The Andrew Lloyd Weber musical that has charmed the world for more than 20 years makes a welcome reappearance in Hong Kong. Katie Lau reports Eleven years ago, the Phantom of the Opera cast its glorious spell over Hong Kong like no musical had done before, but few imagined it would ever revisit the city.

Now, 20 years after its London premiere, Phantom returns courtesy of the local entertainment group Music Nation, as part of a world tour that began in Cape Town in 2004..

Andrew Lloyd Webber's masterpiece is undeniably one of the most commercially successful musicals of all time, having been seen by an estimated 80 million people and grossing more than US$3 billion (HK$23.4 billion). The stage production, which opens next week, boasts more than 120 cast and crew from New York's Broadway, London's West End and leading theaters in Europe, Australia and South Africa.

Staging the production is a monumental delight, says assistant director Rainer Fried, because he gets to work with such an exceptional ensemble. Although Fried has been with the musical for 12 years, he says it becomes something different in each country.

"We involve local casts and they bring their own personality, energy and temperament so they keep it fresh for me - it's fantastic to work with such professionals," he says.

While the Hong Kong Cultural Center is hardly considered a world- class venue, Fried says it lends the show an important sense of intimacy.

"The closer it gets to the audience, the more powerful it becomes."

The mega-musical's astounding longevity and appeal is not only a result of outstanding technical achievement that captures the opulent splendor of the Paris Opera House of the 19th century with its lavish sets and costumes. The haunting love story between the tortured Phantom and Christine, his unrequited object of affection also strikes a universal chord.

"It's an ultimate love story that plays on the edge. That's why it's become such a phenomenon. The set is not going to save you if you don't have a story that touches people's hearts," Fried says.

Fried believes the 2004 movie version of the stage show has not diminished audiences, rather it has helped lure people back into the theater.

"They either want to compare the two mediums or experience the original production again," he says.

Fried's observations of how audiences in different countries express their responses to the show also intrigue him. In Shanghai, he says, people stay quiet because they want to concentrate; while Koreans can't hold their emotions back and enjoy it like a rock concert.

The first-rate cast is led by the two Americans in the group: Brad Little as the Phantom and Marni Raab as Christine. Both are proud Phantom veterans who are yet to tire of their career- defining roles, no matter how physically and vocally demanding.

"It's an addiction. It's my favorite role and it's an honor to be in the greatest musical ever written," Little says.

Little is one of the longest-running Phantoms, recently celebrating his 2,000th performance of the role. He describes the force that takes grip of him in weak moments of his performances: "Sometimes, when I'm exhausted, I worry that I won't make it through the show. But when I get behind that mirror and hear that music, the energy just kicks in ... that's when I know I'm in the right profession."

Raab adds, "If I get to a point where I'm bored, I'll stop. But my role is made up of so many details that are worth re- discovering that it continues to gratify."

As a sufferer of dyslexia, Little has more in common with the Phantom than many realize, and says the show changed his perspective on the learning difficulty.

"When I was a kid I was beaten up because I had dyslexia. I felt shunned and stupid. When I saw the show, it brought those emotions back to me. I understand how a disability can keep people outside of society."

Now Little helps those struggling with dyslexia to overcome their fears and, whenever he gets the chance, addresses school students in the cities he visits.

The fanbase of the show is enormous and "Phans," as they refer to themselves, are particularly devoted, demanding the cast's signatures on all manner of quirky objects, including cellphones.

Little thinks the show brings back the halcyon days of theater when people would go to the stage door and ask for autographs.

"From the 1930s through to the 50s that was a usual ritual for audiences, but it stopped in the 60s and 70s. I am glad it's happening again.

"The musical has an impact on some people that resonates in a way so positive it keeps them coming back."