The Phantom of the Opera
Opened Jan. 26, 1988
“The phaaaaaaantom of the opera is there … inside my mind” — and he’s not going anywhere. After close to a quarter century at the Majestic Theater, the title character in “Phantom” continues to simultaneously scare and charm audiences in Broadway’s longest-running show ever.
A textbook example of the Brit-bred pop-classical hybrid, “Phantom” flirts with goth schlock, but is too clever to succumb. Instead, the over-the-top spectacle mixes self-awareness and sincerity.
Andrew Lloyd Webber’s score, an orgy of catchy neo-symphonic bombast, meets its match with Harold Prince’s luxurious staging, which elegantly moves masses of people on jumbo sets. And then, there’s that chandelier. See you in 2021, “Phantom.”
INSIDE THE LONGEST-RUNNING MUSICALS ON BROADWAY
PHOTOS: BROADWAY’S LONGEST-RUNNING MUSICALS
‘PHANTOM OF THE OPERA’ USHER HAS SEEN THE SHOW 9,000 TIMES
Chicago
Opened: Nov. 14, 1996
What do Melanie Griffith, Patrick Swayze, Usher, George Hamilton and Christie Brinkley have in common? They’ve all starred in “Chicago.” Since John Kander and Fred Ebb’s 1975 musical was revived at the Ambassador Theatre almost 15 years ago, it’s become synonymous with stunt casting.
Sadly, a remarkable score isn’t enough to sell tickets nowadays, so famous and semifamous names take turns in the lean and mean production: simple black costumes, single set, small orchestra and sexy choreography inspired by Bob Fosse’s original one.
Despite some wear and tear, the show still has some kick — especially when musical-theater troupers take over the leads in between celebs.
The Lion King
Opened: Nov. 13, 1997
The multibillion-grossing “Lion King” continues to rule at the Minskoff Theatre because director Julie Taymor relied on traditional stagecraft: striking lighting, colorful costumes, inventive puppetry. Take the famous prologue. There’s no multimedia overload, but a parade of life-size puppets of African animals slowly making their way to the stage within reach of the audience. The effect is breath-taking.
Granted, the material skews young and the antics of Timon and Pumbaa get old. Elton John’s bland tunes haven’t aged well — you can’t hear “Hakuna Matata” anymore without thinking of its many spoofs. But Taymor delivers many stunning scenes, and some of them even dare to spook the kiddies.
Wicked
Opened: Oct. 30, 2003
“Wicked” didn’t get very good reviews when it opened, but it routinely sells out the 2,000- seat Gershwin Theatre thanks to some good Stephen Schwartz tunes — “Popular,” “I’m Not That Girl,” “Defying Gravity” — that have hit a nerve among girls and women. Joe Mantello’s staging has also proved durably resourceful, especially in the way it fills the Gershwin stage without looking busy, and Winnie Holzman’s book is very well crafted. The result is bright entertainment that’s respectful of your brain cells.
The “Wicked” road companies act as a farm system that gets actors ready for the New York mother ship and ensures quality casting. At the same time, you do wish for some star power in the leads now and then.
Blue Man Group
Opened: Nov. 17, 1991
Casting aside, nothing has changed in “Phantom” or “Wicked.” But the 2011 version of “Blue Man Group” at the Astor Place Theatre features references to Lady Gaga and iPads.
The longest-running off-Broadway show may have evolved, but its older routines still rule, and they rely heavily on eating stuff, spitting stuff and throwing stuff . It’s high-concept clowning, basically, and heaps of fun.
Played by interchangeable performers/musicians, the candid creatures have an everyman quality that makes them instantly likable to audiences of any age and country. When they make a big mess, to the deafening sound of acid house, everybody joins in — and then leaves without having to clean up.
Mamma Mia
Opened: Oct. 18, 2001
In the past 30 years, only two shows have played the Winter Garden, where blockbusters stick like barnacles to a ship. “Cats” ran from 1982 to 2000, then came “Mamma Mia!”
The latter’s strength is that it’s built around the ABBA songbook, and thus littered with real radio hits. It’s hard to think of another explanation for this musical’s lasting popularity, because “Mamma Mia!” pales compared to the other long-running shows.
A key asset is the loud-and-sparkly sound mix. But the Winter Garden stage is too big for a show with few ensemble numbers and a basic set. The current leads, lacking zip, can’t compensate, and the pulse hardly ever quickens. Rent the movie.