experience.

[14:12] Richie Grasso: And let's not forget about the sound and orchestrations. The familiar score of "The Phantom of the Opera" is presented in this new format, and it lands differently in this immersive setting.

[14:36] Jeff Malone: Diane Paulus’s direction plays a significant role in that. She has a knack for creating intimate moments that resonate deeply with the audience.

[15:00] Richie Grasso: The scenic and lighting design by Scott Pask and Ben Stanton is also noteworthy. They’ve transformed the space in a way that feels both grand and personal.

[15:26] Jeff Malone: And Emilio Sosa’s costumes really bring the characters to life. They add another layer of depth to the storytelling.

[15:46] Richie Grasso: Speaking of depth, the special effects in this production are remarkable. They define this large-scale immersive environment and elevate the overall experience.

[16:12] Jeff Malone: We should also highlight some individual performances. Clay Singer, Riley Noland, Betsy Morgan, Francisco Javier González, and Tia Karaplis all brought something unique to their roles.

[16:36] Richie Grasso: Each of them navigated the complexities of their characters beautifully, making the audience feel every emotion.

[17:00] Jeff Malone: It’s interesting to reflect on our own experiences navigating the show. The way the staging is set up suggests a lot about the production's future.

[17:26] Richie Grasso: Definitely! It opens up discussions about how immersive theater can evolve and what it means for future productions on Broadway.

[17:56] Jeff Malone: If you’ve had a chance to see "Masquerade," we’d love to hear your thoughts. You can share your comments on Spotify.

[18:16] Richie Grasso: And don’t forget to follow us on Instagram, TikTok, and YouTube at @HalfHourPodcast for more Broadway discussions and insights.

[18:46] Jeff Malone: Thanks for joining us today as we explored this incredible immersive experience. We can’t wait to dive into more Broadway magic with you next time!

[23:08] Jeff Malone: Welcome back to Half Hour with Jeff and Richie. Today, we’re diving into the immersive experience of Masquerade, the revival of Andrew Lloyd Webber’s The Phantom of the Opera currently running in New York City.

[23:30] Richie Grasso: It’s such a fascinating concept, Jeff. The way they’ve structured the story through multiple spaces really draws you into the world of the Paris Opera House.

[23:46] Jeff Malone: Absolutely! The intimacy of the production is something that really stands out. It feels like you’re part of the story rather than just an observer.

[24:02] Richie Grasso: And the interaction between the cast and the audience is remarkable. From the guided movement through the building to those moments of direct engagement with the performers, it creates a unique connection.

[24:18] Jeff Malone: Right, and the sound design and orchestrations really enhance that experience. It’s interesting to hear how the familiar score translates into this new format.

[24:34] Richie Grasso: Diane Paulus’s direction plays a huge role in that. She’s known for her innovative approaches, and this production is no exception.

[24:50] Jeff Malone: The scenic and lighting design by Scott Pask and Ben Stanton is also stunning. It really sets the mood and transports you to another time and place.

[25:06] Richie Grasso: And let’s not forget Emilio Sosa’s costumes. They add so much depth to the characters and the overall aesthetic of the show.

[25:22] Jeff Malone: The special effects are impressive too. They really help define this large-scale immersive environment and enhance the storytelling.

[25:38] Richie Grasso: Speaking of storytelling, the performances by the cast are exceptional. Clay Singer, Riley Noland, Betsy Morgan, Francisco Javier González, and Tia Karaplis all bring something unique to their roles.

[25:54] Jeff Malone: It’s interesting to see how each performer navigates their character in this immersive setting. It adds layers to their performances.

[26:10] Richie Grasso: Absolutely. And it makes you think about what this staging suggests for the future of the production. There’s so much potential for growth and evolution.

[26:26] Jeff Malone: I agree. It’s exciting to think about how this format could influence other productions in the future.

[26:42] Richie Grasso: And for audiences, it’s a whole new way to experience a classic story. It’s thrilling to be part of the action.

[26:58] Jeff Malone: Definitely. If you’re a fan of The Phantom of the Opera or just love immersive theatre, Masquerade is a must-see.

[27:14] Richie Grasso: We’d love to hear your thoughts on this production. Share your experiences with us in the comments on Spotify!

[27:30] Jeff Malone: And if you enjoy these post-show conversations, don’t forget to follow Half Hour and leave a rating and review. It helps more theatre lovers find us.

[27:46] Richie Grasso: Thanks for joining us today as we unpacked Masquerade. We’ll see you next time for more Broadway discussions!

[28:02] Jeff Malone: Until then, keep celebrating the magic of theatre!