Behind The Masquerade

CHAPTER · 01 — SHOW CONTROL

The Digital Conductor

Traditional Broadway shows run on a stage manager calling cues into a headset while a conductor leads the orchestra and a mixer rides faders at the back of the house. Masquerade has none of that — no conductor, no live mixer, no central audience. The brain is a piece of custom software called ShowPulse, built by sound designer Brett Jarvis and programmer Sean Beach, running on redundant Mac Minis tucked into a rack room and talking to every other system in the building.

NOW SHOWING→QLab

click any node above to swap

QLab

the playback

The pre-recorded music and sound effects live in QLab, running on Mac Minis throughout the building. ShowPulse tells QLab when to play what for which audience group, and dynamically swaps the right voiceover for whichever actor is playing that role tonight.

SOURCE

PAS · Precision Audio Services, Jan 2026

ShowPulse live operator interface during a performance of Masquerade, displaying active fader channels for performers including Christine, Raoul, and Andre alongside FX stage channels, a running cue stack for Pulse 3, and a grid of quick-action buttons for functions like Panic All, Mute All Mics, Fader Control, and QLab switching. Timecode reads 02:01:38:03 at 30 FPS. — ShowPulse live operator interface during a performance or technical rehearsal of Masquerade, displaying active fader channels for performers including Christine, Raoul, and Andre alongside FX stage channels, a running cue stack for Pulse 3

ShowPulse Designer programming interface showing a structured cue sequence for Masquerade, with columns for cue number, action, target (primarily QLab Zone C), timecode trigger, TC sync, and block assignment. Visible cues include Hannibal Rehearsal setup, multiple "Think Of Me" variations for different cast members (Carlotta Up To Crash, Carlotta After Crash), and the beginning of Block 2. The Cue Objects panel on the right lists available action types, and a Divergences section shows linked parameters including Phantom Fader, Matrix Input, IEM QLab Channel, Rivage Channel, and Christine Fader. — The ShowPulse Designer authoring view, where the show's logic is built. Each cue row maps an action to a specific QLab zone and timecode trigger, with TC Sync columns handling the multi-clock architecture — six pulse-specific clocks plus 24 geographic timecode zones running simultaneously. The Divergences panel at lower right is where cast-specific parameter sets live: swap an actor in a role and ShowPulse pulls the right fader profile, IEM routing, and matrix assignments automatically.

CHAPTER · 02 — THE VENUE

218 West 57th

An 1897 landmark — once the headquarters of the American Society of Civil Engineers, then a Schrafft's, then Lee's Art Shop until 2016. A cellar, a ground floor, three retail floors above it, and a rooftop that doubles as outdoor performance space when the weather cooperates — that's where 'All I Ask of You' plays, with a fully-dressed indoor backup room on the 4th Floor for nights it doesn't. Not a single overhead rigging point in the whole building: PRG built freestanding truss where it could carry the load, and the rest of the fixtures went into plaster ceilings, unistrut runs, cornice molding, and the chandelier itself. Ben Stanton's team lit thirty distinct spaces inside. All six pulses follow the same canonical path through them, staggered fifteen minutes apart, never doubling up in the same room.

4TH FLOOR2

3RD FLOOR3

2ND4

GROUND3

CELLAR2

CHAPTER · 03 — SOUND · I

The Signal Flow

When the actor playing Christine sings, her voice takes an eleven-step journey before it reaches your ear — earset microphone, bidirectional bodypack, digital antenna, Spectera base station, Dante network, Yamaha Rivage DSP, Biamp Tesira matrix, back onto the network, LD Systems amplifier, speaker. Walk it node by node.

Mic to speaker · 11 steps · the real signal trip is under 15 ms. Click play for a reading-pace tour.

STEP · 01
Actor
the human
The voice starts here. Twenty-eight live miced actors are in the show, each one playing one specific role for one specific pulse on the canonical 15-minute stagger.
SOURCEPAS · Lee McCutcheon via Precision Audio Services, Jan 2026
STEP · 02
Earset Mic
tiny capsule, on the ear
A flesh-tone earset microphone with the capsule curving toward the corner of the actor's mouth, cable taped down their costume to the bodypack. Specific model not publicly disclosed.
SOURCEPAS · Precision Audio Services
STEP · 03
SEK Bodypack
mic out + IEM in, one unit
Sennheiser SEK bidirectional bodypack — does two jobs in one device: transmits the actor's voice AND receives the in-ear monitor mix. This bidirectional design is what makes Spectera new.
SPEC1 unit · WMAS modulation · UHF + 1G4 carriers
SOURCESenn2 · Sennheiser Spectera product literature
STEP · 04
DAD Antenna
bidirectional digital antenna
Sennheiser DAD bidirectional digital antennas are distributed around the building so wherever an actor walks, an antenna is in range. Connects back to the base station over a single Cat6 cable carrying both directions of RF.
SOURCESenn2 · Sennheiser
STEP · 05
Spectera Base Station
64 ch each · 3 boxes total
Three Spectera base stations handle the entire show. Each is 1RU and supports up to 64 channels (32 in / 32 out). Uses a brand-new technology called WMAS — Sennheiser's first WMAS-based digital wireless ecosystem, unveiled at IBC in September 2024. Cameron Stuckey, the show's RF engineer, later took the same technology to Super Bowl LX.
SPEC3 × 1RU · 64 ch each · WMAS
SOURCEPAS · PRG · Sennheiser · AudioXpress
STEP · 06
Dante Network
audio over Ethernet
Dante is the industry-standard way to send hundreds of audio channels over normal Ethernet cables and switches. Once a signal is on Dante, anything on the same network can grab it.
SOURCEAH · Adam Hall Group; PAS · Precision Audio Services
STEP · 07
Yamaha Rivage
the mix, but no board
A high-end Yamaha digital mixing system — without a physical mixing surface in front of the show. The DSP engine is in a rack room. ShowPulse drives it over OSC, playing back fader moves, EQ, and dynamics programmed during tech rehearsals on a Solid State Logic UF8 controller. There is no live mixer during a performance.
SPECsubmodel undisclosed · OSC-driven · SSL UF8 (tech-only surface)
SOURCEPAS · Precision Audio Services
STEP · 08
Biamp Tesira
routing matrix
Multiple Biamp Tesira Server DSPs work together as one giant routing matrix. They decide which microphones go to which speakers in which rooms at which moment. ShowPulse reconfigures this constantly as actors and audiences move through the building.
SOURCEPAS · Precision Audio Services
STEP · 09
AVB / Dante
back on the network
Back onto the network for the trip to the amplifier rooms. AVB is used specifically for the QLab playback feeds — 128 channels of show audio plus 64 channels of utility audio per geographic zone, across five zones.
SPEC128 + 64 ch per zone · 5 zones
SOURCEPAS · Precision Audio Services
STEP · 10
IPA 424 T Amp
68 amps · 272 channels
LD Systems IPA 424 T — a 4-channel installation amplifier. The show uses 68 of them for a total of 272 amp channels. Each has an X-EDAI Ethernet & Dante card so it pulls audio straight off the network. Configured and monitored with LD Systems' QUESTRA software.
SPEC68 × 4-ch = 272 amp ch · X-EDAI cards · QUESTRA
SOURCEAH · Adam Hall Group; Mix Magazine 29 Oct 2025
STEP · 11
LD Systems Speaker
one of 1,000+
The final step. There are more than a thousand speakers in the building, from tiny ceiling fixtures to large MAILA line arrays. See the next chapter for the full breakdown.
SOURCEPAS · AH · AVI · Mix

CHAPTER · 04 — SOUND · II

One Thousand Speakers

A typical Broadway musical has maybe a dozen speakers — a flown line array on each side of the proscenium, some fills, some monitors. Masquerade has more than a thousand. Hidden in chandeliers, tucked under floorboards, mounted in unistrut, embedded in ceilings, weatherproofed for the rooftop. Brett Jarvis and Lee McCutcheon flew to Germany to audit the LD Systems portfolio in person before signing off on the install.

Wide upward shot of a line array cluster and subwoofer stack mounted to a steel grid during Masquerade's technical installation, flanked by two moving-head lighting fixtures. An orange step ladder is visible below, indicating active rigging work in progress. — The main hang in one of Masquerade's larger performance spaces, photographed during the tech build. The LD Systems MAILA satellite arrays paired with subwoofers handle rooms where the audience needs to feel the score physically — Jarvis's requirement was that the system could reproduce the full weight of the Phantom orchestration whether the room held a handful of people or a crowd of sixty.

9 of 9 models shown

FEATURED · FLY TOWER

The Hidden 90

During the fly-tower scene — a ballet performance below, a fight on the rigging above — Masquerade simulates both at once with two banks of LD Systems loudspeakers tucked out of view. ~50 fire down through the floorboards (the orchestra below); ~40 fire up toward the ceiling (pulleys, sandbags, ropes overhead).

Source · PAS · Precision Audio Services, Jan 2026

Upward-looking view of two LD Systems CURV 500 miniature line array hangs mounted near the ceiling of a deep red-painted performance room at Masquerade, with exposed black structural beams and a theatrical work light visible overhead. — CURV 500 arrays in one of Masquerade's smaller performance spaces. The deep red walls are part of the show's set design — the audio infrastructure has to disappear into the environment rather than intrude on it. Jarvis chose the CURV 500 partly for its clean architectural profile: no visible cabling between satellites, tight vertical dispersion, and consistent coverage regardless of room size.

Upward-angled photo of a vertically hung LD Systems MAILA line array installed against a dark textured wall beside a gilded ornamental arch, with scaffolding, conduit runs, and coiled cable visible overhead during the production's technical setup. — The contrast here says a lot about what Masquerade asked of its audio team: a full line array hang sharing a wall with Paris Opera House set dressing. Every speaker in the building had to be integrated into elaborate, historically-styled environments without breaking the illusion for the audience standing a few feet away.

CHAPTER · 05 — SHOW CONTROL · II

The 31 Clocks

If Masquerade has no conductor and no live mixer, how does every musical entrance land on the right beat in the right room with the right actor? Timecode. One global clock, six pulse-specific clocks, twenty-four geographic zones — thirty-one streams running at once. Plus a ShowPulse feature called Divergences that recalls a different fader / EQ / dynamics / effects chain per actor per role per pulse.

SHOW T+ 00:45:004 pulses active · advancing at 5 min / real sec

GLOBAL SHOW TIMECODE · THE SPINE

GLOBAL

00:45:00

Every other clock derives from this one. One real second = five minutes of show.

SIX PULSE-SPECIFIC TIMECODES · CLICK A PULSE TO FILTER THE ZONES BELOW

24 GEOGRAPHIC AUDIO ZONES · MAPPED TO REAL ROOMS · LIT WHEN PULSE PRESENT

01Holding · violinist
02Attic · Giry brief
03Masquerade · house
04Masquerade · podium close
05Chandelier · house
06Chandelier · stage close
07Dressing · Christine
08Dressing · Carlotta & Piangi
09Dressing · Managers
10Ground Hallway
11Lake · gondola
12Upper Lair · grotto
13Bar Area
14Cellar · Christine on Bed
15Cellar · Automaton
16Cellar · Toy Theater
17Phantom's Organ Room
18Carnival · mingle
19Carnival · cage / fire
20Young Erik's Story
21Graveyard Room
22Fly · 50 firing down
23Fly · 40 firing up
24Rooftop · 'All I Ask of You'

"The benefit of a geographic timecode zone is that since a song will occur in some area at least six times, we are able to reuse the same code over and over, making programming more manageable."
— Sean Beach, ShowPulse chief architect · Precision Audio Services, Jan 2026

SHOWPULSE · DIVERGENCES

Different actor, different mix.

Every actor's voice is different — vocal range, formant frequencies, sibilance, breath control, where the earset capsule sits relative to the mouth, how their costume couples acoustically to the mic. A mix that flatters one Christine clips the next; a compressor that breathes for one Phantom strangles another.

Traditional Broadway has an A1 riding the faders, adjusting in real time. Masquerade has no live mixer during a performance. So every parameter — fader, EQ shelves, compressor ratio and threshold, de-esser, reverb send, delay tap, pan — has to be programmed in advance for every actor, in every role, in every room.

ShowPulse calls these snapshots Divergences. Tonight's Pulse 3 has Cast B singing Christine: ShowPulse recalls her programmed mix the instant she steps to the mark. Tomorrow night might be Cast C; ShowPulse swaps every parameter instantly, mid-performance, with no fader move on a board because there is no board.

6 pulses×3 roles×3 casts×~30 params=~1,620 snapshots

Recalled instantly the moment the operator picks tonight's cast. Multiply by rooms (each pulse visits roughly fourteen) and you cross five figures of unique mix state.

Pick a cast for Pulse 3 · watch the mix swap

Christine DaaéSoprano · F3–C6

CAST TONIGHT

Fader-3.6 dB
EQ low · 200 Hz-0.4 dB
EQ mid · 1.5 kHz-1.0 dB
EQ high · 8 kHz-0.0 dB
Comp ratio2.7:1
Comp threshold-18.9 dB
De-esser cut-3.7 dB
Reverb send-13.5 dB
Delay send-21.7 dB
Pan-3.0

The PhantomBaritone · A2–A4

CAST TONIGHT

Fader-1.1 dB
EQ low · 200 Hz+2.9 dB
EQ mid · 1.5 kHz-0.7 dB
EQ high · 8 kHz+1.3 dB
Comp ratio4.1:1
Comp threshold-10.8 dB
De-esser cut-3.1 dB
Reverb send-12.1 dB
Delay send-16.1 dB
Pan+12.0

RaoulTenor · C3–C5

CAST TONIGHT

Fader-1.9 dB
EQ low · 200 Hz+2.1 dB
EQ mid · 1.5 kHz+3.3 dB
EQ high · 8 kHz-0.7 dB
Comp ratio2.7:1
Comp threshold-16.9 dB
De-esser cut-5.6 dB
Reverb send-7.1 dB
Delay send-10.8 dB
Pan-11.0

"I could camp out in a room and mix each cast as they came in, so everyone has their own fader moves, EQ, and dynamics. And then the system plays back that control data, with some tweaks that we add in on a nightly basis."
— Brett Jarvis, Sound Designer & Head of Show Control · Precision Audio Services, Jan 2026

CHAPTER · 06 — SOUND · III

The Faraday Cage

Forty-two wireless channels — twenty-eight actor mics plus fourteen-ish in-ear monitor feeds — running on Sennheiser's brand-new Spectera platform in one of the densest RF environments on Earth. The production turned the upper floors of 218 W. 57th into a Faraday cage to give RF coordinator Cameron Stuckey enough clean spectrum to run. Stuckey went on to coordinate Super Bowl LX months later.

"[Masquerade] required high-density, bidirectional wireless in a complex structure environment, utilizing every feature of Spectera — device capacity, multi-zone operation, modulation diversity. It was the best demonstration of the system's stability."
— Cameron Stuckey, RF Coordinator · Sennheiser, 20 Feb 2026

Cameron Stuckey was the lead RF coordinator for Super Bowl LX, just months after Masquerade.

CHAPTER · 07 — LIGHTING

Thirty Plays at Once

Ben Stanton's brief was deceptively simple: light at least thirty spaces across four floors and a rooftop, make each room feel like a different play, hide the rigs. His tool of choice was the Ayrton Diablo S — a 300-watt LED profile small enough to disappear into a chandelier crystal and bright enough to flood a ballroom. They were hidden in plaster ceilings, on unistrut runs, in cornice molding, on PRG-built freestanding truss, and inside the chandelier itself.

The Phantom in a white half-mask and dark caped coat steps through a tall vertical mirror, reaching out to take the hand of Christine in a white period dress, while her mirror-image reflection is visible on the left side of the glass. Cool blue stage haze fills the background.

The Phantom of the Opera stands center stage with arms outstretched, lit by a tight overhead spotlight with visible light rays cutting through haze, while Christine in a white gown lies prone on a platform below him. Masked audience members holding candles press in on all sides, with candleabras glowing in the background.

AYRTON

Diablo S

300 W LED Moving Profile · Made in France

Output: ~19,400 lm
Power: 300 W LED
Color temp: 8,000 K
Color mix: CMY + CTO
Optical: PRISMO™ Engine
Zoom: 7° → 53°
Weight: 22 kg
Used in: 30+ Masquerade spaces
Supplied by: PRG

📎 Manufacturer spec sheet ↗

"Size and weight were crucial factors, and the Diablo has a high output for their size and are really beautiful lights. They are concentrated in certain spaces, some mounted in the plaster ceilings, some on unistrut and other unconventional rigging solutions."
— Ben Stanton, Lighting Designer · ACT Entertainment, 24 Mar 2026

CHAPTER · 08 — AUTOMATION · I

Shelly

Production designer James Fluhr named the chandelier after his aunt — the first person to take him to Phantom, and someone who never got to see the original Broadway run. 'Now, in Masquerade, she can glow every night.' Eight hundred pounds. Four concentric rings, the widest 13 feet across at the ceiling tier and tapering down to a 1.5-foot ring at the bottom point. More than 30,000 hand-laid Preciosa crystals. Each ring on its own automated winch. A 6-foot-per-second drop that smoothly transitions into slow motion. LED pixel tape inside the largest ring for flame simulation. Steam.

The ShowPulse operator workstation photographed from behind during a live Masquerade performance, with three screens visible: the ShowPulse runtime interface on the left monitor, a multi-camera feed showing live views of the chandelier and performance spaces on the right monitor, and a laptop running additional show control software in the center. The production's massive crystal chandelier glows amber overhead in the darkened performance space beyond the screens. — This is what Jarvis meant when he said the operator station can be anywhere in the building — here it's positioned directly inside a performance space, with the chandelier it's partly responsible for monitoring hanging just overhead. The right-hand monitor shows the automatic camera switching system, which feeds tailored views to the control room and floor stage managers as each pulse moves through the building. The cameras trained on the chandelier are hardwired for zero latency; its motion is too safety-critical for network jitter.

Overture · Rise

0:35

The pre-show chandelier rises from audience level to its full assembled position at the ceiling. Top ring leads, the rest cascade in as each previous ring crosses its 50 % mark.

Fall · after Point of No Return

0:21

The chandelier trembles violently, settles, trembles again, then the bottom two rings drop at 6 ft/sec into slow motion. The largest top ring ignites with LED pixel tape and steam.

"Inside the larger ring are smoke and lighting effects, designed to create the appearance that the chandelier is on fire. Steam is released, and LED pixel tape creates a flickering effect to simulate flames. It was an effective way to re-create the iconic moment from the theatrical production."
— Troy Atkinson, Managing Director, PRG · 27 Feb 2026

CHAPTER · 09 — AUTOMATION · II

The Boat

The audience walks down through foggy tunnels into the underground lake. A gondola is waiting on a black floor. It glides silently across during Music of the Night — no track, no overhead wire. A strip of magnetic tape adhered to the floor; a laser-eye sensor on the boat's underside reads the strip; magnets along the tape trigger acceleration, deceleration, stops. The same passive logic warehouse robots use. When the director wants to change the path, the crew peels up the tape and re-lays it.

A large ornate gondola stage prop photographed on the floor of a scenic fabrication workshop. The piece is painted matte black with weathered gray highlights and features elaborate baroque scrollwork along its hull and prow, mounted on a sculpted base textured to resemble dark stone or water-worn rock. Industrial shop equipment, crates, and a flammable materials cabinet are visible in the background. — The underground lake gondola boat, photographed mid-build in the scenic shop.

Ready · drag to lay tape · ▶ Play to test.

"You can literally adhere the magnetic tape to the floor, and the tracking system's laser eye follows that strip. The advantage of this over a traditional deck track is significant — if adjustments are needed in the boat's movement, you can simply peel up the tape and reattach it."
— Mark Peterson, GM Sales & BD, PRG · 27 Feb 2026

Same passive logic warehouse AGVs (automated guided vehicles) use. Sensor manufacturer not publicly disclosed.

CHAPTER · 10 — MAGIC & EFFECTS

What
Is Not Said

Some of what audiences see is impossible — or rather, possible in a way that requires not telling them how it's done. Skylar Fox is the Magic and Visual Effects Designer. A rotating mirror in which Christine sees the Phantom only to turn around and find him gone. The Phantom appearing from a headboard and vanishing from a bed. An automated mannequin dance sequence. The specific pyro vendor, the fog and haze machine models, and the exact illusion mechanisms are — appropriately for magic — not in the public record.

The Phantom's underground lair set, featuring a cluttered workbench with antique mechanical gear assemblies, a violin resting on a travel trunk, dripping wax candelabras, and an oil lamp casting warm light against moss-green distressed walls.

A white Phantom half-mask, cracked and torn at its edges, emerging from a small wooden box surrounded by melted wax candle stumps, dramatically backlit against a near-black background.

CHAPTER · 11 — VIDEO

The Multiview

ShowPulse switches automatically between several hundred discreetly mounted IP cameras as each pulse moves through the building. The control-room operator and each floor's stage manager see the right view at the right moment — whichever feed is most useful right now. The chandelier cameras are different: hard-wired, not networked, and latency-free, because automated motion has to be monitored with no delay between what happens in the room and what the operator sees on screen.

The Masquerade production control room during a live performance, showing three crew members at workstations facing a wall of large monitors. The screens display a multi-camera grid of live feeds from performance spaces throughout the building — labeled by pulse number — alongside a large timecode display reading 00:40:52:18 with the cue annotation "Crossing Rooms Quietly" visible in green text. Additional monitors show show control software interfaces and camera switching views. — The control room is where A1 Alan Busch watches the whole building at once. ShowPulse automatically cycles through the camera grid as each pulse moves, so the feeds on screen aren't static — the system is selecting the most relevant angles in real time and serving them to whoever needs them, including stage managers posted on each floor. The timecode overlay and pulse labels on the right monitor are the same clock infrastructure running the show itself: what you're seeing here isn't a separate monitoring system bolted on afterward, it's the same ShowPulse data that's driving faders, matrix switches, and QLab stacks simultaneously across six concurrent performances.

ShowPulse cycling Pulse 3 through the canonical path. Click any tile to override.

"The cameras pointed at the chandelier are hard-wired and latency free, to ensure the necessary precision in monitoring its motion."
— Brett Jarvis, Sound Designer & Head of Show Control · Precision Audio Services, Jan 2026

CHAPTER · 12 — LOGISTICS

Power · Fire · HVAC · People

Six pulses. Sixty audience each. Fifteen-minute stagger. Three hundred sixty spectators a night, snaking through five floors of a 128-year-old landmark building. The choreography that's not on stage is just as engineered as the show itself. Distributed power centers, one per floor or per part of a floor. A fire-alarm interlock that mutes the entire PA except the emergency-paging paths. HVAC coordinated with show cues because the HVAC equipment is on the roof and so are the songs.

8:00 PM5 pulses active · 300 audience in building

PULSE 1T+ 01:00

Carnival Room

Fire Eater

PULSE 2T+ 00:45

Cellar Trio

Trio · Bed / Automaton / Toy Theater

PULSE 3T+ 00:30

Lake & Upper Lair

"The Music of the Night"

PULSE 4T+ 00:15

Chandelier · 16 ft

Opera Rehearsal

PULSE 5T+ 00:00

Holding

Champagne · Violinist

PULSE 6−15:00

Not yet entered

Holding outside · 8:15 PM entry

P1

P2

P3

P4

P5

P6

Per performance: 6 pulses · 60 audience each = 360 spectators · 28 live miced actors · 15-minute stagger · each pulse runs 2 hr 5 min

"There were days where we just moved 60 people around the building to understand timings… the final product was coordinated down to the thirtieth of a second."
— Sean Beach · Precision Audio Services, Jan 2026

WEATHER CONTINGENCY

Two routes through the same story

The last third of the show has two pre-blocked staging plans. Path A is the default — "All I Ask of You" plays outdoors on the rooftop. Path B is the bad-weather alternative — the rooftop sequence routes indoors and the rest of the third act rearranges around it. The same physical rooms appear in both plans, just used for different scenes. Hover (or click to pin) a room badge to see every cell that uses the same room.

Scene

PATH Agood weather · outdoor rooftop

PATH Binclement · indoor alternative

01Carnival Stunt Showshared

02Young Phantom · Carnival Act

Stays in the Carnival Room

03"Learn to Be Lonely"

No piano in this Prop Room (per fan account)

04Joseph Buquet Murder Sceneshared

05"All I Ask of You"

Outdoors · the real rooftop · MAUI i1 IP65 weatherproof speakers

Indoor Rooftop is the rain-day backup — same room Path A just used for 'Learn to Be Lonely'

06"Wishing You Were Somewhere Here Again"

Same room Path A used for 'Young Phantom' — directly next door to the Carnival Room. Early pulses hear the carnival next door while Christine mourns at her father's grave.

07Transit to Don Juan

Same outdoor graveyard space — re-dressed from the "Wishing" scene a moment earlier

The covered walkway threads the same outdoor graveyard, kept dry for an audience walk in active rain (fan account, Nozomipwr)

08Don Juan Dressing Room Sceneshared

Rooms in this chart

Carnival Room×3
Indoor Graveyard×2
Indoor Rooftop×2
Prop Room×1
Fly Gallery×2
Outdoor Rooftop×1
Outdoor Graveyard×3
Don Juan Dressing Room×2

Source · fan walkthrough of both path versions during previews. The production was still in previews at the time, so details may have shifted since; corrections welcome at archive@behindthemasquerade.com.

CHAPTER · 13 — BIBLIOGRAPHY

Sources

Every piece of equipment, every quote, every figure on this page traces back to a publicly available source. The bibliography is below. Items marked “not publicly disclosed” mean exactly that — the production has not released the information through trade press or press releases as of the page's last update.

34 of 34

ACT: ACT Entertainment
Ayrton Diablo Shines in Masquerade
24 Mar 2026
actentertainment.com/news/ayrton-diablo-shines-in-masquera… ↗
AH: Adam Hall Group
A look behind the mask — how the immersive sound design for Masquerade was created
www.adamhall.com/en/blog/a-look-behind-the-mask-how-th… ↗
AH2: Adam Hall
Immersive audio installation for the acclaimed New York Broadway musical Masquerade
www.adamhall.com/en/blog/immersive-audio-installation-… ↗
ALW: Andrew Lloyd Webber Musicals
The Phantom returns to NYC — everything you need to know about Masquerade
www.andrewlloydwebber.com/news/the-phantom-returns-to-nyc-every… ↗
AVI: AV Magazine
Living stage deploys largest-ever LD Systems installation
28 Oct 2025
www.avinteractive.com/news/audio/living-stage-deploys-large… ↗
AX: AudioXpress
Sennheiser Unveils Spectera — First WMAS-Based Digital Wireless Ecosystem
audioxpress.com/news/sennheiser-unveils-spectera-firs… ↗
AyrtonSpec: Ayrton
Diablo S Classical 3 Series Specification Sheet (v4.0)
14 Apr 2025
www.ayrton.eu/wp-content/uploads/2020/03/DiabloS-Sp… ↗
BW: Broadway.com
James Fluhr Breaks Down the Design of Masquerade
Paul Wontorek
www.broadway.com/buzz/206855/james-fluhr-breaks-down-t… ↗
BWW1: BroadwayWorld
MASQUERADE Extends Off-Broadway Through Summer 2026
6 Mar 2026
www.broadwayworld.com/article/MASQUERADE-Extends-Off-Broadw… ↗
BWW2: BroadwayWorld
Video: First Look Inside MASQUERADE Revealed
www.broadwayworld.com/article/Video-First-Look-Inside-MASQU… ↗
BWW3: BroadwayWorld
Bob Dylan's Artwork Is Featured in MASQUERADE Off-Broadway
10 Oct 2025
www.broadwayworld.com/article/Bob-Dylans-Artwork-Is-Feature… ↗
CS: Culture Sauce
Masquerade · Phantom Opera Off-Broadway review
29 Sep 2025
culturesauce.com/2025/09/29/masquerade-phantom-opera-o… ↗
DKC: DKC/O&M
Masquerade press releases
omdkc.com/29397-2/ ↗
LSi: LSi Online
Ayrton Diablo shines on Masquerade in Manhattan
www.lsionline.com/news/ayrton-diablo-shines-on-masquera… ↗
LSJ: LightSoundJournal
Ayrton Diablo Shines in Masquerade
28 Mar 2026
www.lightsoundjournal.com/2026/03/28/ayrton-diablo-shines-in-ma… ↗
Mix: Mix Magazine
LD Systems Attends Broadway's Masquerade
29 Oct 2025
www.mixonline.com/live-sound/ld-systems-attends-broadwa… ↗
MNYC: masqueradenyc.com
Cast & crew
masqueradenyc.com/cast-crew/ ↗
NYSR: New York Stage Review
Masquerade — Phantom of the Opera, Immersive Style
Frank Scheck · 29 Sep 2025
nystagereview.com/2025/09/29/masquerade-phantom-of-the-… ↗
NYTG: New York Theatre Guide
Masquerade show page (cast & crew)
www.newyorktheatreguide.com/show/44745-masquerade ↗
NYTGd: New York Theatre Guide
Immersive Phantom of the Opera revival Masquerade — dates & cast
www.newyorktheatreguide.com/theatre-news/news/immersive-phantom-o… ↗
NYTh: New York Theater
Masquerade review
Jonathan Mandell · 14 Oct 2025
newyorktheater.me/2025/10/14/masquerade-review/ ↗
PAS: Precision Audio Services / Live Sound International
Let the Spectacle Astound You — Inside the Sound Design of Masquerade
Michael Lawrence · Jan 2026
www.precisionaudioservices.com/blog/let-the-spectacle-astound-you-in… ↗
PLSN: PLSN
PRG's Technical Solutions for Immersive Masquerade
plsn.com/featured/prgs-technical-solutions-for… ↗
PRG: PRG
Unmasking Masquerade: Technical Solutions for Immersive Production
27 Feb 2026
www.prg.com/en/news/unmasking-masquerade-technica… ↗
PSW: ProSoundWeb
Refreshed, Modern, Engaging: The Innovative Design for an Immersive Adaptation of Phantom of the Opera
www.prosoundweb.com/refreshed-modern-engaging-the-innovat… ↗
PSW2: ProSoundWeb
An LD Systems Miles For Masquerade Musical in New York
www.prosoundweb.com/an-ld-systems-miles-for-masquerade-mu… ↗
Senn: Sennheiser
Spectera Handheld Makes Broadcast Debut at the Big Game
newsroom.sennheiser.com/sennheiser-spectera-handheld-makes-br… ↗
Senn2: Sennheiser via Trew Audio
Spectera Base Station product literature
www.trewaudio.com/product/sennheiser-spectera-base-stat… ↗
TDF: Theatre Development Fund
Masquerade show advisory
www.tdf.org/shows/22695/masquerade/ ↗
TM: TheaterMania
Review: Immersive Musical Masquerade Is a Phantom Fever Dream
www.theatermania.com/news/review-immersive-musical-masquer… ↗
TO: Time Out
Masquerade review
Adam Feldman
www.timeout.com/newyork/theater/masquerade-review-pha… ↗
UNCSA: University of North Carolina School of the Arts
UNCSA alumni — Masquerade immersive Phantom of the Opera
11 Feb 2026
www.uncsa.edu/news/20260211-uncsa-alumni-masquerade… ↗
USITT: USITT
Unmasking Masquerade: Technical Solutions for Immersive Production
www.usitt.org/news/unmasking-masquerade-technical-s… ↗
Wiki: Wikipedia
218 West 57th Street
en.wikipedia.org/wiki/218_West_57th_Street ↗

Tooltip demo: hover or focus any short key here — PAS, PRG, AH, Senn2, BW — and click to pin it to the footer.

Behind TheMasquerade

QLab

CURV 500

DQOR 3

DQOR 5

MAILA SAT

MAUI i1

CFL

ICOA PRO SUB 21 A

MAILA SUB

ANNY 8

The Hidden 90

Different actor, different mix.

Pick a cast for Pulse 3 · watch the mix swap

Diablo S

Overture · Rise

Fall · after Point of No Return

Behind The
Masquerade