Since its premiere in 1986 at Her Majesty's Theatre in London, the opera has been produced in 149 cities across 25 countries and been seen by more than 130 million people worldwide, grossing more than $5.6-billion (R43.02-billion).

Last year it celebrated its 25th year of existence and currently holds the esteemed title of "longest-running Broadway show".

Anyone who has seen the production might credit its success to the provocative Andrew Lloyd Webber musical scores, thrilling storyline and stellar performances by the cast. But, after visiting the South African crew while they were preparing for their opening night at the Teatro theatre in Montecasino, I would have to argue that the real mystery and magic happens far from the audience's gaze.

It happens behind the curtains, on the wings of the stage, in the sound booths, dressing-rooms and floors and passages beneath the theatre stage. For each performance there are more than 120 people - apart from the orchestra and 38-strong cast - working on set.

There are people working backstage. Some of them are dressers, some form part of the technical team, others are seamstresses, designers, make-up artists, hairdressers and pyrotechnicians.

"The choreography backstage is quite something. They've been rehearsing their work at the Teatro for the past four weeks. They know what to do, where to be, the exact timing and they can do it seamlessly without bumping into each other or getting caught in passages or doorways. It's like a military operation," says stage manager Mark Sage as he gives us a behind-the-scenes tour of the Phantom of The Opera set.

Walking on to the stage, we see the one-ton crystal chandelier that comes crashing down in the play's climax - there are candles, smoke machines, mirrors and character Ubaldo Piangi's life-size elephant waiting in the wings.

"The sets and costumes are exact replicas of the ones used in the productions happening in London or anywhere else in the world. The set is made in Australia and travels in 22 containers.

"If anything is damaged on its way here, it will be flown out from one of the other countries that have rights to produce the production, probably from Australia," says Sage.

He then leads us to a room filled with 120 wigs and moustaches, most made from real hair.

"It's a period play, so the hair is very important. Before and after every performance the wigs are washed, put in a wig oven to dry then our team of hairdressers comb, curl or style them for the next show," says Sage.

In the passage we find clothes on a rail which are waiting to be transported to the wardrobe room.

In the room sit a seamstress, wardrobe manager and shoe-maker.

"Stylistically and aesthetically everything has stayed the same since the production began 25 years ago. But because the play is a quarter of a century old, half of [the wardrobe] is new and half is from 20 years ago because, throughout the years, we've refurbished, replenished and remade some things," says wardrobe manager Eugene Tinus.

Our last stop is the pyrotechnic room, where two operators watch six TV screens - all of which are focusing on a specific item that will be moved, swung, hidden by smoke or illuminated with fireworks.

I learn how the elaborate sets, intricate Victorian garments and pyrotechnics are what takes audiences on a journey to a world of love, danger, intrigue and desire.

And, like the Phantom himself, the people who make those elements come together as passionate and elusive characters working in the shadow of the stage.

'The Phantom Of The Opera' opened at the Teatro at Montecasino in Johannesburg on January 31. Its duration is yet to be announced. For bookings and more information go to www.montecasino.co.za