Jul 24
“Point of No Return,” Hugh Panaro and Audrey Logan (u/s).
“Masquerade,” music of Andrew Lloyd Webber from “Phantom of the Opera.”
Wednesday evening, July 22, 2026, 218 West 57th Street, New York City
seen from United Kingdom
seen from China
seen from Malaysia
seen from Netherlands
seen from United Kingdom
seen from China
seen from Latvia
seen from United Kingdom
seen from United States
seen from China
seen from Philippines
seen from Germany
seen from Singapore
seen from United States
seen from Maldives
seen from Brazil
seen from Argentina
seen from China
seen from Singapore
seen from United States
“Point of No Return,” Hugh Panaro and Audrey Logan (u/s).
“Masquerade,” music of Andrew Lloyd Webber from “Phantom of the Opera.”
Wednesday evening, July 22, 2026, 218 West 57th Street, New York City
Music of the Night… where do I begin?
At the end of the title song, when Christine hits those high notes, Sean’s phantom is just ENRAPTURED. He’s basically conducting her with his arms outstretched, as if pulling her voice forth, pushing it upwards, and he kept nodding and audibly said “yes!” at one moment. There was a smile at the corner of his mouth. His eyes never left her, until MOTN starts, and he goes to do audience interactions.
Hand. So much hand. Unfurling, clenching, plucking at invisible chords in the air. And all the while, even when he’s looking at us, we feel like he’s still staring at Christine.
Audrey Logan’s Christine was feeling herself, too - hands all over herself, expressions of bliss and desire. Fairly sure she would’ve, ahem, done some rather scandalous business if Sean’s phantom had allowed it, but he was very much a gentleman and didn’t realize she was DOWN, nor do I think he would have allowed himself to touch her indecently.
At the end, when he scoops her up… oh boy. Oh good lord. He does not stop staring at her, and there’s just this look of crazed obsession, his eyes wide and just like “she’s here, she’s in my arms” and at first he had his hands kind of clenched, but then he flexed one hand and settled it protectively over her arm. He clutched her like she might disappear. There was a look in his eyes like he never wanted to let her go, that she was the most precious thing, and he feared she might break. Almost like a china doll. He was so gentle and tender with her.
I also got the feeling that, if she hadn’t removed his mask, he would not have let her go. At least, not that day. He would not have forced her to stay with him but I do think he would have pushed her return date as far as he could without upsetting her… which honestly, Audrey’s Christine was DOWN. She would’ve married him down there that very moment.
I can still see Sean’s Phantom’s eyes from MOTN. I can see “those pleading eyes that both threaten and adore” every time I shut my own. He stays with you. He’s in my MIND, guys!
Someone put this man in jail…
Audrey Logan: Man and mystery were both in you 🖤 @masqueradenyc
“The Mirror/Phantom of the Opera/Music of the Night.” This excerpt features a new and impressive Christine, Audrey Logan. I accepted Hugh's offered gloved hand at "touch me, trust me. . ." I never tire of seeing and hearing this.
Hugh Panaro and Audrey Logan (u/s), with Dan Hoy. From “Masquerade,” music of Andrew Lloyd Webber from “Phantom of the Opera.” June 28, 2026, Sunday matinee, 218 West 57th Street, New York City
