Art imitates life, and life imitates art. When it comes to the Hawaii production of Andrew Lloyd Webber’s musical “The Phantom of the Opera,” life also defies art.

“Phantom,” the longest-running musical in Broadway history, at 31 years and 13,000-plus shows, and still counting, includes a testy relationship between Carlotta, prima donna in the production-within-a-production “Hannibal,” and understudy Christine, whom the shadowy Phantom tries to force into the lead role.

Here in Hawaii, Emma Grimsley has moved up to star as Christine, after two years of touring as understudy for recently departed star Eva Tavares. But the relationship between Grimsley and Tavares has always been the opposite of testy, Tavares says.

Calling from her childhood home in Vancouver shortly after leaving the production, Tavares lavished praise on Grimsley, whom she called “my best friend, forever and ever.”

“It’s so great to see someone so deserving take over the role,” Tavares said, “someone who’s committed to serving the show … someone who’s so professional and kind and a great leader, and all the things you need in a Christine.”

The two bonded over spirituality and a love of food, Tavares said. She viewed Grimsley as a peer, not a threat. “What’s the point in being competitive with someone who’s going through all the same stuff you are?” she asked.

The close relationship with Tavares made for an easy transition, Grimsley said, calling it a “passing of the torch moment.”

GRIMSLEY IS far from new to the role of Christine. In two years as understudy, she’s performed as Christine about 175 times, many of them with Derrick Davis, who was her first Phantom and recently returned to the title role.

Still, there is a newness to stepping to the head of the production.

On some days, Grimsley said, she feels well prepared.

”Other days it feels like foreign territory.,” she said. “I’m looking forward to feeling more comfortable.”

If Grimsley is fortunate, she will find that comfort zone as quickly as she did when she joined the tour two years ago. For many, the continuous travel and living out of a suitcase could take some getting used to. But Grimsley grew up the child of two opera performers and was used to the lifestyle. Her parents, Greer Grimsley and Luretta Bybee, met on a production of Georges Bizet’s “Carmen.” Emma Grimsley spent much of her early life on the road, with one or both of her parents (they weren’t always cast together).

There she learned many of the skills she uses today as a touring performer. She came to the touring life knowing what to pack and what not to. (Conversely, Grimsley admits with a laugh, “I’ve been living this way my whole life, so I’m kind of tired.”)

She also gained stage experience while very young. She’d sometimes join a children’s chorus, if there was room. Or if the director was familiar with her, she might be given a small, non-speaking part.

Despite that early introduction to the theater life and the fact that she enjoyed it so, Grimsley didn’t think about a career treading the boards until much later, nor did her parents try to push her toward it.

She did straight theater in high school and spent a summer studying Shakespeare and contemporary theater in London, but when she left Bucks County, Pa., for Loyola University in New Orleans it was to be as an English major.

Writing remains a passion of hers, she said; she spent her downtime on the road writing a play.

Grimsley was headed for graduate school before a manager signed her and brought her to this life.

“THE PHANTOM of the Opera” crew call the Broadway play “the brilliant original” (though technically it came two years after a 1986 London debut) and their traveling show “the spectacular new production.”

The clothing, which netted the late Maria Bjornson a Tony Award for costume design in 1988, is the same for both productions, and the iconic chandelier is integral, but Grimsley said there are differences.

“It’s a little bit more intimate,” she said. “It addresses the question of who these people are, how they got where they are and what that’s gonna mean for how they interact with each other.”

Grimsley feels this production better addresses the death of Christine’s father three years before the story begins and shows how that impacts Christine. She also praises the production for observing Christine’s growth and the ways she relates to others.

Grimsley could hardly contain her excitement when discussing the ways the set design has evolved.

“Our set is innovative in the way it really strives to give the feeling of what it might be like to be backstage in a 19th century opera house,” Grimsley said.

“It’s got a lot of sort of really cool tricks up its sleeve, lots of great amazing functions.”

“THE PHANTOM OF THE OPERA”

>> Where: Blaisdell Concert Hall

>> When: 7:30 p.m. Tuesdays-Thursdays, 8 p.m. Fridays, 2 and 8 p.m. Saturdays, 1 and 6:30 p.m. Sundays, through Sept. 1

>> Tickets: $45-$150

>> Info: 800-745-3000, ticketmaster.com