For one weekend only over Halloweekend, if you will, the Twin Cities Ballet of Minnesota presented its original ballet adaptation of Phantom of the Opera. Originally published as a novel by French author Gaston Leroux in 1910, the story has since been reimagined in countless forms, from stage productions and films to now, ballets. Few stories carry the same iconic status, and even fewer are paired with a score as instantly recognizable as Phantom's. As someone who has loved this story for years, I was especially excited to see how it would translate into ballet.
My history with Phantom goes back to high school, when I first saw the Broadway production in New York City and immediately fell down the rabbit hole of obsession. I watched the film adaptation countless times and would consider it one of my favorite stories. Despite all of that familiarity, I had never seen a ballet version before, as this is the first time it is being done professionally, making this local production particularly intriguing. The timing couldn't have been better either. A haunting tale of love, obsession, and mystery felt perfectly suited for Halloween weekend.
The historic Fitzgerald Theater is definitely an ideal setting for this production. With its ornate architecture, intimate atmosphere, and long-standing reputation as one of Saint Paul's most storied venues, the theater already possesses a certain theatrical magic. Some even consider it haunted, which only adds another layer of intrigue to a story already steeped in darkness and mystery.
Directed by Denise and Rick Vogt, this original interpretation draws more inspiration from Leroux's original novel than from the Broadway musical or film adaptations many audience members may know best. Because of this, the production included an extensive program that provided valuable background and context for the characters and storyline. It was a thoughtful addition that helped audiences fully appreciate the narrative while embracing some of the differences from more familiar versions of the tale.
Photos via Twin Cities Ballet of Minnesota
Leading the production were Lisandro Neris as the Phantom, Janna Turner as Christine, and Jordan Nelson as Raoul. While the entire company delivered an impressive performance, the lead dancers were truly breathtaking. One of the most remarkable accomplishments of the performance was their ability to communicate such a complex emotional story through movement alone. Without the aid of lyrics or dialogue, they carried the narrative with clarity, emotion, and nuance, ensuring that every relationship, conflict, and turning point felt fully realized.
Visually, the production was stunning. The costumes and production design offered something refreshingly different from what audiences might typically expect from a ballet. The choreography frequently placed opposing forces alongside one another, creating compelling contrasts between light and darkness, innocence and corruption, love and obsession. These moments of juxtaposition added depth to the storytelling and made for some of the evening's most memorable scenes.
As the first season of what I could see becoming a recurring production, Twin Cities Ballet of Minnesota has laid an impressive foundation. Their original take on Phantom of the Opera honors the source material while carving out its own identity, proving that this beloved story still has new ways to captivate audiences. If this inaugural run is any indication, the company may be building a Halloween tradition that audiences will return to year after year. Who knows? The Twin Cities Ballet of Minnesota may just be creating its own ballet classic, one that could someday become the next Swan Lake.
Photos via Twin Cities Ballet of Minnesota
