Andrew Lloyd Webber’s Phantom of the Opera has been seen by more than 130 million people, and worldwide box office takings are in excess of $5.6bn. The show has won over 50 major awards. Now Phantom is on tour in the UK in a new production — staging, sets, costumes and choreography, all have been revisited.

A confession... somehow I have never caught the show before. So I arrive at Milton Keynes Theatre as a Phantom virgin. My expectations are high: the touring version is overseen by top producer Cameron Mackintosh and dance company supremo Matthew Bourne. Neither are known for cutting corners.

The first surprise is that this most mega of musicals doesn’t open with a big ensemble number. But soon music is heard as a rehearsal begins in the Paris opera house. A grand diva throws a strop: Lloyd Webber obviously enjoys poking fun at pretentious opera people. Gradually humour is replaced by mounting tension as the Phantom makes his presence felt. Sets (Paul Brown) and costumes (Maria Björnson) are magnificent. The ghostly, dusty backstage atmosphere of an old opera house is vividly recreated, while in contrast the masquerade ball scene is a kaleidoscope of colour, expertly sung and danced. Amongst the principals, Earl Carpenter sings movingly, bringing out both the Phantom’s tenderness and his violence. There are strong performances, too, from Katie Hall as the Phantom’s favoured young singer Christine, and from Angela M Caesar as displaced diva Carlotta. My high expectations were amply fulfilled by this top-notch production.