The Phantom is haunting Auckland’s Civic Theatre once again.

A 50,000 dollar chandelier, commissioned by Opera NZ, lies shrouded in cloth in the centre of the stage before the opening chords of the famed overture set the lights and show in motion.

Andrew Lloyd Webber’s The Phantom of the Opera turns 30 this year, yet the magic of the show continues to captivate audiences who return to the labyrinth of the Paris Opera House time after time, intent on rediscovering the mysteries of the Music of the Night.

In the Amici production currently gracing the Civic stage, the magic rests squarely on the shoulders of the lead performers.

Actors bravely taking on the iconic roles have their work cut out for them – delivering performances that are simultaneously original and authentic, while meeting expectations of punters who know the intricacies of every iteration (my personal favourite being the Phantastic Ramin Karmiloo).

But as the Phantom, Chris Crowe is a good as any. His rich, soaring voice beautifully captures every nuance – breaking your heart and capturing the imagination all at once as the show-stopping songs take flight. He delivers up a Phantom who is both frightening and vulnerable, and he completely owns his interpretation of the role from the moment he first appears (to gasps from the Phantom-newbie sitting beside me).

And he’s well-matched by Barbara Graham as Christine, who is graces through the challenging score bringing a dynamic and strong presence that’s often rare to capture in the ingénue role (the pair’s raw and earthy rendition of Point of No Return in Act II had me on the edge of my seat).

Rory Nolan as Raoul delivers a classic performance, the smooth and stable alternative to the psychosis of the Phantom.

Indeed, the strength of this production is in its recreation of the characters and moments audiences know and love. The pantomime of the Opera chorus and the comedic roles boast excellent timing, and the laughs were relished by an audience awaiting moments of light relief.

But there was one ever-present character left lacking... The Opera House and its terrifying splendour.

The glory of the Civic Theatre is both a blessing and a curse for pro-amateur productions.

While it brings gravitas to a show, it’s also easy for set pieces to look drab and dwarfed by the enormity of the stage and grandeur of the surrounding theatre. Even the commissioned chandelier comes up a tad dull.

When Phantom first started touring in New Zealand nearly two and a half years ago, the set pieces may very well have been suitably-placed in the smaller theatres around the country. But they’re no match for the Civic. The stage feels empty, the spectacle is lacking, and it feels a little as though professional performers have been plucked from stellar careers and popped into a high-school musical set.

No amount of dry ice billowing from a smoke machine can disguise the empty space of the Phantom’s lair, which is traditionally flickering with candles, eerie and fantastical, but is little more than stagehands moving around sparse candelabras.

Despite this, the performers manage to carry the emotion, drama, and beauty of the performance, even if at times it feels more like a concert than at stage-show. It's a pity there isn't a bit more government funding thrown around the arts, for artists of this calibre to better-resource shows to adequately support their talent.

Despite the flaws, the climactic final scenes of the show, and the moments of pure brilliance in the leads’ performances make the journey worth it, but those expecting the slick execution of a professional production of the iconic Phantom may want to prepare themselves for a few fumbles, and not quite so much fantasy.