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Love Never Dies (musical)
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Love Never Dies
Love Never Dies (musical) logo.jpg
Music
Andrew Lloyd Webber
Lyrics
Glenn Slater
Charles Hart (additional)
Book
Andrew Lloyd Webber
Ben Elton
Glenn Slater (additional)
Frederick Forsyth (additional)
Basis
Elements of The Phantom of Manhattan by Frederick Forsyth and an original treatment by Ben Elton
Productions
2010 West End
 2011 Melbourne
 2012 Sydney
 2012–2013 Copenhagen
 2013 Vienna
 2014 Tokyo
Love Never Dies is a romantic musical with music by Andrew Lloyd Webber, lyrics by Glenn Slater with additional lyrics by Charles Hart, and book by Lloyd Webber and Ben Elton, with additional material by Slater and Frederick Forsyth. It is a sequel to Lloyd Webber's long-running musical The Phantom of the Opera.[1] The musical is set in 1907,[2] which Lloyd Webber states is, "ten years roughly after the end of the original Phantom,"[3] although the events of the original actually took place in 1881.[4] Christine Daaé is invited to perform at Phantasma, a new attraction in Coney Island, by an anonymous impresario and, with her husband Raoul and son Gustave in tow, journeys to Brooklyn, unaware that it is the Phantom who has arranged her appearance in the popular beach resort.
Although Lloyd Webber began working on Love Never Dies in 1990, it was not until 2007 that he began writing the music. The musical opened at the Adelphi Theatre in the West End on 9 March 2010 with previews from 22 February 2010. It was originally directed by Jack O'Brien and choreographed by Jerry Mitchell, however the show closed for four days in November 2010 for substantial re-writes, which were overseen by Lloyd Webber, and it opened with new direction from Bill Kenwright. Set and costume designs were by Bob Crowley.[5] The original London production received mostly negative reviews,[6][7] however, the subsequent Australian production featuring an entirely new design team and heavy revisions was generally better received. The planned Broadway production, which was to have opened simultaneously with the West End run, was delayed and then indefinitely postponed.[8]


Contents  [hide]
1 Background
2 Score
3 Productions 3.1 West End (2010–2011)
3.2 Melbourne (2011)
3.3 Sydney (2012)
3.4 Copenhagen (2012–2013)
3.5 Japan (2014)
4 Synopsis (revised version) 4.1 Prologue
4.2 Act I
4.3 Act II
5 Characters and original cast
6 Musical numbers 6.1 The Concept Album
6.2 London
6.3 Melbourne and subsequent productions
7 Recordings 7.1 Singles
7.2 Discography 7.2.1 Albums
7.3 DVD
8 Reception 8.1 West End 8.1.1 Critics' reaction
8.1.2 Audience and other assessments
8.2 Australia 8.2.1 Critics' reaction

9 See also
10 References
11 External links

Background[edit]



I really do not believe that you have to have seen Phantom of the Opera to understand Love Never Dies. I really don’t. But I hope if you see them together, if you wanted to see them back-to-back, that what you would get from them – from both of them – is the extension of where the story goes.
“
”
Andrew Lloyd Webber[9]
Andrew Lloyd Webber first began plans for a sequel to his 1986 hit musical, The Phantom of the Opera, in 1990.[10] Following a conversation with Maria Björnson, the designer of The Phantom of the Opera, Lloyd Webber decided that, were a sequel to come about, it would be set in New York City at the turn of the 20th century. One of his ideas was to have Phantom live above ground in Manhattan's first penthouse, but he rejected this when he saw a TV documentary about the Coney Island fairground.[10] Lloyd Webber began collaborating with author Frederick Forsyth on the project, but it soon fell apart as Lloyd Webber felt the ideas they were developing would be difficult to adapt for a stage musical. Forsyth went on to publish some of the ideas he had worked on with Lloyd Webber in 1999 as a novel entitled The Phantom of Manhattan.[11]
Lloyd Webber returned to the project in 2006, collaborating with a number of writers and directors. However, he still did not feel the ideas he had were adaptable into a piece of musical theatre.[12] Finally, in early 2007, Lloyd Webber approached Ben Elton (who had served as the librettist for Lloyd Webber's The Beautiful Game) to help shape a synopsis for a sequel, based on Lloyd Webber's initial ideas. Elton's treatment of the story focused more on the original characters of The Phantom of the Opera and omitted new characters that Lloyd Webber and Forsyth had developed.[12] Lloyd Webber was pleased with Elton's treatment and began work on the sequel.[11] In March 2007, he announced he would be moving forward with the project.[13]
The Daily Mail announced in May 2007 that the sequel would be delayed, because Lloyd Webber's six-month-old kitten Otto, a rare-breed Turkish Van, climbed onto Lloyd Webber's Clavinova digital piano and managed to delete the entire score. Lloyd Webber was unable to recover any of it from the instrument, but was eventually able to reconstruct the score.[14][15] In 2008, Lloyd Webber first announced that the sequel would likely be called Phantom: Once Upon Another Time,[16] and the first act was performed at Lloyd Webber's annual Sydmonton Festival. The Phantom was played by Ramin Karimloo and Raoul was played by Alistair Robbins.[17] However, in September 2008, during the BBC's Birthday in the Park concert celebrating his 60th birthday, Lloyd Webber announced that the title would be Love Never Dies.[18] In other workshop readings, Raoul and Christine were played by Aaron Lazar and Elena Shaddow.[19]
On 3 July 2009, Lloyd Webber announced that Karimloo (who had played the Phantom in the West End) and Sierra Boggess (who had originated the role of Christine in Phantom – The Las Vegas Spectacular) had been cast as the Phantom and Christine and that the role of Meg Giry would be played by Summer Strallen, Madame Giry by Liz Robertson and Raoul by Joseph Millson.[20][21] I'd Do Anything finalist Niamh Perry was given the role of Fleck.[22]
Lloyd Webber originally intended for Love Never Dies to open in London, New York and Shanghai simultaneously in the autumn of 2009.[19][20][23] By March 2009, he had decided to open the show at London's Adelphi Theatre, followed by Toronto's Royal Alexandra Theatre (before transferring to Broadway's Neil Simon Theatre in 2010) and Shanghai.[23] The three casts would rehearse simultaneously in London for three months beginning August 2009.[23] Opening dates were soon announced as 26 October 2009 in London, November in Toronto and February 2010 in Shanghai, with a later transfer to Melbourne, Australia.[24] Plans were then announced for a separate Broadway production to run concurrently with the Toronto show if Toronto proved successful.[25] In May, the debut of the London production was delayed until March 2010 due to Lloyd Webber re-orchestrating the score and re-recording the album.[26][27] Technical issues with the special effects, automaton version of Christine and casting multiple simultaneous productions also contributed to the postponement.[20] By October 2009, Shanghai plans had been dropped in favour of an Australian production.[28]
On 8 October 2009, Lloyd Webber held a press conference at Her Majesty's Theatre, where the original Phantom has been running since 1986, confirming the casting of Boggess as Christine and Karimloo as the Phantom. Karimloo sang "Til I Hear You Sing", and "The Coney Island Waltz" was also performed for the journalists, industry insiders and fans who had assembled for the presentation.[29][30] Lloyd Webber announced that Love Never Dies would begin previews in London on 20 February 2010 and anticipated that the Broadway production would open on 11 November 2010 (this was later postponed[31] and then indefinitely[32]). Rehearsals began in January 2010.[33][34]
Score[edit]
As with Phantom, Lloyd Webber's score for Love Never Dies also includes the fictional music of its time as musical fragments to fictional pieces which are taking place within the show itself. Only "Bathing Beauty" survived the post concept album cuts to be performed on stage.
Instead of the operatic passages for fictional "operas," the "stage" music at Phantasma is based on the companion pieces to the Savoy Operas, which were often burlesques and were also sometimes performed at the Opéra Comique. Many of these kinds of burlesques were based on existing French operas. During the Victorian age, nearly every popular opera was turned into a burlesque.[35] The W. S. Gilbert (of Gilbert and Sullivan) operatic burlesque Robert the Devil is a parody of Robert le diable, a romantic grand opera by Meyerbeer which was mentioned in the opening to "Phantom of the Opera".
These pieces were very popular among the lower class, but not commonly seen by more sophisticated opera goers. According to W. J. MacQueen-Pope:
This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them. ... [They] served to give young actors and actresses a chance to win their spurs ... the stalls and the boxes lost much by missing the curtain-raiser, but to them dinner was more important.[36]
Like most burlesques, "Robert the Devil" featured women in scanty costumes and breeches roles. In operas, these were always supporting roles. The pageboy role in Christine's second opera is a breeches role, like the part of Cherubino, the Count's page, in The Marriage of Figaro. However, in burlesques, breeches roles could be main parts.
Very little specific information is available for most of these curtain openers. However, the opener for "Pinafore", which had also been performed at the Opéra Comique in 1878, was called "Beauties on the Beach".[37] Meg Giry's grand opening number in "Love Never Dies" is called "Bathing Beauty (On The Beach)".
Productions[edit]
West End (2010–2011)[edit]
The first preview of Love Never Dies was delayed from 20 to 22 February 2010 due to a last-minute brief illness of Boggess and technical demands.[38][39] The show had its official opening on 9 March 2010. It was directed by Jack O'Brien, choreographed by Jerry Mitchell, and had set and costume designs by Bob Crowley.[5] The cast included Ramin Karimloo as the Phantom, Sierra Boggess as Christine, Joseph Millson as Raoul, Liz Robertson as Madame Giry, Summer Strallen as Meg Giry and Niamh Perry as Fleck. In April 2010, Lloyd Webber was threatened with a £20,000 fine for illegally painting the Grade II-listed Adelphi Theatre black to promote this musical.[40]
In December 2010, Lloyd Webber closed the London production for a few days to rework the show after a poor critical response. The musical was reviewed again (at Lloyd Webber's invitation[41]), with critic Henry Hitchings noting that "Some of the most obvious alterations stem from the recruitment of lyricist Charles Hart to adjust the cadences of the original clunky lines written by Glenn Slater." He further pointed out that "There are also lots of bracing directorial touches; the show is credited to Jack O’Brien, but it is new choreographer Bill Deamer and producer Bill Kenwright who have added the zest."[42] The London production closed on 27 August 2011 after a disappointing run of fewer than eighteen months.[43] In 2012, Lloyd Webber stated that although he was, "very, very proud" of the London production, it did not completely work and also said, "something just went slightly wrong; I had cancer just before the production, and it was just that crucial 5% off-beam".[9]
The hoped-for Broadway production was announced as delayed to spring 2011.[31] Lloyd Webber also announced that Asian and Canadian productions were planned, although these have been dropped for now.[11] After the mixed reviews and negative reaction from some Phantom fans during previews, an executive producer stated that before its bow on Broadway, the show would likely undergo "some changes".[44] On 1 October 2010 it was announced that the musical would not open on Broadway in Spring 2011.[32]
In March 2013, it was reported that the musical may return to the West End after a UK tour of the successful Australian production.[45][46]
Melbourne (2011)[edit]
In 2010, Lloyd-Webber announced that the Australian production would open on 21 May 2011 at Melbourne's Regent Theatre. This production, the first outside of the UK, featured brand new direction and design by an Australian creative team, including director Simon Phillips.[47] Ben Lewis and Anna O'Byrne were cast as the leads,[48][49] Although Lloyd Webber hopes to bring the Melbourne production to Broadway in the future,[50] he told The New York Times that, even with the positive reception of the reworked Melbourne production, a Broadway transfer was probably not realistic. He also announced that the Melbourne production would be filmed on 15 September 2011 and made available on DVD.[51] The recording was originally to be released on DVD and Blu-ray 1 February 2012,[52] but it was later delayed till 29 May 2012 in the United States.[53] In the UK, the DVD was released on 12 March 2012,[54] and in Australia it was released on 8 February 2012. The recorded performance also played in select theatres on 28 February and 7 March 2012.[55] It was then screened again in US cinemas on 23 May 2012.[56] Lloyd Webber stated that even if a Broadway production does not happen, he feels that he has closed the chapter on the piece, as the filmed version is something that he's, "very, very proud of" and it does not really matter to him, "if it comes tomorrow or five years' time".[57][58] The Melbourne production closed on 18 December 2011.
Sydney (2012)[edit]
The Melbourne production transferred to Sydney's Capitol Theatre with previews beginning 8 January 2012 and officially opened on 12 January 2012.[59] The show concluded its limited engagement on 1 April 2012.[60]
Copenhagen (2012–2013)[edit]
Det Ny Teater in Copenhagen, Denmark announced that their production of Love Never Dies would open on 24 October 2012.[61] Starring Tomas Ambt Kofod and Bo Kristian Jensen as the Phantom and Danish coloratura soprano Louise Fribo as Christine. The production features a new production design by Paul Farnsworth, new stagings by Daniel Bohr and new choreography by Hayley Franks Høier. Karen Hoffmann, who translated the score of "The Phantom of the Opera" into Danish, also translated the score into Danish. The production closed 21 April 2013.[citation needed]
Japan (2014)[edit]
A Japanese production will open at the Nissay Theatre in Tokyo, using directions and designs from the original Australian production.[62] Starring Masachika Ichimura and Takeshi Kaga as the Phantom and Megumi Hamada and Ayaka Hirahara as Christine. The production opened in March 2014.[citation needed]
Synopsis (revised version)[edit]
Prologue[edit]
Ten years after the events at the Paris Opera, the Phantom is now the mastermind of Phantasma, a Coney Island amusement park. Despite the success of his endeavours, he is tortured by the absence of Christine Daae in his life and he longs to hear her sing again ("Til I Hear You Sing"). He sends Christine an invitation to make her American debut on the Phantasma stage. Unaware that the Phantom is behind this, she accepts the invitation and journeys to New York with her husband Raoul (Vicomte de Chagny) and son, Gustave.
Act I[edit]
At Phantasma, Madame Giry and the Phantom's performers introduce the wonders of Coney Island ("The Coney Island Waltz"). Meg Giry, Christine Daaé's friend from the Paris Opera, has become "the ooh la la" girl in The Phantom's vaudeville show, which Madame Giry produces. Meg and the Phantasma cast win the crowd over with their performance of "Only for You". Madame Giry assures Meg that she performed wonderfully, although it is uncertain whether or not the Phantom was present at the show. She has read in the newspaper that Christine is coming to New York to sing for Oscar Hammerstein at the opening of his new Manhattan opera house. Madame Giry is concerned that her daughter has lost the attention of the Phantom and she reminisces about how she and Meg smuggled him from Paris, France to New York City ten years ago.
Christine, Raoul and their ten-year-old son Gustave arrive in New York and are met by crowds of paparazzi. They are greeted by the freaks, who arrive by a horseless carriage, to take them to Coney Island (“Are You Ready to Begin?”). Raoul is angry at the reception ("What a Dreadful Town!") and upsets Gustave by not playing with him. As Raoul leaves to go drinking, Christine tells Gustave to "Look With Your Heart" to try to help him understand. Gustave goes to bed, and the Phantom arrives to see Christine. She faints, having believed he was dead, and he carries her to her chair. When she awakes, they have an intense discussion about the last time they were alone together and why he ran away afterwards (“Beneath a Moonless Sky”). They recall that "Once Upon Another Time" they thought their love had a chance of succeeding. He offers to pay her double what Oscar Hammerstein is paying her to sing for him once more, just one song he wrote. Gustave wakes up screaming from a nightmare ("Mother Please, I'm Scared!") and meets the Phantom for the first time. The Phantom promises to show Gustave more of Phantasma. He tells Christine that she must sing for him again or she will return home without the boy.
In the rehearsal studio for Phantasma, Meg is surprised and jealous to learn that Christine will be singing after her. Raoul encounters Madame Giry and discovers that the Phantom, not Oscar Hammerstein, is the one for whom Christine is singing ("Dear Old Friend"). The freaks bring Gustave to the Aerie, where he is greeted by the Phantom. Child prodigy Gustave sings and plays a melody on the piano ("Beautiful") that leads the Phantom to suspect he is Gustave's father ("He plays like me! He's just 10 years old...ten years old".) The Phantom questions Gustave while showing him the dark wonders, illusions and freaks of Phantasma and finds they are kindred spirits. He unmasks himself, believing Gustave will accept him ("The Beauty Underneath"), but Gustave is horrified and screams. Christine comforts Gustave and asks Meg to go with him back to the hotel so that she and the Phantom can have a private conversation. When pressed by the Phantom, Christine confesses that Gustave is his son ("The Phantom Confronts Christine"). The Phantom makes Christine promise to never tell Gustave that Raoul is not his real father. The Phantom declares that everything he owns will go to him. Having overheard everything, a furious Madame Giry fears all her work over the years has been for nothing.
Act II[edit]
In a gloomy bar, Raoul contemplates his relationship with Christine ("Why Does She Love Me?"). He is joined by Meg, who tells him he is in "Suicide Hall", the place "where people end up when they don't know where else to go." Meg swims each day to wash away the stress of working. She tells Raoul that he must leave with Christine and Gustave. Raoul says he is not afraid of the Phantom, who has been behind the bar. As soon as Meg leaves, the Phantom reveals himself and they make a bet that if Christine sings, the Phantom wins and if she doesn't, Raoul wins. If Raoul wins the bet, the Phantom will pay his debts and Raoul can leave with Christine and Gustave. Otherwise, Raoul must return home to Paris alone. The Phantom leads Raoul to question Gustave's paternity ("Devil Take the Hindmost").
Fleck, Squelch and Gangle appear to advertise Christine's appearance at Phantasma ("Invitation to the Concert"). That night, Meg performs a strip-tease about her choice of swimming costumes ("Bathing Beauty"). The audience goes crazy for Meg, but Madame Giry tells Meg that the Phantom did not watch the performance and it was for nothing ("Mother, Did You Watch?").
"Before the Performance", Gustave explores backstage, while Raoul asks Christine to leave with him if she loves him. As Raoul leaves, the Phantom enters and tells Christine that Raoul's love is not enough and that she must sing for him. In her dressing room, Christine recalls the Opera where she had to decide between Raoul and the Phantom. Madame Giry, Raoul and the Phantom wonder whether Christine will sing ("Devil Take The Hindmost" (reprise)). Christine performs an aria for the crowd, as Raoul and the Phantom watch ("Love Never Dies"). Raoul leaves as Christine finishes to thunderous applause. Christine is greeted by the Phantom and a letter from Raoul informing her of his departure ("Ah Christine"). Gustave is missing, and she becomes worried ("Gustave, Gustave"). She had previously told him to wait for Raoul backstage and did not want to believe that he had taken the boy. Furious, the Phantom vows to kill the "drunken fool," but Squelch informs him that he saw the Viscount leave alone. Then, the Phantom suspects Madame Giry because of her attitude towards him before Christine's number and threatens her as she is brought to him by Squelch and Dr. Gangle. Madame Giry confesses that she knew about Gustave's true parentage, but denies ever going near him. Fleck reports that she was passing Meg's dressing room when she noticed the mirror had been smashed and Meg is nowhere to be found. Christine fears for her child's life, but Madame Giry assures her that Meg would never hurt Gustave. The Phantom believes he knows where Meg has gone.
At Suicide Hall, Meg prepares to drown Gustave, who cannot swim, when the others arrive to confront her. She holds up a gun so the Phantom will listen as she reveals that the resources Madame Giry has afforded him came from Meg's working as a prostitute to influential men. She confesses her love to the Phantom and, letting Gustave go, holds the gun to her head to commit suicide in his presence. The Phantom tries to calm her, but on mentioning Christine, the jealous Meg becomes crazed. The Phantom tries to get the gun, but Meg accidentally shoots Christine. As Madame Giry and Meg are sent to find help, Christine reveals to Gustave that the Phantom is his real father and a shocked Gustave runs off. She tells the Phantom that her love for him will never die. They have one final kiss and she dies in his arms. Gustave returns with Raoul, who looks on silently and sadly, as Gustave goes and joins the Phantom and lays his head on the lap of his deceased mother. Gustave then looks up at the Phantom and takes the Phantom's mask off but does not react as he did before ("Love Never Dies" (reprise)). By gently touching the Phantom's face, Gustave shows that he accepts that the Phantom is his father and chooses to stay with him. Gustave and the Phantom look at each other as the curtain falls.
Characters and original cast[edit]
The following is a list of the principal roles and original cast of Love Never Dies.

Character
Original London Cast
Original Australian Cast
Final London Cast
Original Danish Cast
Original Japanese Cast
The Phantom Ramin Karimloo Ben Lewis Ramin Karimloo Tomas Ambt Kofod / Bo Kristian Jensen Masachika Ichimura / Takeshi Kaga
Christine Daaé Sierra Boggess Anna O'Byrne Celia Graham Louise Fribo Megumi Hamada / Ayaka Hirahara
Raoul, Vicomte de Chagny Joseph Millson Simon Gleeson David Thaxton Christian Berg Mario Tashiro / Keita Tachibana
Madame Giry Liz Robertson
 (Sally Dexter on the cast recording) Maria Mercedes Liz Robertson Marianne Mortensen Ran Ohtori / Tatsuki Kohju
Meg Giry Summer Strallen Sharon Millerchip Haley Flaherty Camille-Cathrine Rommedahl Mao Ayabuki / Rena Sasamoto
Fleck Niamh Perry Emma J. Hawkins Tracey Penn Kirsten Norholt Mizuho Abe
Squelch Adam Pearce Paul Tabone Adam Pearce Kristian Jensen Tomoaki Tatsumi
Gangle Jami Reid-Quarrell Dean Vince Charles Brunton Simon Duus Arata Hino
Gustave Jack Blass,
 Harry Child,
 Tyler Fagan,
Alexander Hockaday,
 Richard Linnell,
 Charlie Manton,
 Kaisun Raj George Cartwright Bush
 Trent Heath
 Lachlan Kelly
 Jack Lyall
 Kurtis Papadinis Edward Bracey
 Jack Costello
 Daniel Dowling
 Connor Fitzgerald
 George Littell
 Harry Polden Carl-Emil Lohmann,
 Oscar Dietz,
 Asbjørn Mertz Mørch Seishiro Kato,
 Tsukito Matsui,
 Eru Yamada
Musical numbers[edit]
The Concept Album[edit]
The Original Concept Album was released in March 2010. It peaked at number 10 on the UK Albums Chart, No. 1 in Greece, No. 8 in New Zealand and No. 15 in Denmark.[63] The following musical numbers are how they appeared on that original album.[64]
Disc 1"Prologue"
"The Coney Island Waltz"
"That's the Place That You Ruined, You Fool!"
"Heaven by the Sea"
"Only for Him/Only for You"
"The Aerie"
"'Til I Hear You Sing"
"Giry Confronts the Phantom/'Til I Hear You Sing (Reprise)"
"Christine Disembarks"
"Arrival of the Trio/"Are You Ready to Begin?"
"What a Dreadful Town!..."
"Look with Your Heart"
"Beneath a Moonless Sky"
"Once Upon Another Time"
"Mother Please, I'm Scared!"
"Dear Old Friend"
"Beautiful"
"The Beauty Underneath"
"The Phantom Confronts Christine"
 Disc 2"Entr'acte"
"Why Does She Love Me?"
"Devil Take the Hindmost"
"Heaven by the Sea (Reprise)"
"Ladies...Gents!/The Coney Island Waltz (Reprise)"
"Bathing Beauty"
"Mother, Did You Watch?"
"Before the Performance"
"Devil Take the Hindmost" (Quartet)
"Love Never Dies"
"Ah, Christine!"
"Gustave! Gustave!"
"Please Miss Giry, I Want to Go Back!..."

London[edit]
The Original London production opened with all the songs from the Concept Album. However, the show went through several rewrites and many of the songs were rearranged or even removed from the production. Charles Hart, one of the original lyricists from Phantom of the Opera, was brought in to help in the rewrites.[65] These are the musical numbers as they last appeared in the London Production.
Act I1."'Til I Hear You Sing" – The Phantom
2."The Coney Island Waltz" – The Orchestra
3."Only for You" – Meg Giry, Fleck, Squelch, Gangle and Ensemble
4."Ten Long Years" (Duet) – Meg and Madame Giry
5."Christine Disembarks" – Raoul, Gustave and Ensemble
6."Are You Ready to Begin?" – Fleck, Gangle, Squelch, Raoul, Gustave and Ensemble
7."What a Dreadful Town!" – Raoul, Christine and Gustave
8."Look with Your Heart" – Christine and Gustave
9."Beneath a Moonless Sky" – Christine and The Phantom
10."Once Upon Another Time" – Christine and The Phantom
11."Mother Please, I'm Scared!" – The Phantom, Gustave and Christine
12."Ten Long Years of Yearning" – The Phantom and Christine
13."Dear Old Friend" – Meg, Madame Giry, Christine, Raoul, Gustave and Ensemble
14."Beautiful" – Gustave, Fleck, Gangle, Squelch and The Phantom
15."The Beauty Underneath" – The Phantom and Gustave
16."Phantom Confronts Christine" – The Phantom, Christine and Madame Giry
 Act II1.Entr'acte – The Orchestra
2."Why Does She Love Me?" – Raoul, Meg and Ensemble
3."Devil Take the Hindmost" – Raoul and The Phantom
4."Invitation to the Concert" – Fleck, Gangle, Squelch and Ensemble
5."Bathing Beauty" – Meg, Fleck, Gangle, Squelch and Ensemble
6."Before the Performance" – Christine, Raoul, Gustave and The Phantom
7."Devil Take the Hindmost" (Quartet) – Gustave, Raoul, The Phantom, Madame Giry and Meg
8."Love Never Dies" – Christine
9."Ah, Christine!" – The Phantom and Christine
10."Gustave! Gustave!" – Christine, The Phantom, Madame Giry, Fleck, Gangle and Squelch
11."Please Miss Giry, I Want to Go Back" – Gustave and Meg
12.Finale – The Phantom and Christine
13.Playout – Orchestra

Melbourne and subsequent productions[edit]
The Original (reworked) Australian production opened with many of the songs from the reworked London production with new staging. The reworked libretto is the one currently used by subsequent productions (Copenhagen and Tokyo). Staging and musical numbers for the Australian and subsequent productions:
Act I"Til I Hear You Sing" (includes "The Aerie") – The Phantom
"The Coney Island Waltz" – Squelch, Fleck, Gangle & Ensemble
"Only for You" – Meg Giry, Ensemble
"Ten Long Years" (Duet) – Meg and Madame Giry
"Christine Disembarks" – Raoul, Gustave and Ensemble
"Are You Ready to Begin?" – Fleck, Gangle, Squelch, Raoul, Gustave and Ensemble
"What a Dreadful Town!" – Raoul, Christine and Gustave
"Look with Your Heart" – Christine and Gustave
"Beneath a Moonless Sky" – Christine and The Phantom
"Once Upon Another Time" – Christine and The Phantom
"Ten Long Years of Yearning" – The Phantom and Christine
"Mother Please, I'm Scared!" – The Phantom, Gustave and Christine
"Dear Old Friend" – Meg, Madame Giry, Christine, Raoul, Gustave and Ensemble
"Beautiful" – Gustave, Fleck, Gangle, Squelch and The Phantom
"The Beauty Underneath" – The Phantom and Gustave
"Phantom Confronts Christine" – The Phantom, Christine and Madame Giry
 Act IIEntr'acte – The Orchestra
"Why Does She Love Me?" – Raoul, Meg and Ensemble
"Devil Take the Hindmost" – Raoul and The Phantom
"Invitation to the Concert" – Fleck, Gangle, Squelch and Ensemble
"Bathing Beauty" – Meg, Fleck, Gangle, Squelch and Ensemble
"Mother, Did You See?"  - Meg, Madame Giry
"Before the Performance" – Christine, Raoul, Gustave and The Phantom
"Devil Take the Hindmost" (Reprise) – Gustave, Raoul, The Phantom, Madame Giry and Meg
"Love Never Dies" – Christine
"Ah, Christine!" – The Phantom and Christine
"Gustave! Gustave!" – Christine, The Phantom, Madame Giry, Fleck, Gangle and Squelch
"Please Miss Giry, I Want to Go Back" – Gustave and Meg
Finale – The Phantom and Christine
"Love Never Dies" (Reprise) – The Phantom
Playout – Orchestra

Note: The Copenhagen and Tokyo productions have translated the libretto from English to Danish (by Karen Hoffmann) and Japanese (by Ryu Machiko)
Recordings[edit]
Singles[edit]
The first song released to the public was "The Coney Island Waltz", on the musical's official site as part of a Love Never Dies' teaser trailer video in September 2009.[66][67] The teaser trailer combined clips from the 2009 London EPK video of The Phantom of the Opera (featuring Gina Beck, Ramin Karimloo, and Simon Bailey)[68] with black-and-white film footage of immigrants arriving by ship in New York City and shots of Coney Island. The official site later released "The Coney Island Waltz" as a sample track in 2009 and as a complimentary music download for customers pre-ordering the Love Never Dies studio recording album. The music video for "The Coney Island Waltz" is set to archival film footage of Coney Island.
"Til I Hear You Sing", sung by Ramin Karimloo, is the first single from the musical and was previewed on 20 February 2010 through The Mail on Sunday website.[69] and previewed elsewhere on 22 February 2010.[70] It is a love ballad about the male narrator expressing his longing to hear the voice of his beloved after many years. The promotional music video was an excerpt of Ramin Karimloo's live performance at the 8 October 2009 London press launch and made viewable the same day, with Karimloo singing in a blue-lit set while Sierra Boggess sits quietly on a throne. The official music video features Karimloo undisguised in a flat with a backdrop of projector images and floating appearance of Boggess.[69]
On 26 January 2010 the title song "Love Never Dies" was first publicly performed at The South Bank Show Awards, sung by Sierra Boggess and accompanied by Lloyd Webber and Louise Hunt on two grand pianos. The show was broadcast on ITV1 on 31 January 2010.[71] The tune is identical to Lloyd Webber's other musical numbers "Our Kind of Love" from The Beautiful Game in 2000 and "The Heart is Slow to Learn", which was intended for a Phantom sequel, sung by Kiri Te Kanawa in 1998 at the Andrew Lloyd Webber: The Royal Albert Hall Celebration.[72][73] "Love Never Dies" also has a very similar melody to Charles Williams' composition "Jealous Lover" from the 1949 British film The Romantic Age. "Jealous Lover" was later retitled "Theme from the Apartment" for the 1960 Billy Wilder film The Apartment.[74][75][76][77][78]
Welsh singer Katherine Jenkins was approached by Lloyd Webber to record her version of "Love Never Dies" in late 2009.[79][80] The song appears as the first track on the special edition of Jenkins' album Believe, which was released on 29 March 2010 in the UK. Jenkins performed the song with Lloyd Webber on the ITV1 show Dancing on Ice on 28 February 2010. Lloyd Webber has stated that Jenkins would not fit the score of his musical Love Never Dies because her vocal range is a mezzo-soprano, not a soprano like Sierra Boggess.[20][81]
Japanese singer Ayaka Hirahara was chosen to record "Love Never Dies" in Japanese for a bonus track of the soundtrack album's Japanese release.[82][83] "Love Never Dies" was also recorded in Mandarin by Liping Zhang and in Korean by Sumi Jo.[84]
Discography[edit]
The concept album of Love Never Dies was recorded around 2008–2009, using an 80–90 piece orchestra.[23][85][86] Lloyd Webber did not like the orchestrations in the second act, so he had half the album re-recorded.[87] John Barrowman had originally recorded the part of Raoul on the concept album but was replaced by Joseph Millson, who had been cast as Raoul for the stage production at the time the album was re-orchestrated and re-recorded.[88][89]Sally Dexter, who performed Madame Giry on the album, is replaced by Liz Robertson in the musical. The album was completed in September 2009 and scheduled to be released on 10 March 2010, the day after the show's London opening.[90] Preview sound clips from all tracks on the album became available online on 8 February 2010 at Amazon.co.uk.[91]
A cast recording of the original production was released on 8 March 2010 by Polydor Records in the UK and on 9 March 2010 by Decca Records in North America. It debuted at No. 82 on the Billboard 200, No. 1 on the Billboard Cast Album chart, and No. 10 on the UK Albums Chart. It also charted at No. 1 in Greece, No. 14 in Taiwan, No. 8 in New Zealand, and No. 15 in Denmark.[92][93]
Albums[edit]
Love Never Dies Deluxe Edition [Original Cast Recording]
 Release date: 8 March 2010 (UK), 9 March 2010 (North America)
 Number of discs: 2 Audio CDs, 1 DVD-Video
 Extras include: "Bonus DVD with interviews and filmed footage and 40 page booklet with full libretto"
Love Never Dies [Original Cast Recording]
 Release date: 8 March 2010 (UK), 9 March 2010 (North America)
 Number of discs: 2 Audio CDs
Both recordings feature the same 19 tracks on Disc 1 and 13 tracks on Disc 2 with each disc matching an act.
 A digital version of the double CD album was also made available on the Love Never Dies official online shop.
Charts
Chart (2010)
Peak
 position

Austrian Albums (Ö3 Austria)[94] 53
Danish Albums (Hitlisten)[95] 17
European Top 100 Albums (Billboard)[96] —
German Albums (Offizielle Top 100)[97] 73
Greek Albums (IFPI)[98] 1
New Zealand Albums (Recorded Music NZ)[99] 8
Swedish Albums (Sverigetopplistan)[100] 45
UK Albums (OCC)[101] 10
US Billboard 200[96] 82
"—" means the peak position on that chart remains unknown or is not stated
 by the source citing the chart.


Love Never Dies: Asian edition
 Release date: 30 March 2010 (North America)
 Number of discs: 2 Audio CDs
 Extras include: 2 bonus tracks, "Love Never Dies" (Mandarin language version) by Liping Zhang and "Love Never Dies" (Korean language version) by Sumi Jo.[84]
DVD[edit]
The Musical was released via DVD and Blu-ray on 29 May 2012 over Universal Studios Home Entertainment in the United States of America.[102]
Reception[edit]
West End[edit]
Critics' reaction[edit]
After Love Never Dies opened on 9 March 2010 in London, it received mixed critical reviews.[103][104] Perhaps the most positive review was Paul Taylor's in The Independent giving the show five stars, and writing, "What is in no doubt is the technical excellence of Jack O'Brien's seamlessly fluent, sumptuous (and sometimes subtle) production, or the splendour of the orchestra which pours forth Lloyd Webber's dark-hued, yearning melodies as if its life depended on them. Special praise should go to the lyrical lavishness of Bob Crowley and Jon Driscoll's designs, with their gilt interiors where the vegetation-imitating contours and giant peacock-plumage of Art Nouveau run rampant, and their ghostly external locations where a brilliantly deployed combination of flowing projection (timed to perfection with emotional/ rhythmic shifts in the music) and solidly presented stage-effects create a dizzying Coney Island of the mind".[105] In stark contrast, Ben Brantley of The New York Times gave it zero stars, calling the production "a big, gaudy new show. And he might as well have a "kick me" sign pasted to his backside. ... This poor sap of a show feels as eager to be walloped as a clown in a carnival dunking booth. Why bother, when from beginning to end, Love Never Dies is its very own spoiler."[106]
Other positive reviews included Charles Spencer of The Telegraph, who raved, "this is Lloyd Webber's finest show since the original Phantom, with a score blessed with superbly haunting melodies and a yearning romanticism that sent shivers racing down my spine." He gave the show four stars out of five, but cautioned that "The show may ultimately prove too strange, too dark, too tormented to become a massive popular hit, but I suspect its creepy allure will linger potently in the memory when frothier shows have been long forgotten".[107] Paul Callan of the Daily Express also gave the show four stars, writing that Love Never Dies "is an elegant and clever sequel to Phantom and deserves to have the old Adelphi Theatre filled every night with Lloyd Webber's core, usually middle-class, audiences. It is a great night out."[108]
In The Guardian, Michael Billington gave the show three out of five stars, commenting, "There is much to enjoy in Andrew Lloyd Webber's new musical. The score is one of the composer's most seductive." However, Billington said, "The problems lie within the book ... which lacks the weight to support the imaginative superstructure." He continues, "the staging is a constant source of iridescent pleasure. But, as one of the lyrics reminds us, "diamonds never sparkle bright unless they are set just right". ... With a libretto to match the melodies, this might have been a stunner rather than simply a good night out".[109] Tim Walker of The Sunday Telegraph praised the production for "what are undoubtedly the most impressive special effects to be had in the West End" and said the principals sang "with gusto, charisma and sexiness." Still, he found himself, "yearning after a while for the big showstopper ... but it never came."[110]
In The Times, critic Benedict Nightingale gave the show two out of five stars and said, "Where's the menace, the horror, the psychological darkness? For that I recommend a trip to Her Majesty's, not the Adelphi."[111] Another unenthusiastic review appeared in the London Evening Standard, where critic Henry Hitchings wrote that "while Lloyd Webber's music is at times lavishly operatic, the tone is uneven. There are no more than a couple of songs that promise to live in the memory, the duets don’t soar, and the ending is insipid. Admirers of Phantom are likely to be disappointed, and there's not enough here to entice a new generation of fans". Hitchings also commented that the story "is largely predictable – and flimsy. The chief problem is the book. ... It lacks psychological plausibility. Worse, it lacks heart. There's little pathos or emotional tension. There is also scarcely a moment of humour [the] lyrics are prosaic, and the flickers of light relief are merely confusing."[112] Similarly, David Benedict of Variety wrote that the show "wants to be a tragic romance, but it's simply torpid. Only a radical rewrite will give it even the remotest chance of emulating its predecessor."[113]
Quentin Letts of The Daily Mail gave the show a negative review, stating that it "is as slow to motor as a lawnmower at spring's first cut". He also criticised the show for lacking in storytelling and romance, stating that it "assumes that we understand the attraction these two dullards [Phantom and Raoul] have for the beautiful Christine. Could she do no better? ... In the end you conclude that she simply seeks out suffering to improve her art." Letts praised the performances and the orchestration but concluded that the show was not a hit: "But if it is a miss, it is ... a noble miss, noble because Lloyd Webber’s increasingly operatic music tries to lift us to a higher plane."[114] Susannah Clapp of The Observer was also critical of the book and called the show "drab" and "about as tension-filled as winding wool." Even the musical numbers, she wrote, "never meld with the visual splendours, never give the effect, which is Lloyd Webber's gift, of the music delivering the scenery."[115] Sam Marlowe of Time Out London gave the show one out of five stars, calling it "ghastly" and "an interminable musical monstrosity". He observes: "With its sickening swirls of video imagery, pointless plot, and protracted, repetitive songs, Love Never Dies ... is punishingly wearisome."[116]
Other negative reviews appeared in the Financial Times,[117] Entertainment Weekly,[118] The Arts Desk,[119] and numerous others.[7]
Audience and other assessments[edit]
Dave Itzkoff of The New York Times reported on fan reaction: "How is the new Phantom faring with theatergoers who have seen it in previews? Not so well. ... Elsewhere online, 'Love Never Dies' has even spawned a Facebook protest group called 'Love Should Die', which declares in its mission statement: 'We feel strongly that Andrew Lloyd Webber’s latest musical ... is a completely misguided venture that is a detriment to the story of the original Phantom of the Opera novel and musical of the same name'. … Virtually everything about the show strikes us as illogical, irrational, offensive and – frankly – stupid."[120][121] A barbed reworking of the show's title from Love Never Dies to Paint Never Dries was originated by the London-based theatre bloggers, The West End Whingers.[122][123] It has subsequently been picked up and repeated by a multitude of journalists, both in print and on screen.[111][124][125][126][127]
Columnist Barbara Ellen of The Observer ridiculed the pomposity of some of the unfavourable reviews in her column on Sunday 28 March 2010, in a jokey "Open letter to London's famous Adelphi theatre": "Dear Mr Adelphi, Regarding the performance I viewed last week of Andrew Lloyd Webber's Phantom sequel, Love Never Dies, ridiculed as Paint Never Dries. With regret, I must demand my money back; it simply wasn't bad or boring enough. My companions and I paid our money and went along in good faith, expecting a right old disaster. Imagine our disappointment when it was good. The phantom bore an eerie resemblance to Martin Amis sulking after his tiff with Anna Ford, but, sir, this was not enough. A catastrophe we were promised and a catastrophe we expected to see. One concedes that it is not all the production's fault. Negative reviews, the dark art of anti-hype, are a dangerous business. However, do fine feelings pay my babysitter? I feel that I, and several innocent coach parties, were tricked into going to Paint Never Dries, and, against our will, forced to endure an enjoyable evening. I'm sure I speak for many when I say I left your theatre wholly dissatisfied with how incredibly satisfied I felt".[128]
Australia[edit]
Critics' reaction[edit]
The reworked production received mostly positive reviews during its engagements in Melbourne and Sydney.[129][130][131]
Chris Boyd, of The Australian called the musical, "The best thing Lloyd Webber has written in the quarter century since Phantom of the Opera, Love Never Dies is still a missed opportunity. It toys half-heartedly with domestic melancholia. Christine's wealthy suitor Raoul, 10 years on, is an insecure and possessive husband who uses his wife's talents to pay off his gambling debts. He frets that he cannot deliver to Christine "the rush that music brings", leaving her vulnerable, once more, to her angel of music. Love Never Dies provides several of those rush moments, but doesn't quite connect the starry dots. Musically, there are some riches – a fluttering duet between Meg and Christine for example – but few surprises." As for Gabriela Tylesova's sets such as, "Coney Island carnival, deco interiors, a shabby bar," he found them, "endlessly fascinating; they're spectacular without being ostentatious. The main feature is an upright metal circle, part Luna Park mouth, part Stargate. Her costumes, too, are gorgeous."[132]
Jason Blake of the Sydney Morning Herald said, "Phillips's production steers clear of "chandelier moments", favouring sustained invention, seamless flow and an engulfing sense of nightmare. There's wow factor, of course (a galloping carousel is an early highlight) though quieter scenes are realised with the same attention to detail, particularly the recreation of a Coney Island bar to frame Raoul's saloon song feature (Why Does She Love Me) and his face-off with Mr Y (Devil Take the Hindmost) An inspired, often ravishing production for sure, though of a sequel that doesn't make a strong enough musical or narrative argument for its own existence."[133]
In the Daily Express, Mark Shenton commented, "Now under the new leadership of director Simon Phillips, and with a fresh creative team, there is a new vision to the show in Australia and here, at last, is the masterpiece that was always crying to be let out...The new production has a spectacular Gothic theatricality that heightens, deepens and darkens those emotions."[134]
Kate Herbert of the Herald Sun gave the show four out of five stars and wrote, "With its vivid design, eccentric characters and mystical imagery, this is a ravishing spectacle that captures the dark mystery of a perilous fairground (circa 1907) and should convert even a die-hard Phantom fan." She also said, "Lloyd Webber's score (conducted skilfully by Guy Simpson) intermittently and elegantly reprises the original Phantom, connecting the two stories" but she did feel that, "several songs, with trite lyrics, lack punch. A bigger problem is the unsatisfying story. There are unnecessary Red Herrings and too many villains."[135]
William Yeoman of The West Australian wrote, "With book by Ben Elton and lyrics by Glenn Slater and Charles Hart, Love Never Dies is a curious mixture of gothic romance, vaudeville and verismo, with Lloyd Webber's lush, romantic score spinning like a fairground ride from Puccini to Pulcinella to driving rock to delicate aria as the tragedy unfolds. Under Simon Phillips' unfailingly cogent direction, the cast too manage to transform the most unpromising material, if not into gold then at least into silver."[136]
Cameron Woodhead of The Age gave the show three and a half out of five stars and said, "Between Gabriela Tylesova's set and costumes, Nick Schlieper's lighting, and Graeme Murphy's choreography, you’re in for some spectacular stagecraft. After the Phantom pines for Christine and ascends to the gods (’Til I Hear You Sing), the scene breaks into an elaborate circus (Coney Island Waltz). Introduced by a trio of freaks, the amusement swells into a crowd of acrobats and stilt-walkers, fire-twirlers and magicians, with Luna Park-like plastic heads, a portable big-top, and rows of carnies singing from rollercoaster tracks suspended mid-air. It's breathtaking stuff, and not the best of Love Never Dies' dark illusionism. That honor belongs to a scene, deeper into Coney, where transparent obelisks caging eldritch wonders – including a gilded mermaid – rotate across the stage."[137]
See also[edit]
The Phantom of the Opera (1986 musical)
The Phantom of Manhattan
References[edit]
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104.Jump up ^ "Broadway debut of Love Never Dies is postponed". BBC News. 7 April 2010. "The sequel to Phantom of the Opera has been met with mixed reviews since it opened in the West End in March."
105.Jump up ^ Taylor, Paul. First Night: Love Never Dies, Adelphi Theatre, London The Independent. 10 March 2010.
106.Jump up ^ Brantley, Ben. Same Phantom, Different Spirit New York Times. 9 March 2010.
107.Jump up ^ Spencer, Charles. Love Never Dies at the Adelphi Theatre, review Telegraph. 9 March 2010.
108.Jump up ^ Callan, Paul. Andrew Lloyd Webber's Love Never Dies: Adelphi Theatre, London Daily Express. 10 March 2010.
109.Jump up ^ Billington, Michael. Love Never Dies Adelphi, London The Guardian. 10 March 2010.
110.Jump up ^ Shenton, Mark (15 March 2010). "Paint Never Dries… but does mud always stick?". The Stage blog: Shenton's View.
111.^ Jump up to: a b Nightingale, Benedict. Love Never Dies at the Adelphi, London The Times. 10 March 2010.
112.Jump up ^ Hitchings, Henry. Love never dies...it just fades away Evening Standard. 10 March 2010.
113.Jump up ^ Benedict, David. Love Never Dies Variety. 10 March 2010.
114.Jump up ^ Letts, Quentin (10 March 2010). "Stodgy Phantom sequel not quite a hit...". London: The Daily Mail.
115.Jump up ^ Clapp, Susannah (14 March 2010). "Love Never Dies; London Assurance". The Observer.
116.Jump up ^ Marlowe, Sam (18 March 2010). "Love Never Dies". Time Out London.
117.Jump up ^ Shuttleworth, Ian. Financial Times, 12 March 2010
118.Jump up ^ Shenton, Mark. "Love Never Dies (2010)". EW.com, 11 March 2010
119.Jump up ^ Wolf, Matt. Love Never Dies, Adelphi Theatre .The Arts Desk, 10 March 2010.
120.Jump up ^ Itzkoff, Dave. "Down Once More to the Dungeon: The Phantom Prepares for His Return". NYTimes.com. 9 March 2010.
121.Jump up ^ About Love Should Die LoveShouldDie.com. 9 March 2010.
122.Jump up ^ Review – Love Never Dies, Adelphi Theatre West End Whingers. 2 March 2010.
123.Jump up ^ Guardian theatre critics are UK's best, says the Stage The Guardian. 6 May 2010.
124.Jump up ^ Todd, Ben, and Katie Glass. "Standing ovation shows love for Andrew Lloyd Webber's Phantom will never die... even if critics want to retitle sequel 'Paint Never Dries'". Daily Mail. 10 March 2010.
125.Jump up ^ Shenton, Mark. Love Never Dies (2010). Entertainment Weekly. 11 March 2010.
126.Jump up ^ Riedel, Michael. 'Phantom' menace: Sequel is shaky. New York Post, 12 March 2010.
127.Jump up ^ Brooks, Richard. Bloggers boo and hiss at return of the Phantom in Love Never Dies. The Sunday Times, 7 March 2010.
128.Jump up ^ Ellen, Barbara. "MPs are in no position to sneer at anyone, Diane". The Observer, 28 March 2010.
129.Jump up ^ Love Never Dies Melbourne Reviews
130.Jump up ^ Review Roundup: Australian Production of LOVE NEVER DIES
131.Jump up ^ Review Roundup: LOVE NEVER DIES Makes Its Sydney Premiere
132.Jump up ^ Phantom sequel spectacularly unmasked
133.Jump up ^ Ravishing sequel brings more anguish for the Phantom
134.Jump up ^ LOVE NEVER DIES REVIEW: SYDNEY SHOWS LOVE IS ETERNAL
135.Jump up ^ Review: Love Never Dies by Andrew Lloyd Webber, Regent Theatre, Melbourne
136.Jump up ^ Musical Review: Love Never Dies
137.Jump up ^ Love Never Dies: Review
External links[edit]
Love Never Dies
16-image photo gallery from The Daily Telegraph
15-mage photo gallery from Playbill
Love Never Dies Casting Breakdown


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Phantom (musical)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Not to be confused with The Phantom of the Opera (1986 musical)
Phantom[1]
Phantom musical.jpg
Logo

Music
Maury Yeston
Lyrics
Maury Yeston
Book
Arthur Kopit
Basis
Gaston Leroux's novel
The Phantom of the Opera
Productions
1991 Houston
 1991 Seattle
 1991 San Bernardino
 Independent worldwide productions
Phantom is a musical with music and lyrics by Maury Yeston and a book by Arthur Kopit.[2] Based on Gaston Leroux's 1910 novel The Phantom of the Opera, the musical was first presented in Houston, Texas in 1991.
Although it has never appeared on Broadway and has been overshadowed by the success of the 1986 Andrew Lloyd Webber musical, Yeston and Kopit's Phantom has received over 1,000 productions.


Contents  [hide]
1 Background
2 Productions
3 Plot
4 Principal roles and cast information
5 Musical numbers
6 Reception
7 Notes
8 External links

Background[edit]
Yeston and Kopit had just finished the musical Nine, winner of the Tony Award for Best Musical in 1982, when in 1983 they were approached by actor/director Geoffrey Holder to write a musical based on Leroux's novel. Holder had obtained the rights to musicalize the novel in America from the Leroux estate, making Phantom the only Phantom of the Opera musical to do so.[2] Holder planned to direct. Initially, Yeston was skeptical of the project. "I laughed and laughed.... That's the worst idea in the world! Why would you want to write a musical based on a horror story?.... And then it occurred to me that the story could be somewhat changed.... [The Phantom] would be a Quasimodo character, an Elephant Man. Don't all of us feel, despite outward imperfections, that deep inside we're good? And that is a character you cry for."[3]
In 1984, British producer Ken Hill revived his 1976 musical The Phantom of the Opera in England. This was not a big threat to Holder, Kopit and Yeston, since their musical was intended to play on Broadway. The real threat emerged through an announcement in Variety, where an article was published concerning plans for a musical production of The Phantom of the Opera by Andrew Lloyd Webber. The rights to the novel were in the public domain in Great Britain. Holder only held the rights for two years in the United States and Europe before the property became public domain there as well. Yeston had completed much of the score to Phantom, and Yeston, Kopit and Holder were in the process of raising money for a Broadway production when the Lloyd Webber plans were announced.[4]
After The Phantom of the Opera became a smash hit in London in 1986, Lloyd Webber announced a Broadway production, and Yeston's Broadway investors backed out.[5] Yeston, Kopit and Holder reluctantly shelved their plans for Phantom and went their separate ways for a time. When Kopit saw the Lloyd Webber version of The Phantom of the Opera in New York, he realized that the approach he and Yeston had taken was fundamentally different and that it could still work on the musical stage. A few years later, Kopit wrote the NBC miniseries Hands of a Stranger, which was successful enough that NBC approached Kopit again.[1] Kopit rewrote the script outline of his unproduced musical Phantom into a teleplay for a four-hour two-part miniseries entitled The Phantom of the Opera and sold it to NBC, with Yeston's blessing. It was filmed at the Opera Garnier, and the only music used was opera music. It starred Charles Dance, Teri Polo and Burt Lancaster and premiered on television in 1990. Kopit said, "I told Maury to hold on. Maybe someone would see the miniseries, think it would make a good musical we'd be ready."[2]
The Yeston/Kopit musical was finally produced by Theater Under the Stars in 1991 under the official title Phantom.[1] The piece has since received over 1,000 productions around the world.[2] Yeston refers to Phantom as "the greatest hit never to be produced on Broadway."[5] Yeston and Kopit's Phantom is more operetta-like in style than Lloyd Webber's, seeking to reflect the 1890s period, and seeks to project a French atmosphere to reflect its Parisian setting.[4] Its story hews closer to the to Leroux novel and offers a deeper exploration of the phantom's past and his relationship with Gérard Carrière, the head of the Opera House. The Lloyd Webber character Raoul does not feature at all in the story.[6]
Productions[edit]
Original production
In January 1991, Houston Texas’s Theater Under the Stars presented the world premiere of the Yeston/Kopit musical,[2] renamed simply Phantom to separate it further from Lloyd Weber's and other productions of Phantom of the Opera.[1] Richard White starred in the title role.[7] Members of the Houston cast recorded a cast album released by RCA records.[5]
Early regional U.S. productions
That summer of 1991, Yeston and Kopit made a few cuts and changes to the musical.[1] In the fall, the revised version was presented in Seattle and at the California Theatre of Performing Arts in San Bernardino in California and was received warmly. In Chicago, Bill Pullinsi, Artistic Director of the Candlelight Playhouse staged the production, receiving rave reviews in publications including Variety and the Wall Street Journal.[2] This led to other editions in other cities, including 1992 productions at Casa Mañana in Ft. Worth, Texas, Seaside Music Theater in Daytona Beach, and at the Westchester Broadway Theatre in Elmsford, New York, starring Robert Cuccioli in the title role;[8] and 1993 productions at Music Theater of Wichita (Kansas), Musical Theatre Southwest in Albuquerque, New Mexico [9] and the Gateway Playhouse in Bellport, New York.[10]
International productions
The Australian premiere was held in 1996 at Altona City Theatre.[11] The musical was also performed in Estonia.[12]
A Japanese language translation was produced by the Cosmos Troupe of Takarazuka Revue in 2004 (featuring Yoka Wao and Mari Hanafusa) and in 2006 and 2011 by Flower Troupe (featuring Sumire Haruno and Ayane Sakurano in her Grand Theater debut in 2006).[citation needed] A German-language version ran for three years in Germany.[5] An Estonian-language version of Phantom was performed from November 15 to December 1, 2007 at the Linnahall in Tallinn.[13]
2007–2008 Westchester revivals
In October and November 2007, the show played at the Westchester Broadway Theater, in Elmsford, New York,[14] and continued from December 2007 to February 2008, featuring Robert Cuccioli reprising the title role.[15]
2013 London premiere
The UK premiere of Phantom was performed at Ye Olde Rose and Crown Theatre Pub, Walthamstow, from 14 – 31 May 2013. It was directed by Dawn Kalani Cowle with movement direction by Brendan Matthew and musical direction and orchestrations by Aaron Clingham. The show was produced by the theatre's resident company, All Star Productions. Kieran Brown played the title character, and Christine was Kira Morsley.[12][16][17]
Plot[edit]
The story begins at the time of the first meeting of Erik (the Phantom) and a street singer named Christine. Erik was born and raised in the catacombs under the Paris Opera House and needs beautiful music – he cannot exist without it. Complications arise when Gérard Carrière, the company manager, loses his position as head of the Opera house and therefore cannot protect Erik any longer. Furthermore, Carlotta, the new diva and wife of the new owner of the Opera, has such a terrible voice that the Phantom is in torment. His salvation must eventually come through Christine, whose voice is so beautiful that he falls in love with her. He accepts Christine as his pupil, training her for the opera, but forbids her to see his face. Erik's rival for Christine's affection is Count Philippe de Chandon, whose influence helps Christine get a minor job with the Paris Opera, but it is Erik's training that helps her earn a place as a member of the company. When Carlotta's jealous machinations ruin Christine's debut, Erik spirits Christine to his underground lair and later takes a terrible revenge by electrocuting Carlotta.
Carrière finds Christine and reveals an amazing secret: he is actually Erik's father. Emboldened by this revelation, Christine begs Erik to let her see his face, since his mother was able to look at him and smile. Reluctantly, he removes his mask (although the audience never sees his face), but Christine doesn't have the same fortitude and recoils in horror, causing Erik to go on a destructive rampage. Carrière helps the guilt-stricken Christine to escape, and later he returns to tell Erik the truth about their relationship. However, Erik has known all along that Carrière is his father and has only waited for Carrière to corroborate the fact. Erik fears that he will be captured and treated like a circus freak because of his horrendous face, but Carrière promises Erik that he will never be put on display. The police surround him, and Erik makes a failed attempt to swing to safety on a rope. With Erik dangling helplessly, the chief of police tells his men not to shoot because they "can take him alive!" Erik shouts out to his father for help. Carrière understands; he grabs a policeman's gun and aims at his son. Reluctantly, he fires, and the Phantom falls. Fatally wounded, Erik allows Christine to remove his mask. She now smiles and tells him "You are music, beautiful music, and you are light to me ... you are life to me," and replaces the mask as he dies.
Principal roles and cast information[edit]
The Theatre Under the Stars cast is listed first:
The Phantom: Richard White
Christine Daaé: Glory Crampton
Count Philippe de Chandon: Paul Schoeffler
Gérard Carrière: Jack Dabdoub
Alain Cholet (the new head of the Opera): Lyle Garrett
Carlotta (his diva wife): Patty Allison (replaced by Meg Bussert on the recording)
Joseph Buquet: Allen Kendall
Inspector Ledoux: James Van Treuren
Other notable cast members in later productions:
The Phantom: Robert Cuccioli
Christine Daaé: Kristin Chenoweth
Musical numbers[edit]
Act IOverture
Melodie de Paris – Christine, Street Vendors and Prisienne
Paris Is a Tomb – Erik and Acolytes
Dressing for the Night – Open Company and First Nighters
Where in the World – Erik
This Place Is Mine – Carlotta
Home – Christine and Erik
The Music Lessons/Phantom Fugue – Erik, Christine, Carlotta, Cholet, Ledoux, Policemen and Opera Company
You Are Music – Erik and Christine
The Bistro: "Sing, Can You Sing!" – Waiters and Bistro Partygoers
Melodie de Paris (Reprise) - Christine, Waiters, and Bistro Partygoers
Who Could Ever Have Dreamed Up You? – Philippe and Christine
This Place Is Mine (Reprise) – Carlotta
Titania – Oberon, Christine, and Opera Company
Where in the World (Reprise) – Erik
 Act IIEntr'acte
Without Your Music – Erik
Where In The World (Reprise) – Erik
The Story of Erik – Carriere, Belladova, Young Carriere, Young Erik, and Company
My True Love – Christine
My Mother Bore Me – Erik
You Are My Own – Erik and Carriere
Finale: You Are Music (Reprise) – Christine

Reception[edit]
[icon] This section requires expansion. (June 2010)
The Los Angeles Times review opined, "There is a lot more understanding of Erik than of Lloyd Webber's more furtive phantom, but also less mystique. Kopit puts in details Leroux never imagined. The humanity makes for a different kind of show that hasn't found a stylistic identity. The operetta thrust makes it an old-fashioned crowd-pleaser, but traps Yeston's music between the old and the new."[18] Peter Scott-Pressland found the London production "hum-drum", but wrote: "[A]s a piece of writing, Yeston's Phantom is altogether more engaging than ALW's. It is tighter, more intimate and informed by more human sympathy. ... While it doesn’t produce the kind of melodic sweep and glamour of ALW, it rises ... in the second act to genuine emotional fervour. ... Erik is altogether more engaging and believable than the Lloyd-Webber skulker." He stated that this makes the Beauty and the Beast theme "credible and agonizing", and that the father-son theme is even more "moving in the agony of both loving and loathing the thing you have spawned."[16]
Notes[edit]
1.^ Jump up to: a b c d e Trussell, Robert (February 14, 1993). "'Phantom' musical has spirited history". Tuscaloosa News.
2.^ Jump up to: a b c d e f Roberts, Michael J. (October 20, 2007). "Stage Door Chicago: Phantom". Broadway World.
3.Jump up ^ Vitaris, Paul. "The Unsinkable Maury Yeston." Show Music The Musical Theatre Magazine Spring, 1997: 17-23
4.^ Jump up to: a b Kalfatovic, Mary. "Maury Yeston", Contemporary Musicians (ed. Luann Brennan). Vol. 22, Gale Group, Inc., 1998
5.^ Jump up to: a b c d Pogrebin, Robin (May 19, 2003). "A Song in His Psyche, As Hummable as Fame". The New York Times. Retrieved 2010-05-23.
6.Jump up ^ Robinson, Julie. "What will the ‘Phans’ make of the UK premiere of Maury Yeston's Phantom?", LondonTheatre1.com, May 14, 2013
7.Jump up ^ Ehren, Christine (May 20, 2000). "Yeston's Phantom w/ Original Star, White, Haunts San Jose, May 20". Playbill.
8.Jump up ^ Information from Broadway World.com
9.Jump up ^ Musical Theatre Southwest history, accessed 23 June 2009[dead link]
10.Jump up ^ A 'Phantom' That Is True to a Tradition, accessed 3 August 2012
11.Jump up ^ "Phantom: The Australian Premiere". Altona City Theatre website, July 1996, accessed April 2, 2010
12.^ Jump up to: a b "Brown & Morsley Lead Cast in London Premiere of Yeston & Kopit's Phantom", BroadwayWorld.com, May 1, 2013
13.Jump up ^ Estonian production of Fantoom
14.Jump up ^ Article on the 2007 Westchester revival
15.Jump up ^ Article on 2007-2008 Westchester run
16.^ Jump up to: a b Scott-Presland, Peter. "Trapped by a legend", BroadwayBaby.com, May 2013
17.Jump up ^ Gardiner, Emily. "Phantom – Ye Olde Rose and Crown Theatre, London", The Public Reviews, May 15, 2013
18.Jump up ^ Drake, Sylvie. "Another Phantom in the Southland". The Los Angeles Times, November 04, 1991, accessed April 24, 2010
External links[edit]
Script


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Phantom of the Opera (1976 musical)
From Wikipedia, the free encyclopedia
Jump to: navigation, search



 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2010)

Phantom of the Opera
POTO Hill.png
Logo

Music
Adapted by:
Ken Hill
Lyrics
Ken Hill
Book
Ken Hill
Basis
The Phantom of the Opera 1911 novel by Gaston Leroux
Productions
1976 Lancaster
 1984 Newcastle
 1987 St. Louis
 1988 San Francisco
 1989 U.S. Tour
 1991 West End
 1992 Japanese tour
 1992 New Zealand & Australia
 1995
 Japan
 1996
 Japan
 1998
 Japan
 2004
Phantom of the Opera is a 1976 musical with book and lyrics by Ken Hill. It is the first musical adaptation of the novel The Phantom of the Opera by Gaston Leroux,[1][2] about the hideously disfigured Phantom's amorous obsession with the magnificent, naive singer, Christine. Hill wrote the original English lyrics to the music of Verdi, Gounod, Offenbach, Mozart, Weber, Donizetti,[1] and Boito.[3]


Contents  [hide]
1 History
2 Synopsis 2.1 Act one
2.2 Act two
3 Musical numbers
4 Further productions
5 Recording
6 References
7 Related links

History[edit]
Hill’s Phantom of the Opera was the first musical version of the story by Gaston Leroux[1][2] and has enjoyed financial success.[4][5][6] Hill's musical inspired the award-winning Andrew Lloyd Webber musical version of the story,[7] although he never received any formal royalty for it.[citation needed]
As Ken Hill rummaged through a used bookstore, he picked up a copy of Gaston Leroux's The Phantom of the Opera novel and eventually produced it as a stage musical. The show started off as a production at Morecambe Pier as the first staged musical version,[8] but was also first staged when Hill was working as Director of Productions for the Newcastle Playhouse.[citation needed] This first production was produced at The Duke’s Playhouse in Lancaster on July 26, 1976, where it proved to be a hit. It was directed by John Blackmore, designed by Clare Lyth, with musical direction by Gary Yershon.[citation needed] It differed from the later version of Ken Hill’s musical, in having a modern musical score by Ian Armit[9] (who also worked with Hill on his production of The Curse of the Werewolf) in addition to excerpts from the opera Faust by Charles Gounod.[10]
In 1984, Hill revived his musical version of The Phantom of the Opera. This time though, he wanted to add the kind of music that would have been heard at the Opéra Garnier in the late 19th century. Consequently he discarded the modern score by Ian Armit and wrote original English lyrics that told Gaston Leroux’s tale. By placing them to opera arias by Gounod, Offenbach, Verdi, Weber, Mozart, Donizetti,[1][11] and Boito,[3] he created a musical that reflected the era in which the original novel was written. This updated version of The Phantom of the Opera was produced in a joint production by the Newcastle Playhouse and the Theatre Royal Stratford East, and premiered at the Newcastle Playhouse on April 3, 1984, before shortly moving to the Theatre Royal Stratford East.[citation needed] In between, the show had two very brief runs at the New Tyne Theatre in Newcastle and the Grand Theatre in Wolverhampton - neither of those productions did very well.[citation needed] When the show got the Theatre Royal Stratford East, Sarah Brightman, who created the role of Christine in the Lloyd Webber version, was famously asked to perform the role of Christine in the 1984 cast but she turned it down, leaving the role for the opera singer Christina Collier.
Andrew Lloyd Webber, who at the time was married to Brightman, and Cameron Mackintosh attended a performance of Ken Hill’s Phantom of the Opera at the Theatre Royal Stratford East.[7][8] Prompted by the good reviews, they approached Hill about the possibility of their collaborating on developing a grand scale version of his Phantom in the West End, and offered to produce it. In fact, Hill and Lloyd Webber had worked together earlier on a revival of Joseph and the Amazing Technicolor Dreamcoat at the Winchester Theatre. Lloyd Webber and his producer, Cameron Mackintosh, had been highly enthusiastic when they broached Hill about his Phantom of the Opera. But in the end, Lloyd Webber chose to pursue the musical without Hill.
Phantom of the Opera then emerged on the other side of the Atlantic in 1987 for its American premiere in St. Louis at the Repertory Theatre of St. Louis. This production starred Sal Mistretta as The Phantom - his performance won him the St. Louis Theatre Critics Award. A second US production was mounted in 1988 in San Francisco at the Theatre in the Square, produced by Jonathan Reinis.[12]
The productions of Phantom of the Opera in St. Louis and San Francisco were so successful that Hill was asked to mount a national tour of the United States. Jonathan Reinis (who later produced Ken Hill’s The Invisible Man in London) formed Phantom Touring Company Inc. who acted as the producers for the tour, along with Electric Factory Concerts. The tour began in 1989, with musical arrangements and designs by the original Newcastle Playhouse team. It performed for a few years to packed houses all over America, travelling to approximately 110 cities, and grossing a total of $72 million.[citation needed]
In 1991, Phantom of the Opera returned to the United Kingdom where it embarked on a national tour produced by Stewart Macpherson and then transferred to London’s West End. It opened at The Shaftsbury Theatre on December 18, 1991, with a similar cast to the 1984 production - Peter Straker was The Phantom and Christina Collier as Christine. But despite positive reviews, the West End production did poorly at the box office at the time of IRA bombings, and closed earlier than expected, on April 11, 1992.[citation needed] However, the production was nominated for two Olivier Awards for Best New Musical and Best Director of a Musical, the latter of which placed Ken Hill against Simon Callow and Judi Dench. It left the West End to commence the first of several Japanese, Asian and Australasian tours all produced by Stewart Macpherson.
Synopsis[edit]
Act one[edit]
The story of The Phantom of the Opera begins ("Introduction") with the new manager, Richard, previously president of Northern Railways (and a proud member of the Stock Exchange Choir), arriving at the Paris Opera House. He is greeted by the artists and staff ("Welcome Sir, I'm So Delighted"). The previous managers of the Paris Opera did not last very long, due to problems with the legend of the Opera Ghost, who demands 20,000 francs a month and his own private box. These requests are defied by the adamant and foolish Richard, little knowing the mayhem that will take place if he refuses to accept the Ghost's demands. Madam Giry, the box keeper, warns Richard that he may have upset the "Ghost". She is horrified when Richard demands use of Box Five (the Ghost's box). She knows the “Ghost” won't stand idly by while Richard refuses to accept his demands. She warns Richard to expect a run of horrific events, which they are...though they're as funny as they are fearsome.
The evening performance begins ("Accursed All Base Pursuit of Earthly Pleasure"). The ghost provides his first warning in the form of the murder of Mephistopheles - "You don't exist…" After the performance, Richard's handsome (if somewhat dim) son - Raoul, madly in love with the chorus girl Christine Daae - goes to her dressing room, only to hear her speak with another man. Jealous, Raoul enters the room to find it empty. This "ghost" seems very real, as is his love for Christine and woe betide anyone who gets in his way. ("How Dare She")
A Groom comes to talk to Richard in his office about the disappearance of a horse named Caesar ("Late Last Night I'm In The Cellars"). Richard decides that the man is an idiot and promptly fires him. We catch up with Raoul, the young and betrayed lover, and Christine at a local graveyard ("All Of My Dreams Faded Suddenly"). He is then introduced to the angelic voice of the Angel Of Music ("While Floating High Above"). Christine leaves and The Phantom attempts to throttle Raoul, but is disturbed by a Grave Digger, and runs off. Back at the Opera House, the unfortunate Richard has had to stand by while his son pursues the chorus girl Christine Daae, and now must convince his diva - Carlotta, who feels she is too ill to perform - to sing at the performance later that evening, with the help of his staff ("She Says She's Got The Nodules"). An agreement is made that Christine Daae will sing the role, while Carlotta mimes the act.
This wasn't what The Phantom had in mind. He'll not cease causing "accidents" and will do all in his power to disrupt the proceedings, including rubbing out the lead singer. At the evening performance, Carlotta mimes the act incorrectly and very clearly out-of-sync with Christine ("What Do I See"). Christine faints before the end of the performance and Carlotta starts to croak like a frog, causing her to call the performance to halt. Laughing madly, the Phantom declares to the whole stage that Carlotta is bringing down the chandelier. But then, he finds the chandelier is the wrong one and switches it to a candelabra, dropping it on Carlotta.
After the performance, Christine and Raoul meet on the rooftop of the Opera House to discuss running away from the Opera House and The Phantom together. But The Phantom isn't very far away at all. He appears from behind the statue of Apollo and towers above them ("To Pain My Heart Selfishly Dooms Me"). Christine and Raoul leave the roof, leaving The Phantom alone. An Old Man enters, throwing bird-seed down for the pigeons on the Opera House's roof. The Phantom's hurt turns to anger, and he throws the unfortunate man off the building. The Phantom screams that Christine will be his and the first act ends.
Act two[edit]
A performance of Faust begins with Christine singing the lead role of Marguerite ("Ah! Do I Hear My Lover's Voice?"). However, during the song there's an unscheduled blackout and when the lights come back up, Christine has disappeared. The show quickly adjourns and the rest of the cast search high and low for her all over the Opera House, taking their lanterns into the audience ("No Sign! I See No Sign!"). But to no avail. The scene switches to The Phantom's underground domain where he has kidnapped Christine in his boat and ties her to a post at his mist-shrouded dock before rowing slowly back into the darkness, leaving Christine behind ("Somewhere Above The Sun Shines Bright").
Meanwhile, the search party above ground migrates to the boiler room and The Persian reveals his true identity, and fills us in on the Phantom's history ("Born With A Monstrous Countenance"). Raoul searches for a way down to the cellars below the Opera House ("In The Shadows, Dim And Dreay"). He succeeds and slips through a manhole with the rest of the group, into a boiler room. However things quickly heat up, literally, as The Phantom traps them inside. It looks like the end for the motley group, and they break into a chorus of ("What An Awful Way To Perish").
The final scene takes place in the Phantom's Chapel, with his organ and its unkempt riot of sheet music as a center-piece. He seems determined to wed Christine and expresses his love for her ("Ne'er Forsake Me, Here Remain"). As the song ends, Christine tears off his mask and The Phantom screams in anger and shame, hiding his face from Christine. His sobs fade and he turns back, with a determined and violent look in his eyes, and produces a Priest and Chorus Girl to bear witness to the forced marriage between him and Christine. But just in time, Raoul, The Persian and the rest of the group burst in, having escaped the Boiler Room and come through The Phantom's traps. The Phantom, suddenly finding himself in a tight spot, produces a knife and pulls Christine in front of him - a union sealed in death seems his only option...
Musical numbers[edit]
Act IWelcome Sir I'm So Delighted - Debienne, Remy, Faust, Mephistopheles, Richard, Raoul, Jammes
Accursed All Base Pursuit Of Earthly Pleasure - Faust
How Dare She - Raoul
Late Last Night I'm In The Cellars - The Groom
All Of My Dreams Faded Suddenly - Christine
While Floating High Above (Music: Bizet, The Pearl Fishers) - The Phantom
She Says She's Got The Nodules - Faust, Carlotta, Richard, Remy, Jammes, Debienne, Christine
What Do I See - Christine (as Carlotta)
To Pain My Heart Selfishly Dooms Me (Music: Offenbach, Les contes d'Hoffmann) - The Phantom, Raoul, Christine
 Act IIThe Entr'Acte
Ah! Do I Hear My Lover's Voice? - Faust, Christine
No Sign! I See No Sign! - Debienne, Richard, Raoul, Remy, Dominique, Faust, Jammes, Madam Giry
Somewhere Above The Sun Shines Bright - Christine
Born With A Monstrous Countenance - The Persian
In The Shadows, Dim And Dreary - Raoul, The Persian
'What An Awful Way To Perish - Faust, The Persian, Madam Giry, Richard, Jammes, Raoul
The Final Drama Ne'er Forsake Me, Here Remain - The Phantom
Ne'er Forsake Me, Here Remain (Reprise) - The Phantom, Christine
He Will Not Go Without A Friend - Company

Further productions[edit]
A new song was added to the show in 1992, especially for the first Japanese Tour, based upon an aria by Antonín Dvořák. The title of it was "All Of My Dreams Faded Suddenly" and is sung by the character Christine. It replaced "Love Has Flown, Never Returning," but not before the latter had been recorded onto the West End cast recording of Phantom of the Opera. It still remains there, and the newer song was never recorded and released officially.[citation needed]
Since 1992, Phantom of the Opera has toured the world, in countries such as New Zealand, Australia, Italy, Germany, Japan, Korea and the United Kingdom. The most recent UK tour took place in 2000/2001 and was produced by Chris Moreno at the Theatre Royal, Lincoln. It has been said that modern productions of Phantom of the Opera tend to place emphasis on the camp side of the show, sometimes poking fun at the Lloyd Webber version.[citation needed]
The most recent production of Phantom took place in 2004 in Tokyo, Japan running from November 10, 2004 to November 28, 2004. It was produced by Stewart Macpherson who originally produced the West End production in 1991.[citation needed]
Recording[edit]
The official cast recording of the show was released in 1993 by D Sharp Records. It featured the entire West End (Shaftesbury Theatre) cast, and includes all the songs in the show. It was also later released by two other record labels; Stetson Records (an off-shoot of The Stetson Group), and BMG. The latter versions of the CD were mainly sold in Japan (in Japanese packaging), Australia and New Zealand, on national tours.
References[edit]
1.^ Jump up to: a b c d Goddard, Dan R. Phantomania strikes San Antonio when the original, 1976 version bySan Antonio Express-News. mySA.com (San Antonio Archives). 2 November 1990.
2.^ Jump up to: a b "Andrew Lloyd Webber’s masterpiece, the second longest running musical in London". Telegraph Box Office.
3.^ Jump up to: a b "A NORTHWEST 'AS YOU LIKE IT' COMING". Richmond Times. 3 January 1993.
4.Jump up ^ Crew, Robert.A Phantom for the fun of itToronto Star. 18 February 1990.
5.Jump up ^ Harrison, Thomas B. PHANTOM MANIA Anchorage Daily News. 27 January 1991.
6.Jump up ^ Kershner, Jim (18 January 1991). "There's more than one 'Phantom'". Spokane Chronicle.
7.^ Jump up to: a b Drake, Sylvie (28 May 1989). "'Phantom' composer rules over musical theater". Anchorage Daily News.
8.^ Jump up to: a b Mosley, Andrew. Four decades of change in theatre This Is Lancashire. 28 October 2007.
9.Jump up ^ Richard Corliss and William Tynan.Phantom Mania Time. 1 March 1993.
10.Jump up ^ Herman, Kenneth. CLASSICAL MUSIC / KENNETH HERMAN Batiquitos Festival Wasn't Music to Performers' Ears Los Angeles Times. 19 July 1988.
11.Jump up ^ "The differences". The Pantagraph. 2 November 1990.
12.Jump up ^ Smith, Sid (10 December 1989). "'Phantom' phuror There actually are two versions coming to town". Chicago Tribune.
Related links[edit]
Ken Hill's Phantom of the Opera fan website


[hide]
v ·
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 e
 
The Phantom of the Opera


Books
The Phantom of the Opera (1909–1910) ·
 Phantom (1990) ·
 The Canary Trainer (1993) ·
 The Phantom of Manhattan (1999)
 

Stage adaptations
Phantom of the Opera (1976) ·
 The Phantom of the Opera (1986) ·
 Phantom (1991) ·
 Love Never Dies (2010)
 

Film and television
The Phantom of the Opera (1925) ·
 Song at Midnight (1937) ·
 Phantom of the Opera (1943) ·
 The Phantom of the Opera (1962) ·
 The Phantom of Hollywood (1974) ·
 Phantom of the Paradise (1974) ·
 Opera (1987) ·
 The Phantom of the Opera (1989) ·
 Phantom of the Mall: Eric's Revenge (1989) ·
 The Phantom of the Opera (1990) ·
 The Phantom Lover (1995) ·
 The Phantom of the Opera (1998) ·
 The Phantom of the Opera (2004) ·
 The Phantom of the Opera at the Royal Albert Hall (2011)
 

Characters
Erik ·
 Christine Daaé ·
 Viscount Raoul de Chagny ·
 The Persian ·
 Carlotta ·
 Madame Giry ·
 Meg Giry ·
 Joseph Buquet
 

Songs



Phantom (1986) Act 1

"A Rehearsal for Hannibal" ·
 "Think of Me" ·
 "Angel of Music" ·
 "Little Lotte" ·
 "The Phantom of the Opera" ·
 "The Music of the Night" ·
 "I Remember" ·
 "Stranger Than You Dreamt It" ·
 "Magical Lasso" ·
 "Notes " ·
 "Prima Donna" ·
 "Poor Fool, He Makes Me Laugh" ·
 "Why Have You Brought Us Here?" ·
 "Raoul, I've Been There" ·
 "All I Ask of You"
 


Phantom (1986) Act 2

"Masquerade" ·
 "Why So Silent?" ·
 "We Have All Been Blind" ·
 "Twisted Every Way" ·
 "A Rehearsal for Don Juan Triumphant ·
 "Wishing You Were Somehow Here Again" ·
 "Wandering Child" ·
 "Bravo, Monsieur!" ·
 "Music from Don Juan Triumphant" ·
 "The Point of No Return" ·
 "Down Once More" ·
 "Track Down This Murderer"
 


Other

"Learn to Be Lonely" ·
 "'Til I Hear You Sing"
 


Other
Gaston Leroux ·
 Andrew Lloyd Webber ·
 Ken Hill ·
 Maury Yeston ·
 Don Juan Triumphant ·
 Punjab lasso ·
 Adaptations ·
 Return of the Phantom ·
 Palais Garnier ·
 Lon Chaney (Sr.) ·
 "A Slight at the Opera"
 

 


Categories: 1976 musicals
West End musicals
Musicals based on novels
The Phantom of the Opera








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The Phantom of Manhattan
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 This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (August 2009)


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 See this article's talk page before making any large and/or controversial edits. (April 2009)
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The Phantom of Manhattan
ThePhantomOfManhattan.jpg
First edition (UK)

Author
Frederick Forsyth
Country
United Kingdom
Language
English
Genre
Thriller, Mystery, Romance
Publisher
Bantam Books (UK)
St. Martin's Press (US)

Publication date
 November 1999
Media type
Print (Hardcover, Paperback & Mass Market Paperback)
Pages
204
ISBN
0-593-04510-6
The Phantom of Manhattan, a 1999 novel by Frederick Forsyth, is a sequel to the Andrew Lloyd Webber musical The Phantom of the Opera, itself based on the original book by Gaston Leroux.
Forsyth's literary concept is that Leroux had recorded factual events but, in review, had apparently not checked his facts or viewed his sources with a critical eye.[citation needed] Accordingly the novel can be read as both a tribute to the Lloyd Webber musical and a satire of period novels in the vein of George MacDonald Fraser's Flashman series (both a satire and exploration of Victorian history and stories).[citation needed]
The beginning of The Phantom of Manhattan is narrated by an ailing Madame Giry, and set in the early 1900s. Famous individuals of the time, such as Theodore Roosevelt, make appearances. According to the story, Christine has married Raoul, and the couple have a son named Pierre.
Andrew Lloyd Webber's stage sequel to The Phantom of the Opera, Love Never Dies, opened in March 2010, and is based partly on The Phantom of Manhattan. However, it enjoyed a short-lived run and is now closed in London. It was reworked and has had a successful run in Melbourne and Sydney.[1]


Contents  [hide]
1 Plot summary
2 Characters
3 See also
4 References
5 See also

Plot summary[edit]
The Phantom of Manhattan tells its story from the viewpoint of several characters.
On her deathbed, Madame Giry confesses to a priest of when she took her daughter Meg, then six years old, to a fair. Madame Giry felt so sorry for a young boy with a disfigured face who had been ill-treated that she crept back to the fair at night and stole him. She took the boy to her apartment where she aided and cared for him until she had grown to love him like a son. The boy, Erik, recounted that he had been sold to the circus by his abusive alcoholic father shortly after his mother had run away with her lover. For reasons of security, Madame Giry took him to the Opera house where she worked; he hid out in the catacombs, stealing books and other appliances to educate himself. Over time, as a result of missing objects, the legend of the phantom was born. Erik had fallen in love with Christine Daaé, a young chorus girl who did not return his feelings. Driven by rage, Erik abducted Christine and accidentally killed the tenor Piangi when he was trying to silence him. A mob found their way to his home but all they found was Christine and the Vicomte De Chagny, Erik having already fled to Mme. Giry's apartment on a ship bound for New York. Mme. Giry, who had paid for Erik's passage, then addresses her lawyer Armand Dufour, telling him to go to New York and find Erik; Mme. Giry gave Armand a letter she had written to give to Erik; she said it contained important and vital information for him.
Erik then narrates, recounting events after he reached New York. For a short while Erik lived in among the slums of New York in a shack. He met a man named Darius, whom he used to do his bidding. Together, they made their fortune by scamming and conning people for two years. Hearing of a man named Paul Boyton who was looking to open up a theme park in New York, Erik together with Darius arranged to help Boyton build the rides and attractions that were to be included in the park. Other businessmen heard of Boyton's success, and commissioned Erik and Darius to design similar rides for them. Business was good, and through astute investments in the stock market, Erik and Darius prospered. They owned a building called E.M Tower. However, Erik's latent love for opera was never quenched, and after being rejected a private box by the Metropolitan Opera, he and a budding opera house designer Oscar Hammerstein chose collaborate on a grandiose project – an all-new opera house to rival the Metropolitan Opera.
Armand Dufour, who had been looking frantically for Erik in New York with little success, was on the point of returning to France when he met a columnist named Cholly Bloom in a coffee shop. Through a translator, Cholly learns of Armand's mission to find the mysterious Erik and quickly realises that this is an opportunity to get a good story, so he accompanies Armand to E.M Towers, where he demands to see Mr Erik Mulheim. However, he is fielded by Darius, who denies him audience, but firmly insisted that he would personally hand the letter to Mr Erik himself. While waiting, Cholly notices that subject of the painting on the wall had been replaced by a rather frightening figure in a mask; when Darius returns, the painting seemingly has gone back to normal. Cholly, confused and suspicious, leaves the tower, convinced that he has just had an encounter with the mysterious Phantom of Manhattan.
Darius goes to the House of Hishash in a trance-like state to see his Master, Mammon. He tells Mammon of his concern for his friend Erik since he has received a letter from Paris. Erik, he said, had become increasingly obsessed with opera; Darius is concerned at the risks of investing in the grandiose opera project. In fact, since reading the contents in the letter, Erik sent his man to Paris with a great sum of money to pay for two of the world's leading opera singers – Dame Nellie Melba and Vicomtesse Christine De Chagny – to come to New York for the new opera house's opening. He also has begun to furiously work on writing his own opera. Mammon calms Darius' fears calming that he should not worry but, rather threateningly, concludes the chapter by telling Darius that whatever obstacles that stand in the way of his claiming his inheritance from Erik must be eliminated.
We then are introduced to Gaylord Spriggs gossip column, which noted that the whole operatic world was in a frenzy over the arrival of Nellie Melba and Christine De Chagny. The column reveals the vast amounts of money that were spent to induce Dame Melba to cross the Atlantic to come to New York. It also gushes about how Christine De Chagny's claim that she was coming to New York not for the money but out of her sheer admiration of the quality and desire to be a part of the newest opera `The Angel of Shiloh`, whose composer is yet unknown.
Meanwhile, accompanying his mother on the boat to New York with a tutor, Fr. Joseph Kilfoyle ('Father Joe'), 12-year-old Pierre De Chagny enquires and is told about Father Joe's experiences and the circumstances which drove him from his native Ireland. As Vicomtesse De Chagny and her son arrive, they are greeted by journalists and fans alike at the quayside. As they make their way through the crowd, onlooker Bernard Smith remarks on New York's great admiration for the young singer and about the welcoming ceremony in which both Christine and the Mayor gave speeches. However, in the midst of the excitement, Smith notices a man whose face is covered by a white mask staring directly at Christine De Chagny from the roof of the warehouse opposite the docks; no one else has noticed him. The figure disappears when he notices Bernard looking at him. He then notices that a man has thrown his cloak on the ground, for Christine and her entourage to walk on, to avoid getting their feet dirty as they enter their carriage. This man turns out to be one of Bernard's own employees – a young news reporter.
Cholly's act of kindness earns him an exclusive interview with the world renowned opera singer in her suite. When he arrives, he is greeted by Christine De Chagny's young son Pierre, who is busy examining the contents of a present that has just arrived for him – a certain monkey music box. As the music box begins to play "Masquerade", Christine De Chagny screams and says: "He must be here!" Cholly explains to Christine that the music box comes from Steeplechase amusement park. Christine, clearly agitated, demands to know where the park is, and then asks Cholly to accompany herself and Pierre to the park. Cholly, overjoyed with the chance of getting an exclusive from the opera singer, happily accepts.
Meanwhile, Erik is still in shock at seeing Christine again. He realises that his love for her will be forever unrequited, but the letter he received gave him reason to hope: Mme. Giry, his former protector, wrote that Christine has a son and that Erik is his biological father; the young Vicomte De Chagny, Christine's future husband, was unable to have children as a result of an unfortunate set of events. Erik becomes determined to meet Christine the following day, knowing that the music box he sent will have already alerted her to the fact that he is residing in New York.
Later that evening, Christine De Chagny's maid, Meg Giry, recalls how agitated her mistress was after hearing the sound of the music box. She later recalls how many years ago she had seen first hand Christine's encounter with the mysterious Phantom. She attempts to comfort Christine.
The following day, Taffy Jones, master at Steeple Chase funfair, was catering to Christine De Chagny when the controls the hall of mirrors all began to malfunction almost as if they had been reprogrammed. The mirrors swung in a different direction to reveal a person whom Jones could not see, but whom Christine clearly recognised. Jones overhears the pair's conversation in which the stranger says he still loved Christine, and tries to convince her to go with him; she refuses. After a brief pause, he asks Christine to leave him his son. Christine, shocked by his knowledge of Pierre, promised to tell Pierre the truth of his parentage in five years time, and to give her consent for Pierre to go with him should Pierre desire. The stranger does not like this arrangement and vows silently, but within earshot of Taffy, to have the boy one way or another. At the same time Taffy notices another pale faced figure, who apparently has heard the whole conversation, run out of the hall of mirrors.
Pierre's tutor, Joseph Kilfoyle, is then shown having an encounter with God in the cathedral. God tells Joseph of Erik's past and that he is not a bad person but a tormented soul who can still be saved. As for his accomplice, Darius, it is too late for him and he has sold his soul to a man made God (Mammon).
The new opera opens, and Christine is critically acclaimed by Gaylord's Sprigg. During the last act of the show, the character of the lead tenor is replaced by an unknown, severely disfigured, singer – one whose voice matches the lead tenor in strength and clarity. After the show, the mysterious understudy is still nowhere to be found. Then, Cholly sees him whisper something to Pierre (who also is revealed to be an amazing singer, he is featured in the opera as well) and then pass a note to Christine.
The final section of the book is narrated some years later by Cholly, a lecturer at university. He tells his class of the importance of being a reporter and reveals the one event he never printed that occurred on the last day of Christine De Chagny's visit. The Vicomte De Chagny had arrived some time after his wife, and he and Cholly had become friends. While awaiting Christine at breakfast, Cholly lets it slip that she is meeting someone called Erik in the park. Shocked by this news, the Vicompte rushes out; Cholly follows. He notices something else – a slip of paper he discovered on which Darius had written, indicating that Darius intends to kill Pierre, believing him to be the one obstacle between him and his inheritance. Fearing for Pierre's life, Cholly rushes to the park also to warn Christine. When he arrives he hides behind the bushes in time to see the mysterious Phantom and Christine meet, while Darius prepares his gun. As the Vicomte and father Joe arrive, Pierre rushes out of the carriage and embraces his mother. At that moment, Darius shoots, the bullet hits Christine and fatally injures her. The Phantom shoots and kills Darius in return. As Christine lay dying, she confesses the truth to Pierre. The Phantom is heartbroken. The Vicomte De Chagny picks up Christine's body and tells Pierre he must make a choice. Pierre removes the phantom's mask and declares that he will stay with him. The Vicomte goes back to France to bury his wife and love.
The epilogue states that Raoul never married again. Pierre and the Phantom stayed in New York and when war broke out they changed their family name and alerted people to the causes of deformity and injury due to the war. The Phantom never wore the mask again. The New York Opera eventually closed down but Hammerstein's grandson wrote many famous musicals in the 1950s with Richard Rodgers. Father Joe remained in the church and taught under privileged children.
Characters[edit]
Erik Muhlheim "The Phantom" - Former Phantom of the Paris Opera, now become an important impresario from New York. He stumbles upon a secret so potent it will change his life forever.
Christine Daaé, Vicomtesse De Chagny - The Phantom's main love interest and famous soprano. She is married to Raoul and has one son, Pierre. She comes to sing in New York invited by the Phantom unknowingly.
Raoul, Vicomte De Chagny - Christine's husband.
Antoinette Giry - Former ballet mistress of the Paris Opera, rescued Erik from a circus when he was a child, and years later helped him out of Paris to America. On her death bed she reveals all the secrets.
Darius - Erik's partner. Believed to be the heir to the fortune from the Phantom and becomes obsessed to destroy whoever stands in his way.
Pierre De Chagny - The young son from Christine and the Phantom. Assumes Raoul is his father, but he doesn't know his real father. Admires Father Joe.
Charles "Cholly" Bloom - New York American reporter. It is proposed to discover the truth around the Phantom, and his relationship with Christine.
Father Joseph "Joe" Kilfoyle - Priest and Pierre's tutor. Is Irish and is attracted to Christine in secret.
Meg Giry - Madame Giry's daughter. Was a ballerina at the Paris Opera, but a crash ended her career. Meg is now the maid and best friend of Christine.
Armand Dufour - Lawyer contracted by Madame Giry to carry the letter to Erik in New York.
Taffy Jones - Coney Island's animator, accidentally hears a revealing conversation between Erik and Christine.
See also[edit]
The Phantom of the Opera (1986 musical)
Love Never Dies (musical)
References[edit]
1.Jump up ^ http://au.news.yahoo.com/thewest/entertainment/a/-/arts/9541850/musical-review-love-never-dies/
See also[edit]

Portal icon Novels portal
The Phantom of the Opera
The Phantom of the Opera (1986 musical)
Love Never Dies (musical)


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The Canary Trainer
From Wikipedia, the free encyclopedia
Jump to: navigation, search

The Canary Trainer
The Canary Trainer.jpg
First edition cover

Author
Nicholas Meyer
Country
United States
Language
English
Genre
American mystery novels
Publisher
W.W. Norton

Publication date
 20 September 1993
Media type
Print (Hardback & Paperback)
Pages
224 pp (first edition, hardback)
ISBN
ISBN 0-393-03608-1 (first edition, hardback)
OCLC
27894427

Dewey Decimal
 813/.54 20
LC Class
PS3563.E88 C3 1993
Preceded by
The Seven-Per-Cent Solution
Followed by
The West End Horror
The Canary Trainer: From the Memoirs of John H. Watson is a 1993 Sherlock Holmes pastiche by Nicholas Meyer. Like The Seven Percent Solution and The West End Horror, The Canary Trainer was published as a "lost manuscript" of the late Dr. John H. Watson. In "The Adventure of Black Peter", an original Arthur Conan Doyle Holmes story from 1904, Watson mentions that his companion recently arrested "Wilson, the notorious canary-trainer, which removed a plague-spot from the East-End of London"; this Wilson is not related to the eponymous character of Meyer's novel. Meyer's "trainer" is Erik, the principal figure of Gaston Leroux's 1910 novel The Phantom of the Opera. It is from this unchronicled tale that The Notorious Canary Trainers (a Sherlockian scion in Madison, Wisconsin, founded in 1969) take their name.
The Canary Trainer describes Holmes's adventures during the "Great Hiatus" of 1891-4, when (according to the Sherlockian Canon) he was traveling the world, trying to escape the minions of Professor Moriarty; in Meyer's The Seven-Per-Cent Solution, however, a different impetus is given for this period, and this alternate scenario is maintained here. The bulk of the novel is a first-person narrative, in which Holmes recounts a visit to Paris, where he played violin for the Palais Garnier and became entangled with a mysterious "Phantom". Although Dr. Watson appears only in the novel's 1912 bookend scenes, a significant sub-plot concerns Holmes' efforts to (temporarily) replace the former with a young Parisian, who, while useful, is not nearly as brave or devoted as Holmes' usual companion.
This novel was published after but takes place before Meyer's third Holmes pastiche, The West End Horror.


Contents  [hide]
1 Plot summary
2 Characters in "The Canary Trainer"
3 Allusions/references to other works
4 Release details
5 See also

Plot summary[edit]
In 1912, Dr. Watson visits the retired Sherlock Holmes, who is happily cultivating bees on the Sussex Downs. Holmes seems mostly concerned about interesting Watson in his new hobby, but Watson prefers to interrogate Holmes and fill some of the gaps in previous Sherlockian history. For example, Watson says, Holmes's account of how he spent the "Lost Years" (1891 to 1895) was laden with contradictions. Finally, he persuades Holmes to retell one episode of his adventures.
The narration switches to Holmes. He describes how, following the events of The Seven Percent Solution, he traveled Europe and slowly realized that the entire world believed him dead. Wandering aimlessly, he finds himself in Paris, where after a short-lived stint as a violin instructor, he obtains a position at the Paris Opéra. From the very beginning, his job has ominous undertones. For example, the vacancy only appeared because the previous violinist ran into the street, swearing that he would never work in the place again. This does not daunt Holmes, who interviews with and favourably impresses the conductor, Maître Gaston Leroux.
Holmes gradually becomes accustomed to the Opera's distinctive culture. He learns that all minor mishaps are attributed to the Ghost, a spectral personage who haunts the Opera's labyrinthine passageways, sometimes appearing to ballet dancers wearing an evening suit but without a head.



L'orchestre de l'opéra by Edgar Degas, 1870. Though painted before the events of this novel, the fictional Degas sketch that alerts Irene Adler to Holmes' existence was made in the same building as this work.
All goes well until the prima donna soprano, La Sorelli, falls ill and is replaced by Irene Adler, a past adversary known for her ability to outwit Holmes. His admiration for her provokes uncertain emotions, largely foreign to his calculating nature—but he soon realizes that torment is secondary, when the opera rehearsals subject him to her incomparably beautiful singing. He suffers in silence until Adler sees his profile in a Degas painting, whereupon she realizes that he is alive, and enlists his help. She has taken the young coloratura Christine Daaé "under her wing", and is fearful that the innocent singer may fall prey to intrigue once Adler has left.
Irene Adler blackmails Holmes into assisting her, promising that she will remain silent about his survival. While investigating the intrigues that surround Christine, Holmes appears to run afoul of the Opera Ghost.
Characters in "The Canary Trainer"[edit]
Note: Bolded characters are based upon characters from The Phantom of the Opera. Italicized characters are based on existing Sherlock Holmes stories.
Sherlock Holmes – the detective, protagonist
Dr. Watson – initial narrator
La Sorelli – the prima donna soprano
Irene Adler – also a singer (previously appeared in "A Scandal in Bohemia")
Christine Daaé – the young coloratura
Maître Gaston Leroux – the conductor
Erik – The ghost
Allusions/references to other works[edit]
In the prologue, Meyer refers to the "Baring-Gould papers" as having caused a resumption of interest in Holmes' life, and Meyer includes several allusions to Baring-Gould's works. At the end of the novel, Holmes implies that he and Irene finally consummated their relationship in Montenegro; this seems to be a reference to Baring-Gould's theory that Nero Wolfe was the love child of Holmes and Adler from an affair they had in Montenegro in 1892. Holmes' undercover name, Sigerson, is both a reference to Conan Doyle's story "The Adventure of the Empty House" where Holmes uses that name, and Baring-Gould's Sherlock Holmes of Baker Street, where Holmes' father's name was Siger.
Raoul compares Holmes to Auguste Dupin, a comparison which causes Holmes some offense.
The Marquis de St.-Evremonde, the descendant of Charles Darnay and Lucie Manette from A Tale of Two Cities, is among the guests of the Paris Opera.
In the novel's afterword, Meyer acknowledges the two most obvious influences, Conan Doyle's vast Sherlockian opus and Gaston Leroux's The Phantom of the Opera, which Meyer terms an "absurdist masterpiece".
Release details[edit]
1993, USA, W W Norton ISBN 0-393-03608-1, Pub date 20 September 1993, hardback (First edition)
1995, USA, W W Norton ISBN 0-393-31241-0, Pub date ? March 1995, paperback
See also[edit]

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Phantom (Kay novel)
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 This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (September 2013)
Phantom


Susankayphantom.jpg

Author
Susan Kay
Country
United Kingdom
Language
English
Genre
Historical novel
Publisher
Doubleday

Publication date
 1990
Media type
Print (Hardcover and Paperback)
Pages
532
ISBN
ISBN 0-385-40087-X (hardcover first edition)
OCLC
21412105
Phantom is a 1990 novel by Susan Kay, based on the Gaston Leroux novel The Phantom of the Opera. It is a biography of the title character, Erik.


Contents  [hide]
1 Plot summary
2 Characters
3 Allusions/references to other works
4 Release details

Plot summary[edit]
The Phantom is born as Erik in Boscherville, a small town not far from Rouen, in the summer of 1831. His father is a well-known stonemason and dies in a construction accident a few months before his son is born. His mother is the beautiful and talented daughter of an English woman and a French architect. A spoiled and vain woman, she scorns her deformed child from birth and cannot bring herself to name him. Instead, she instructs the elderly priest who baptises him to name the child after himself. Due to his mother's shame but also for his own safety, Erik is forced to spend his childhood locked in his home lest he or his mother become a target for the violent attentions of the very superstitious villagers of Boscherville.
Much of the verbal and physical abuse Erik suffers from his mother is chronicled in the opening chapters of the novel. One such event occurs on his fifth birthday when he refused to wear the cloth mask to the dinner table. His mother drags him before the only mirror in the house in retaliation and upon seeing his visage, Erik mistakes his reflection for that of a horrible monster. He shatters the mirror, lacerating his hands and wrists, and his mother is unable to bring herself to tend to his wounds. A family friend, Marie Perrault, bandages the wounds and saves his life, but Erik is left forever physically and emotionally scarred from this event. After this, Erik becomes morbidly fascinated with mirrors and believes that they are capable of performing magic. This fascination turns into an obsession and Erik quickly becomes a master of illusion, able to make people see only what he wants them to see. Says Erik of his abilities, "I can make anything disappear, if I really want to. Anything except my face."
From a young age, Erik exhibited a strong interest in architecture and was privately tutored by a well-respected professor. However, his strongest abilities lie in the subject of music and he is an incredibly talented composer and performer. However, his mother does not encourage his pursuit of singing, claiming that his supernaturally beautiful voice cannot be one created by God.
When he was nine years old, Erik's mother begins to receive the attentions of the handsome, new town physician. This doctor makes it clear that he believes that a child such as Erik belongs in an institution for the mentally insane, and Erik begins to desperately try to win his mother's affections. He uses his rapidly developing skills of ventriloquism to create the illusion of a perfect home and family. His mother begins to surrender her links on sanity but is forced to awaken when an attack on her home by a superstitious mob of villagers leaves the family dog, Sasha, dead and Erik seriously injured. The doctor comes to Erik's aid and saves his life, but begs his mother to marry him and send her child to an institution. Experiencing a sudden change of heart and pangs of remorse, Erik's mother cannot bring herself to abandon her child and refuses the proposal. She resolves to make amends for her treatment of her child, but discovers the next morning that Erik had run away. It is not until much later in the novel that it is revealed that Erik left believing that she had accepted the proposal of the doctor and had hoped to free her so that she may live happily.
After a week or so without food and still healing from the attack, Erik stumbles upon a Gypsy camp in the woods. He is discovered as a thief and is unmasked. Upon seeing his severely deformed face, a freak show showman named Javert decides to exhibit him as the "Living Corpse" and Erik is forced to spend the next several weeks locked in a cage. Eventually, he gains some personal freedoms such as his own tent as he develops his show to include the illusions that he had begun to master as a child in Boscherville. He travels around Europe with the Gypsies and masters their languages as well as their herbal remedies. His quick mind and inhuman abilities garner him the fear of many of the Gypsy tribe. He remains with the tribe until he is about 12 years old, leaving only after he is forced to murder his master in order to evade rape.
Erik continues to join up with travelling fairs and while performing at a fair in Rome meets Giovanni, a master mason who would take the boy on as his apprentice. Erik quickly masters the aspects of the design and construction of buildings and stays with Giovanni until age 15. He spends a few happy years under the man's tutelage, but is forced to leave when he is inadvertently involved in the death of Luciana, Giovanni's youngest and favorite daughter. Erik's whereabouts are unknown for several years after this event, but it is assumed that he continued to travel throughout Europe and into Asia, occasionally performing with travelling fairs.
Four years later, Erik is sought out by the Daroga of Mazanderan Court and becomes a court assassin, magician, and personal engineer to the Persian Shah. He becomes responsible for the entertainment of the Khanum, the Shah's mother, and builds sophisticated traps and torture devices for her amusement. In addition he is involved in the design and construction of a palace for the Shah, throughout that time becoming involved in political affairs which make him a target for a poisioning attempt from which he nearly dies. Much of these years are a personal hell for Erik, and he soon becomes an opium addict. Erik eventually stops using opium due to his fear that it will damage his voice and switches to morphine.
After construction on the palace is finished, the Shah fears that Erik knows too many of his personal secrets and, with the influence of the Khanum, arranges to have him arrested and put to death. Nadir, the Daroga who has befriended him, helps him to escape the guards, and Erik eventually makes his way back to France.
Since early childhood, Erik has wished to eventually become the designer for a Paris Opera House. Unfortunately for him, the contest for the position is over by the time he learns of it in his perusal of his mother's old newspapers after her death. He approaches the winner, Charles Garnier, and makes a deal with him wherein he may help design and build the Palais Garnier Opera House. Below the Opera House, an artificial lake is created during its construction using eight hydraulic pumps because of problems with the ground water level that keep rising. Without the knowledge of the other workers, Erik builds a maze of tunnels and corridors in the lower levels. Past the underground lake, he builds a lair for himself, where he may live protected from the public. Ensconced here, he rides out the strife and misery of the 1871 Paris Commune.
Besides being a brilliant inventor and engineer, Erik is also a musical genius, and he is frequently involved in the affairs the opera house in order to listen to operas and interfere with the manager's bad taste. Because he cannot show his distorted face in public, he takes the disguise of a ghost, using violence in order to blackmail the opera managers and bind them to his will, exploiting the employees' superstitions to maintain his power and his knowledge about the building's secret passages for access to every part of the building without notice. With increasing amorality, he threatens those who refused his demands via letters. However, he treats those who were loyal to him and obey his command, such as Madame Giry, very kindly.
The rest of the book is largely based around the original Phantom of the Opera novel - though it differs on several points - following the relationship between Erik and the object of his desire, Christine Daae, and switching back and forth between their points of view. Christine, timid and frail, is frightened of Erik - it is revealed that she is indeed in love with him, but she is frightened of her feelings, and is unable to come completely to terms with his appearance. Because of this, she pursues a relationship with Raoul de Chagny, a young nobleman, while still frequently visiting Erik in his underground home.
When Erik offers her a proposal of marriage, stating that it would be a temporary state of affairs (as he himself, owing to the prior poisoning attempt on his life in Persia, has begun to suffer extreme ill health and believes that he has roughly six months to live), Christine becomes agitated and returns to the world above. Considering his request to return to his home and give him an answer, whether it be "yes" or "no," Christine cannot bear the thought of hurting Erik by refusing him. She ultimately decides to flee with Raoul after her next performance, using it as her symbolic goodbye. Erik, however, has become aware of her plans and has been driven into a jealous, hurt frenzy; he kidnaps her during the performance and takes her to his home, while Nadir, who has been following Erik's activities, leads Raoul to the house underground in an attempt to free Christine.
When Nadir and Raoul fall into Erik's torture chamber, a device created specifically to drive its occupants insane and ultimately suicidal. Christine, who has at last fully realized her feelings for Erik, kisses him passionately on the mouth (a change from the original Leroux novel, in which she merely bestows a chaste kiss on his forehead); this act changes Erik, making him realize the futility of further violence. He rescues Nadir and Raoul from their fates, allowing Raoul to leave with Christine and stating his wish for the two young people to marry; his only stipulation is that he would like for Christine to visit him one more time before his death. Raoul agrees in order to placate him, even though he has no intention of allowing such a thing; once their wedding-day draws near, however, Christine backlashes against Raoul's insistence that she never see Erik again and goes herself to visit him.
When Raoul - who tells the remainder of the novel from his point of view - learns of Christine's return to Erik, he descends himself into the underground home to fetch her, but is detained by Nadir, who refuses to let him enter the room where Erik is dying. Christine emerges from this room some time later after Erik has died, and returns to the upper world with Raoul. They marry, and a few months later, Christine reveals that she is pregnant. Though both are overjoyed at the news, the pregnancy is very difficult for Christine, and she almost dies in childbirth. The doctor is forced to perform a Cesarean section in order to save her life and that of the child - Raoul is initially opposed to this, as he believes that the baby is premature and cannot possibly survive outside of its mother's womb - making the procedure an unnecessary risk on Christine's life - but the doctor assures him that the baby is full-term. This causes Raoul to realize, due to timing, that the child cannot possibly be his, and is in fact Erik's.
Despite this, Raoul raises the child as his own, never mentioning to Christine that he knows about the child's parentage. The boy, named Charles, has escaped his father's fate and is physically perfect. Christine dies when Charles is sixteen, and Raoul goes on to raise him. The last line of the novel is "The cuckoo is a very beautiful bird!" which carries the implication of cuckolding, and refers to the cuckoo bird's habit of laying its eggs in other birds' nests, but also of the beauty of adoption and acceptance.
Characters[edit]
Erik, the main character, is not listed as having a last name. Erik was born in 1831 in Boscherville, France, and lived until 1881, where he died in the catacombs beneath the Opera Garnier, where he had lived in what is referred to as "The House on the Lake," the lake being, in this case, Lake Averne. Erik is said to have been unspeakably ugly, with sunken mismatched eyes that were not unlike a cat's, incredibly gaunt features, and no nose. Kay keeps to Leroux's original description, depicting Erik as having "sunken, mismatched eyes and grossly malformed lips, a horrible gaping hole where the nose should have been." Erik is also skeletally thin, tall, and with abnormally long fingers which are possessed of an inhuman dexterity. He wears a full-mask at nearly all times, along with expensively tailored clothes and gloves, to hide his frightening appearance. He is also cold to the touch. He seems to have little or no sexual experience or outlet; most women are frightened or disgusted by his appearance, sometimes with fatal results (see description of Luciana below), and he was nearly raped as a young boy. Kay's Erik suffers from violent mood swings and depression, and over the course of the book, through various tragedies and a morphine addiction, he slowly loses what sanity he possessed.
Madeleine is Erik's mother. A rather spoiled and infantile woman, Madeleine is forced to birth and raise her son alone, when her husband, Charles, died unexpectedly at his work, shortly after Erik's conception. She is never overly kind to Erik, whom she resents and fears. She forces her son to sleep in the attic alone for his entire time in her house, making him wear a mask at all times, and forbidding him to leave the house under any circumstances. She beats him often, and rarely shows him any sort of affection. She is occasionally urged to do so by her plain and down-to-earth childhood friend, Marie Perrault. Later, after Erik survives a knife attack from the residents of her village, Madeleine finally realizes that she loves her son. Sadly, Erik has already run away without her noticing.
Javert: is a man who traveled with a gypsy band. He was Erik's master, keeping the boy captive in a cage for a number of years. He was a cruel whipmaster. He becomes Erik's first murder victim when he attempts to rape him one night.
Giovanni is an elderly Italian master stonemason, who discovers a thirteen-year-old Erik on one of his sites one morning, and takes him on as an apprentice. Giovanni practically adopts Erik and loves him as the son he never had, while training him all the while as a mason. Erik flourishes underneath Giovanni's care, and though a darkness was growing in the boy, the Italian helped to quell it for some time. Their rapport was interrupted by the return of Giovanni's youngest daughter, Luciana. Giovanni was the only father that Erik had ever known, and he almost hero-worshiped the man. For the rest of his life, Erik would refer to no other man as "sir," due to the trust that was eventually lost between them.
Luciana is Giovanni's youngest daughter, out of four. At thirteen years old, she is a very spoiled child. She returns early from her convent school to find that her father has taken Erik on as an apprentice. Entranced by the young Erik's air of mystery, Luciana takes an instant liking to him, but is unable to express her feelings for him, so she teases and torments him. Erik is attracted to her as well; she is particularly beautiful for her age. Eventually, she requests that Giovanni remove Erik's mask, and after she has seen his ugliness, she runs away, falling from a section of crumbling roof of their two story house and dying a grotesquely violent end.
Nadir Khan. Nadir Khan, known in Leroux's book only as "The Persian," is Erik's friend. As the Daroga of Mazanderan, he is sent by the shah to fetch Erik from Nijni-Novgorod. Nadir is a moral character who lost his wife, Rookheeya, and has not remarried since. He is unlike most other Persian shahzadeh, being rather monogamous by nature, and despising the politics of the Mazanderan Court. Nadir and Erik take turns saving one another's lives, and in the process, become friends much closer than either is willing to admit. Nadir is ordered by the shah to keep a close eye on Erik, and takes it upon himself to be the keeper of Erik's conscience. Nadir is also an English word meaning "the lowest point," or "the moment of deepest depression."
Reza is Nadir's young son, who is dying from Tay-Sachs Disease. Reza becomes attached to Erik; Erik in turn becomes fond of the boy, makes beautiful toys for him and tries to ease his suffering. When the boy's suffering worsens to pain and no hope of a recovery, Erik gives him a painless poison that puts Reza to his death because Nadir cannot bear to do it. This complicates the relationship between Erik and the Persian.
The Persian shah is the ruler of Persia (by the book's chronology probably Naser al-Din Shah Qajar). He is depicted as being rather self-centered and helpless. He is largely a puppet of his mother, the khanum. He is a dangerous and powerful man, nonetheless, and Nadir worries very much for his and Erik's safety under the unstable favour of the shah.
The khanum, referred to as the Sultana or "the little sultana," in Leroux's book, is widely regarded as the most powerful woman in Persia. The khanum is a frightful woman. Drunk with the power that she has over her son, and therefore over Persia, she indulges in fetishes of every kind, normally involving some modicum of pain or humiliation. She is described as a woman of "intense and urgent passions," who finds a pleasure in death so powerful that it borders on sexual. Intrigued by Erik's macabre appearance and dexterity at murder, the khanum develops a great lust for him early on, and this she harbors spitefully, never quite daring to exercise her power in this particular area. Erik never learns of her infatuation with him, though it occurs to him in passing, but he puts it down to arrogance.
Christine Daae is the beautiful young Swedish chorus girl whom Erik meets at the Paris Opera. She is deceived into believing that Erik is the "Angel of Music," a story told to her by her late, and very beloved, father. She is described as having a voice that would make an angel cry, with perfect pitch and excellent vibrato, but absolutely no feeling whatsoever. Erik trains her to use her voice properly and, having done so, Christine sings wonderfully. Unfortunately, due to the arrangements by the company's diva, La Carlotta, she is upstaged as soon as she steps out into the public's eye. She was born in 1861, the same year Madeleine died, and is said to bear an almost perfect resemblance to her.
Charles is the son of Christine and Erik, born around 1881. Charles is born a few months after Raoul and Christine's wedding, and Raoul remarks that it is impossible that he is Charles's biological father, and that he looks nothing like either Raoul or Christine, but bears a striking resemblance to a portrait of Erik's handsome father Charles. Charles is an extremely handsome and talented young man, and a great musician. Seventeen years after Erik's death, Raoul brings him to visit the Opera House.
Raoul, Vicomte de Chagny recognizes Christine during one of her performances as a childhood sweetheart. They eventually marry and Christine gives up her opera career. Raoul raises their son, Charles, after her death from cancer. Charles is actually Erik's son, but is never told this in the story.
La Carlotta is the bratty diva of the Opera Garnier, and hails from Spain.
Madame Giry is Erik's loyal box-keeper. She waits on him, should he need it, and is one of the only characters in Paris to have any form of intimate contact with him. She is also the mother of Meg Giry.
Meg Giry is a somewhat sassy character, with a broad imagination, who enjoys tormenting Christine with made-up tales of the "Opera Ghost", leading to Erik musing she should take up writing Gothic novels. She is a ballet dancer and the daughter of Madame Giry.
Debienne and Poligny are the old managers of the Opera Garnier, and Poligny is described as being an easily spooked person, which made him an easy target for Erik's schemes.
Moncharmin and Richard are the new managers of the Opera House, though they know little about Opera itself. They prove not to be quite so gullible as their predecessors, something which irks Erik to no end. It is an entirely mutual irritation, for Moncharmin and Richard are driven nearly mad by the arrogant, bossy, and magical "Opera Ghost." Moncharmin is quite small, Richard is quite large and strong
Sasha was Erik's boyhood pet dog, a cocker spaniel who was murdered by a mob in trying to get Erik, the night before he ran away.
Ayesha was a Siamese cat Erik adopted on the streets of Paris during the 1871 Commune, when meat was scarce and cats and horses routinely butchered. During her time as a prisoner of Erik's house, at one point Christine feels jealous of Ayesha and the way Erik caresses her fondly while avoiding physical contact with Christine.
Allusions/references to other works[edit]
Kay's Phantom is not a sequel, but rather a retelling of the original Leroux novel. While the book draws mainly from Leroux's text, there are also obvious references to Andrew Lloyd Webber's musical: several phrases from the musical's lyrics are used to describe certain circumstances in the book. There are also nods to the Lon Chaney film version of the story. As well, just the author's own tweaking and altering to fit the "Erik" she had developed in her own mind, and wanted to read/write about (as proclaimed in her own afterword). The character of Javert shares his name with the obsessive police captain who hunts Jean Valjean for twenty years in Victor Hugo's novel Les Misérables. The storyline surrounding Erik's vain, childish mother bears some glancing similarities to Gustave Flaubert's Madame Bovary; like Emma Bovary, she lives in a stultifyingly provincial town and is courted by a medical man.
In total, it took Kay eighteen months to complete the novel, during which time she traveled to the United States and Rome and researched various aspects of nineteenth-century life in the countries in which the novel was set. Among her references were Munro Butler Johnson's A Trip up the Volga to the Fair of Nijni-Novgorod; Curzon's Persia and the Persian Question; Lady Shell's "Eyewitness account of Persian court life in the mid-nineteenth century" and Christopher Mead's thesis on Charles Garnier.
However, despite the many sources that Kay drew on, her story is original, and the ending is significantly different from those of other stories. The most obvious difference is that the famous grasshopper and scorpion scene, which forms the climax of Leroux's novel, has been completely removed. In addition, Kay's novel expands on themes, such as the Erik's time in Persia, that are only alluded to in the original story.
Release details[edit]
For several years, Phantom was out of print, and was only available on the secondary market. After the film version of Phantom Of The Opera was released in 2004, interest in the fandom—and prices for the book—rose dramatically. The novel was reprinted in October 2005; the new editions are also available in the UK, Canada and France (only in English). In Sweden the novel was only printed once, which makes it rather rare. In the Swedish translation, by Lena Torndahl, the whole sequence involving Christine finding a gigantic spider on her pillow and begs Erik to kill it (Whom during the whole novel compared himself with a spider) has been cut. Why it's been cut is not known, but the remaining chapter is hardly two pages long.
Hardcover:
Delacorte Press, 1991, ISBN 0-385-30296-7
Llumina Stars, 2005, ISBN 1-933626-03-8
Paperback:
Island Books, 1992, ISBN 0-440-21169-7
Media Creations Inc., 2005, ISBN 1-933626-00-3


[hide]
v ·
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The Phantom of the Opera


Books
The Phantom of the Opera (1909–1910) ·
 Phantom (1990) ·
 The Canary Trainer (1993) ·
 The Phantom of Manhattan (1999)
 

Stage adaptations
Phantom of the Opera (1976) ·
 The Phantom of the Opera (1986) ·
 Phantom (1991) ·
 Love Never Dies (2010)
 

Film and television
The Phantom of the Opera (1925) ·
 Song at Midnight (1937) ·
 Phantom of the Opera (1943) ·
 The Phantom of the Opera (1962) ·
 The Phantom of Hollywood (1974) ·
 Phantom of the Paradise (1974) ·
 Opera (1987) ·
 The Phantom of the Opera (1989) ·
 Phantom of the Mall: Eric's Revenge (1989) ·
 The Phantom of the Opera (1990) ·
 The Phantom Lover (1995) ·
 The Phantom of the Opera (1998) ·
 The Phantom of the Opera (2004) ·
 The Phantom of the Opera at the Royal Albert Hall (2011)
 

Characters
Erik ·
 Christine Daaé ·
 Viscount Raoul de Chagny ·
 The Persian ·
 Carlotta ·
 Madame Giry ·
 Meg Giry ·
 Joseph Buquet
 

Songs



Phantom (1986) Act 1

"A Rehearsal for Hannibal" ·
 "Think of Me" ·
 "Angel of Music" ·
 "Little Lotte" ·
 "The Phantom of the Opera" ·
 "The Music of the Night" ·
 "I Remember" ·
 "Stranger Than You Dreamt It" ·
 "Magical Lasso" ·
 "Notes " ·
 "Prima Donna" ·
 "Poor Fool, He Makes Me Laugh" ·
 "Why Have You Brought Us Here?" ·
 "Raoul, I've Been There" ·
 "All I Ask of You"
 


Phantom (1986) Act 2

"Masquerade" ·
 "Why So Silent?" ·
 "We Have All Been Blind" ·
 "Twisted Every Way" ·
 "A Rehearsal for Don Juan Triumphant ·
 "Wishing You Were Somehow Here Again" ·
 "Wandering Child" ·
 "Bravo, Monsieur!" ·
 "Music from Don Juan Triumphant" ·
 "The Point of No Return" ·
 "Down Once More" ·
 "Track Down This Murderer"
 


Other

"Learn to Be Lonely" ·
 "'Til I Hear You Sing"
 


Other
Gaston Leroux ·
 Andrew Lloyd Webber ·
 Ken Hill ·
 Maury Yeston ·
 Don Juan Triumphant ·
 Punjab lasso ·
 Adaptations ·
 Return of the Phantom ·
 Palais Garnier ·
 Lon Chaney (Sr.) ·
 "A Slight at the Opera"
 

 


Categories: 1990 novels
British novels
Historical novels
The Phantom of the Opera
Novels set in 19th-century France
Doubleday (publisher) books






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The Phantom of the Opera
From Wikipedia, the free encyclopedia
Jump to: navigation, search

This article is about the novel. For the musical and other uses, see The Phantom of the Opera (disambiguation).



[hide]This article has multiple issues. Please help improve it or discuss these issues on the talk page.




This article needs additional citations for verification.  (June 2010)




This article's plot summary may be too long or excessively detailed.  (November 2012)


The Phantom of the Opera
Gaston Leroux - Le Fantôme de l'Opéra.jpg
1920 edition [France]

Author
Gaston Leroux
Original title
Le Fantôme de l'Opéra
Country
France
Language
Originally French, translated into English
Subject
romance, mystery
Genre
Gothic novel
Publisher
Pierre Lafitte and Cie.

Publication date
 September 23, 1909 to January 8, 1910

Published in English
 1911
Media type
Print (Serial)
Pages
~190
OCLC
15698188
The Phantom of the Opera (French: Le Fantôme de l'Opéra) is a novel by French writer Gaston Leroux. It was first published as a serialisation in Le Gaulois from September 23, 1909 to January 8, 1910. It was published in volume form in April 1910 by Pierre Lafitte.[1] The novel is partly inspired by historical events at the Paris Opera during the nineteenth century and an apocryphal tale concerning the use of a former ballet pupil's skeleton in Hector Berlioz's 1841 production of Der Freischütz.[1] Nowadays, it is overshadowed by the success of its various stage and film adaptations. The most notable of these are the 1925 film depiction featuring Lon Chaney, Sr and Andrew Lloyd Webber's 1986 musical.
Plot summary[edit]
Opera singer Christine triumphs at the gala on the night of the old managers' retirement. Her old childhood friend, Raoul, hears her sing and recalls his love for Christine. At this time there are rumors of a phantom living at the Opera and he makes himself known to the managers through letters and malevolent acts. Some time after the gala, the Paris Opera performs Faust, with the prima donna Carlotta playing the lead, against the Phantom's wishes. During the performance Carlotta loses her voice and the grand chandelier plummets into the audience.
After the accident, Christine is kidnapped by the phantom, and taken to his home in the cellars of the Opera and he reveals his true identity to her simply as Erik, though not his real name. He plans to keep her there for a few days, hoping she will come to love him. But she causes Erik to change his plans when she unmasks him and, to the horror of both, beholds his face which resembles the face of a rotting corpse. Fearing that she will leave him, he decides to keep her with him forever, but when Christine requests release after two weeks, he agrees on condition that she wear his ring and be faithful to him.
On the roof of the opera house, Christine tells Raoul that Erik abducted her. Raoul promises to take Christine away to a place where Erik can never find her. Raoul tells Christine he shall act on his promise the next day, to which Christine agrees. She, however, has pity for Erik and will not go until she has sung a song for him one last time. Neither is aware that Erik has been listening to their conversation and that he has become extremely jealous.
The following night, Erik kidnaps Christine during a production of Faust and tries to force Christine to marry him. He states that if she refuses, he will use explosives (which he has planted in the cellars) to destroy the entire opera house. Christine refuses, until she realizes that Erik learned of Raoul's attempt to rescue her and has trapped Raoul in a hot torture chamber (along with the Persian, an old acquaintance of Erik who was going to help Raoul). To save them and the people above, Christine agrees to marry Erik. Erik initially tries to drown Raoul, using the water which would have been used to douse the explosives. But Christine begs and offers to be his "living bride", promising him not to kill herself after becoming his bride, as she had both contemplated and attempted earlier in the novel. Erik eventually rescues Raoul from his torture chamber. When Erik is alone with Christine, he lifts his mask to kiss her on her forehead, and is given a kiss back. Erik reveals that he has never received a kiss (not even from his own mother) or has been allowed to give one and is overcome with emotion. He lets Christine go and tells her, "Go and marry the boy whenever you wish", explaining, "I know you love him." She leaves on the condition that when he dies she will come back and bury him.
Characters[edit]
Erik: The "Phantom," "Angel of Music" and "Opera-Ghost."
Christine Daaé: A young Swedish soprano singer at the Paris Opera House whom "The Phantom", Erik, falls in love with.
Raoul, Vicomte de Chagny: Christine's childhood friend and love interest.
The Persian: A mysterious man from Erik's past.
Philippe, Comte de Chagny: Raoul's older brother.
Armand Moncharmin and Firmin Richard: The managers of the opera house.
Madame Giry: Little Meg's mother, box keeper.
Meg Giry: Madame Giry's only daughter, a ballet girl. Later becomes Mme. la Baronne de Castelot-Barbezac.
Debienne and Poligny: The previous managers of the opera house.
Joseph Buquet: The chief scene-shifter.
La Carlotta: A spoiled prima donna; the lead soprano of the Paris Opera House.
Mercier: The acting manager of the opera house.
Gabriel: The superstitious chorus master.
Mifroid: The commissary of police called in for Christine's disappearance.
Remy: The manager's secretary.
The inspector: An inspector hired to investigate the strange affairs in Box Five.
Shah and the sultan: The two kings that tried to kill Erik after he made them a palace.
La Sorelli: the lead ballerina and woman with whom Comte de Chagny spent time. Also labelled Annie Sorelli, though this is questionable
Little Jammes: A mentioned Ballerina at the Opera House.
References[edit]
1.^ Jump up to: a b Shah, Raj (2014). "No Ordinary Skeleton: Unmasking the Secret Source of Le Fantôme de l'Opéra". Forum for Modern Language Studies 50 (1): 16–29 (17; 25n11). doi:10.1093/fmls/cqt048.


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The Phantom of the Opera (2004 film)
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The Phantom of the Opera
Poto2.jpg
Directed by
Joel Schumacher
Produced by
Andrew Lloyd Webber
Screenplay by
Joel Schumacher
 Andrew Lloyd Webber
Based on
The Phantom of the Opera
 by Andrew Lloyd Webber
Charles Hart
Richard Stilgoe
Gaston Leroux
Starring
Gerard Butler
Emmy Rossum
Patrick Wilson
Miranda Richardson
Minnie Driver
Simon Callow
Ciaran Hinds
Music by
Andrew Lloyd Webber
Cinematography
John Mathieson
Edited by
Terry Rawlings
Production
   company
Really Useful Films
Joel Schumacher Productions
 Odyssey Entertainment
 Scion Films
Distributed by
Warner Bros. Pictures
Release date(s)
December 10, 2004 (United Kingdom)
January 21, 2005 (United States)

Running time
143 minutes[1]
Country
United Kingdom
Language
English
Budget
$70 million[2]
Box office
$154,648,887[2]
The Phantom of the Opera is a 2004 British film adaptation of Andrew Lloyd Webber's 1986 musical of the same name, which in turn is based on the French novel Le Fantôme de l'Opéra by Gaston Leroux.
Directed by Joel Schumacher, the film was also produced and co-written by Lloyd Webber. The Phantom of the Opera stars Gerard Butler in the title role, Emmy Rossum as Christine Daaé, as well as Patrick Wilson as Raoul, Miranda Richardson as Madame Giry, and Minnie Driver as Carlotta Giudicelli.
The film was announced as early as 1989, but production only started in 2002 due to Lloyd Webber's divorce and Schumacher's busy career. It was entirely shot at Pinewood Studios, with sceneries also being depicted with the help of miniatures and computer graphics. Rossum, Wilson, and Driver had singing experience, but Butler had no experience and had to receive music lessons. The Phantom of the Opera grossed approximately $154 million worldwide, and received mixed reviews, praising the visuals and acting but criticising the writing and directing.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Casting
3.2 Development
3.3 Filming
4 Reception 4.1 Release and awards
4.2 Critical reception
5 See also
6 References
7 External links

Plot[edit]
For a more detailed plot, go to The Phantom of the Opera (1986 musical)
In 1919, the dilapidated Paris Opera House holds an auction. Raoul, the Viscount of Chagny, now an old wheelchair-bound man, purchases a coveted music box in a shape of a monkey wearing Persian robes and playing cymbals. During the auction, Raoul spots a familiar figure: Madame Giry, whom he met as a young man. Madame Giry is now an elderly woman, almost 50 years later. Their attention is called on by the next piece for auction, lot 666: a chandelier in pieces which has been restored and newly wired with electricity. As the auctioneers display the restored chandelier, which illuminates and slowly rises to its old place in the rafters the opening crescendo of music wipes away the years of decay from the opera house as the black and white turns into colour, and the audience is transported back in time to 1870, the beginning of the story, when the opera house was in its prime.
The opera house is put into the hands of two new owners, Richard Firmin and Gilles André, who do not understand the house. Madame Giry, who is the mistress of the house and the mother of Meg Giry, introduces them to Christine Daaé, a young but talented singer who sings background. Young Raoul is introduced to the cast and Christine recognizes him as her childhood love. He does not see her, however, and she says nothing to get his attention. During rehearsal, a backdrop falls from the ceiling and almost crushes the soloist and lead soprano, Carlotta Giudicelli, who immediately resigns from the house. Meanwhile, a dark figure leaves the spot where the backdrop used to be. An envelope falls to the floor where Madame Giry opens it. She reads the letter signed from the "Opera Ghost", a spectre-like entity who lives somewhere within the opera house and is believed to be a ghost. He apparently watches every show and is paid twenty thousand francs a month by the owner of the house. Firmin and André scramble to replace Carlotta and Christine is chosen. That night she sings beautifully, and the Opera Ghost hears her through the vents. He is shown to live within the deepest recess of the opera house in a watery labyrinth.
During Christine's performance, Raoul recognizes her from his childhood and sets off to find her. After she sings, Christine is found in a small room where she lights a candle for her father, who died when she was six years old. Meg asks Christine how she learned to sing so well. Christine explained that an Angel of Music comes to her and tutors her. She has never met this man, but she thinks her father sent this "angel" to help her, but in fact it is the same Opera Ghost, or Phantom of the Opera, who teaches her. Later she is in her dressing room, where she reunites with Raoul. He plans to take her into the city, but she declines, saying that the Angel is very strict. Raoul does not hear her and leaves to prepare for their date. When he leaves, the Phantom locks Christine in her room and begins to sing to her. He reveals himself in a mirror to her, and she is enchanted at his white mask. Christine takes his hand, and he leads her away while Raoul pounds at the locked door, thinking she is being kidnapped.
Christine goes with the Phantom to his watery cave underneath the house. He reveals to her that he loves her and wants her to love him back. He shows her a bust of herself, wearing a wedding dress and veil, and she faints. Later she awakes to find the Phantom writing music. She seduces him to take off his mask, and he bursts into a fit of rage when she removes it. He covers his face with his hand until Christine returns the white mask. He at first says she must stay forever because she saw his face without his mask, but then decides to return her to the opera house.
In the opera house, the two owners do not understand the role of the Phantom. They discover with Raoul that Christine is missing. A series of notes have been sent to various members of the house, each blackmailing the director for the twenty thousand francs. When Carlotta returns, she is furious to find that there was a note sent to her that said if she sang as the countess that night instead of Christine, there would be a fate worse than death. She assumed it was Raoul who sent the letters to her, but he didn't and Firmin and André struggle to make her the center instead of Christine. Meanwhile Raoul begins a journey to find the Angel Christine had mentioned earlier. In a second comedic performance, the Phantom tampers with props while a stagehand, Joseph Buquet, tries to find the intruder. The Phantom interrupts the performance instead and criticizes the failure to follow his orders. Carlotta continues to sing, but her voice croaks and the lead role is given to Christine on short notice. It is chaos as stagehands move props and backdrops. The Phantom hangs Buquet in front of the audience and rushes out of the house. Christine plans to return to the Phantom to stop him from killing more people. She reveals to Raoul that she has seen his face and tells him she pities the Phantom. Raoul tells Christine he loves her, and she tells him she loves him also. They then kiss passionately. The Phantom witnesses this, and grows furious at Raoul for taking Christine away.
Six months later, a masquerade party ensues in the opera house. At the party, Christine wears her new engagement ring from Raoul. The event is interrupted once again by the Phantom's doomed music. Raoul leaves the room and Christine alone. At the sight of the engagement ring, the Phantom takes it and runs off. Then the scene goes to a small room with stacks of newspapers. Madame Giry tells the story of the Phantom to Raoul. When she was a little girl, she went to a freak circus where they featured a deformed child in a cage. The child was beaten in the cage while everyone watched and laughed. The ringmaster then removed a burlap sack covering the child's face, revealing his deformity. Only Madame Giry, as a girl, does not laugh, but instead pities him. The deformed child puts his sack back over his face and cries in the cage. She is the last to leave and turns around to see the child strangling the ringmaster with a rope. After he is dead, the child sees the young Madame Giry, but guards have already come. She helps him escape and runs away with the boy and he finds shelter in the opera house. She tells Raoul how she has hidden him from the world ever since.
Christine takes a carriage to see her father's grave, but the Phantom has secretly taken over the reins. Raoul follows them. Christine arrives and laments her father's death. The Phantom then tries to trap her in her father's tomb, but Raoul stops her in time. A swordfight ensues in the cemetery, where Raoul eventually disarms the Phantom and is about to kill him when Christine pleads for him not to. His rage seemingly augmented, the Phantom watches angrily as Christine and Raoul ride away.
Christine admits she is afraid of the Phantom and tells Raoul he will never stop trying to recapture her. She will let him have her in order to stop the killing. At that night's play, the Phantom once again makes an entrance, this time on the stage of the house. Raoul can do nothing and watches from the balcony as Christine agrees to go with the Phantom, and he caresses her. She caresses his face back, only to once again remove his mask revealing his deformities. The audience screams in fear, but Christine is not afraid and shows pity. He runs off with her, after a series of tense, chaotic sequences, including dropping the chandelier (the one from the beginning of the film) and setting the opera house on fire, killing many people.
The Phantom brings Christine down into his labyrinth. Madame Giry shows Raoul where the Phantom lives, and Raoul goes to rescue Christine. The Phantom once again professes his love, and orders Christine to marry him. Instead Christine tries to console the Phantom about his deformed face, saying she does not fear his ugliness. Just then Raoul comes to the scene. The Phantom ties him to a gate and threatens to strangle him if Christine refuses his marriage offer. She kisses the Phantom, in order to save Raoul's life, while displaying her pity and compassion for him. Ashamed of what he's done, he begs Christine and Raoul to leave him and never return. He finds comfort in a little monkey cymbal toy. Just before she departs with Raoul on the boat, Christine approaches the Phantom, who tells her that he loves her, and she silently gives him the diamond ring from her finger. Christine and Raoul row away as Christine glances back at the Phantom, with love in her eyes. After they leave, the Phantom uses a candelabrum to smash every mirror in his underground lair and he disappears through the last mirror behind a velvet curtain into another section of the caves just before the police arrive. Upon entering, Meg finds only the Phantom's white mask.
Later, the grainy black-and-white picture dominates as the elderly Raoul rides to a cemetery where he goes to visit Christine's tomb, which reveals that she died only two years before, in 1917, at age 63. Her tombstone says "Countess of Chagny" and "beloved wife and mother", suggesting she married Raoul, had children and died. He lays the monkey music box at her grave site, and notices that on the left of the tombstone lies a red rose with a black ribbon tied around it (a trademark of the Phantom) with the engagement ring attached to it, implying that the Phantom is still alive, and will always love Christine.
Cast[edit]
Gerard Butler as Erik, The Phantom
Emmy Rossum as Christine Daaé
Patrick Wilson as Raoul, Vicomte de Chagny
Miranda Richardson as Madame Giry
Minnie Driver as Carlotta Giudicelli (Margaret Preece as Carlotta's singing voice)
Ciarán Hinds as Richard Firmin
Simon Callow as Gilles André
Victor McGuire as Ubaldo Piangi
Jennifer Ellison as Meg Giry
Murray Melvin as Monsieur Reyer
Kevin McNally as Joseph Buquet
James Fleet as Monsieur Lefèvre
Production[edit]
Casting[edit]
Hugh Jackman was offered the chance to audition for the Phantom, but he faced scheduling conflicts with Van Helsing. "They rang to ask about my availability," Jackman explained in an April 2003 interview, "probably about 20 other actors as well. I wasn't available, unfortunately. So, that was a bummer."[3] "We needed somebody who has a bit of rock and roll sensibility in him," Andrew Lloyd Webber explained. "He's got to be a bit rough, a bit dangerous; not a conventional singer. Christine is attracted to the Phantom because he's the right side of danger."[4] Director Joel Schumacher had been impressed with Gerard Butler's performance in Dracula 2000.[5] Prior to his audition, Butler had no professional singing experience and had only taken four voice lessons before singing "The Music of the Night" for Lloyd Webber.[6]
Katie Holmes, who began working with a vocal coach, was the front-runner for Christine Daaé in March 2003.[7] She was later replaced by Anne Hathaway, a classically trained soprano, in 2004. However, Hathaway dropped out of the role because the production schedule of the film overlapped with The Princess Diaries 2: Royal Engagement, which she was contractually obligated to make.[8] Hathaway was then replaced with Emmy Rossum. The actress modeled the relationship between the Phantom and Christine after Suzanne Farrell and George Balanchine.[9] Patrick Wilson was cast as Raoul based on his previous Broadway theatre career. For the role of Carlotta, Minnie Driver devised an over-the-top, camp performance as the egotistical prima donna. Despite also lacking singing experience, Ciarán Hinds was cast by Schumacher as Richard Firmin; the two had previously worked together on Veronica Guerin.[10] Ramin Karimloo also briefly appears as the portrait of Gustave Daaé, Christine's father. Karimloo had previously played the lead role as well as the role of Raoul in London's West End. He later reprised the role in the sequel to the original stage musical Love Never Dies, and was also cast as The Phantom for the 25th Anniversary Concert of the musical in October, 2011.
Development[edit]
Warner Bros. purchased the film rights to The Phantom of the Opera in early 1989, granting Andrew Lloyd Webber total artistic control.[6] Despite interest from A-list directors, Lloyd Webber and Warner Bros. instantly hired Joel Schumacher to direct; Lloyd Webber had been impressed with Schumacher's use of music in The Lost Boys.[10] The duo wrote the screenplay that same year,[4] while Michael Crawford and Sarah Brightman were cast to reprise their roles from the original stage production. Filming was set to begin at Pinewood Studios in England in July 1990, under a $25 million budget.[11]
However, the start date was pushed to November 1990 at both Babelsberg Studios in Munich, Germany and Barrandov Studios in Prague, Czech Republic.[12] Production for The Phantom of the Opera was stalled with Lloyd Webber and Brightman's divorce.[13] "Everything got tied up in settlements", Schumacher reflected. "Then my career took off and I was really busy."[14] As a result, The Phantom of the Opera languished in development limbo for Warner Bros. throughout the 1990s.[15] In February 1997, Schumacher considered returning, but eventually dropped out in favour of Batman Triumphant, Runaway Jury and Dreamgirls.[16] The studio was keen to cast John Travolta for the lead role,[17] but also held discussions with Antonio Banderas, who undertook vocal preparation and sang the role of the Phantom in the TV special, Andrew Lloyd Webber: The Royal Albert Hall Celebration.[18]
Schumacher and Lloyd Webber restarted development for The Phantom of the Opera in December 2002.[4] It was then announced in January 2003 that Lloyd Webber's Really Useful Group had purchased the film rights from Warner Bros. in an attempt to produce The Phantom of the Opera independently.[18] As a result, Lloyd Webber invested $6 million of his own money.[9] The Phantom of the Opera was produced on a $55 million budget. A further $15 million was used for marketing, bringing the final budget to $70 million.[2] Warner Bros. was given a first look deal for distribution; the studio did not sign on until June 2003, when the principal cast was chosen.[19]
Filming[edit]
Principal photography for Phantom of the Opera lasted from September 15, 2003 to January 15, 2004. The film was shot entirely using eight sound stages at Pinewood Studios,[20] where, on the Pinewood backlot, the bottom half exterior of the Palais Garnier was constructed. The top half was implemented using a combination of computer-generated imagery (CGI) and a scale model created by Cinesite. The surrounding Paris skyline for "All I Ask of You" was entirely composed of matte paintings.[10] Cinesite also created a miniature falling chandelier, since a life-size model was too big for the actual set.[21]
Production designer Anthony D. G. Pratt was influenced by French architect Charle Garnier, designer of the original Paris opera house, as well as Edgar Degas, John Singer Sargent, Gustave Caillebotte, the Pre-Raphaelite Brotherhood and Dante Gabriel Rossetti. Schumacher was inspired by Jean Cocteau's Beauty and the Beast (1946), where a hallway is lined with arms holding candelabra. The cemetery was based on the Père Lachaise and Montparnasse.[22] Costume designer Alexandra Byrne utilised a limited black, white, gold and silver colour palette for the Masquerade ball.[10]
Reception[edit]
Release and awards[edit]
The Phantom of the Opera was released in the United States on December 22, 2004. With a limited release of 622 theaters, it opened at tenth place at the weekend box office, grossing $6.5 million across five days.[23] After expanding to 907 screens on January 14, 2005[24] the film obtained the 9th spot at the box office,[25] which it retained during its 1,511 screens wide release on January 21, 2005.[26][27] The total domestic gross was $51,225,796. With a further $107 million earned internationally, The Phantom of the Opera reached a worldwide total of $158,225,796.[2] A few foreign markets were particularly successful,[28] such as Japan, where the film's ¥4.20 billion ($35 million) gross stood as the 6th most successful foreign film and 9th overall of the year.[29][30] The United Kingdom and South Korea both had over $10 million in receipts, with $17.5 million and $11.9 million, respectively.[2][31]
Anthony Pratt and Celia Bobak were nominated for the Academy Award for Best Art Direction, as was John Mathieson for Cinematography. However, both categories were awarded to The Aviator. Andrew Lloyd Webber and lyricist Charles Hart were nominated for the Academy Award for Best Original Song ("Learn to Be Lonely") but lost to "Al otro lado del río" from The Motorcycle Diaries.[32] The song was also nominated for the Golden Globe but it lost to Alfie's "Old Habits Die Hard". In the same ceremony, Emmy Rossum was nominated for Best Actress in a Motion Picture Musical or Comedy, losing to Annette Bening in Being Julia.[33] At the Saturn Awards, Rossum won for Best Performance by a Younger Actor,[34] while The Phantom of the Opera was nominated for Best Action/Adventure/Thriller Film and Alexandra Byrne was nominated for Costume Design.[35]
The soundtrack of the film was released in two separate CD formats on November 23, 2004, as a 2-disc deluxe edition which includes dialogue from the film and a single-disc highlights edition. The film had its initial North America video release on DVD and VHS on May 3, 2005, following its first digital release on HD-DVD on April 18, 2006 and a blu-ray edition on October 31, 2006.
Critical reception[edit]
The film received generally mixed reviews from film critics. Even though 86% of the general audience liked the film, based on 384,463 audience reviews collected by Rotten Tomatoes, only 33% of the critics enjoyed The Phantom of the Opera, with an average score of 5/10. "The music of the night has hit something of a sour note: Critics are calling the screen adaptation of Andrew Lloyd Webber’s popular musical histrionic, boring, and lacking in both romance and danger," the consensus read. "Still, some have praised the film for its sheer spectacle."[36] By comparison, Metacritic calculated an average score of 40/100 from its 39 reviews collected.[37]
"The film looks and sounds fabulous and I think it's an extraordinarily fine document of the stage show. While it doesn't deviate much from the stage material, the film has given it an even deeper emotional centre. It's not based on the theatre visually or direction-wise, but it's still got exactly the same essence. And that's all I could have ever hoped for."
— Andrew Lloyd Webber[4]
Despite having been impressed with the cast, Jonathan Rosenbaum of the Chicago Reader wrote that "Teen romance and operetta-style singing replace the horror elements familiar to film-goers, and director Joel Schumacher obscures any remnants of classy stage spectacle with the same disco overkill he brought to Batman Forever."[38] Stephanie Zacharek of Salon.com believed that Phantom of the Opera "takes everything that's wrong with Broadway and puts it on the big screen in a gaudy splat."[39]
In a mixed review for Newsweek, David Ansen praised Emmy Rossum's performance, but criticised the film makers for their focus on visual design rather than presenting a cohesive storyline. "Its kitschy romanticism bored me on Broadway and it bores me here—I may not be the most reliable witness. Still, I can easily imagine a more dashing, charismatic Phantom than Butler's. Rest assured, however, Lloyd Webber's neo-Puccinian songs are reprised and reprised and reprised until you're guaranteed to go out humming."[40] Owen Gleiberman of Entertainment Weekly believed Schumacher did not add enough dimension in adapting The Phantom of the Opera. "Schumacher, the man who added nipples to Batman's suit, has staged Phantom chastely, as if his job were to adhere the audience to every note."[41]
Roger Ebert reasoned that "Part of the pleasure of movie-going is pure spectacle—of just sitting there and looking at great stuff and knowing it looks terrific. There wasn't much Schumacher could have done with the story or the music he was handed, but in the areas over which he held sway, he has triumphed."[42] In contrasting between the popularity of the Broadway musical, Michael Dequina of Film Threat magazine explained that "it conjures up this unexplainable spell that leaves audiences sad, sentimental, swooning, smiling—in some way transported and moved. Now, in Schumacher's film, that spell lives on."[43]
See also[edit]
The Phantom of the Opera (2004 soundtrack)
The Phantom of the Opera
References[edit]
1.Jump up ^ "Andrew Lloyd Webber's The Phantom of the Opera (12A)". British Board of Film Classification. 2004-08-26. Retrieved 2013-03-04.
2.^ Jump up to: a b c d e "The Phantom of the Opera (2004)". Box Office Mojo. Retrieved March 18, 2013.
3.Jump up ^ Michelle Zaromski (2003-04-29). "An Interview with Michael Jakson". IGN. Retrieved 2009-09-25.
4.^ Jump up to: a b c d DVD production notes
5.Jump up ^ Lynn Hirschberg (2005-03-13). "Trading Faces". The New York Times.
6.^ Jump up to: a b Staff (2004-08-10). "Movie Preview: The Phantom of the Opera". Entertainment Weekly. Retrieved 2009-09-25.
7.Jump up ^ Michael Fleming (2003-03-13). "'Men' treads carefully into sequel territory". Variety. Retrieved 2009-09-20.
8.Jump up ^ "Anne Hathaway: Biography". TV Guide. Retrieved October 19, 2009.
9.^ Jump up to: a b Phoebe Hoban (2004-12-24). "In the 'Phantom' Movie, Over-the-Top Goes Higher". The New York Times.
10.^ Jump up to: a b c d The Making of The Phantom of the Opera, [DVD, 2005], Warner Home Video
11.Jump up ^ Susan Heller Anderson (1990-03-31). "Chronicle". The New York Times.
12.Jump up ^ Lawrence Van Gelder (1990-08-10). "At the Movies". The New York Times.
13.Jump up ^ Staff (2004-08-10). "Movie Preview: The Phantom of the Opera". Entertainment Weekly. Retrieved 2009-09-25.
14.Jump up ^ Todd Gilchrist (2004-12-20). "Interview: Joel Schumacher". IGN. Retrieved 2009-09-26.
15.Jump up ^ Michael Fleming (2003-04-01). "'Phantom' cues Wilson for tuner's adaptation". Variety. Retrieved 2009-09-20.
16.Jump up ^ Michael Fleming (1997-02-21). "Helmer's 3rd At Bat". Variety. Retrieved 2009-09-19.
17.Jump up ^ Michael Fleming (1997-05-15). "Krane Takes Bull By Horns". Variety. Retrieved 2009-09-19.
18.^ Jump up to: a b Michael Fleming (2003-01-09). "Lloyd Webber back on 'Phantom' prowl". Variety. Retrieved 2009-09-19.
19.Jump up ^ Adam Dawtrey (2003-06-13). "'Phantom' pic announces latest castings". Variety. Retrieved 009-09-20.
20.Jump up ^ Staff (2003-10-01). "Production Commences On 'Andrew Lloyd Webber's The Phantom of the Opera'". Box Office Mojo. Retrieved 2009-09-26.
21.Jump up ^ Skweres, Mary Ann (2004-12-22). "Phantom of the Opera: A Classic in Miniature". Animation World Network. Retrieved 2009-12-23.
22.Jump up ^ Missy Schwartz (2004-11-05). "Behind the Music". Entertainment Weekly. Retrieved 2009-09-25.
23.Jump up ^ Gentile, Gary (2004-12-28). "Audiences glad to 'Meet the Fockers'". Associated Press. Retrieved 2011-02-16.[dead link]
24.Jump up ^ Snyder, Gabriel (2005-01-13). "'Fockers' finds foes". Variety. Retrieved 2011-02-16.
25.Jump up ^ Blank, Ed (2005-01-18). "'Coach Carter' tops local, national box office in slow weekend". Pittsburgh Tribune-Review. Retrieved 2011-02-16.
26.Jump up ^ Gans, Andrew (2005-01-21). ""The Phantom of the Opera" Opens Nationwide Jan. 21". Playbill. Retrieved 2011-02-16.
27.Jump up ^ "Weekend Box Office Results for January 21–23, 2005". Box Office Mojo. Retrieved 2011-02-16.
28.Jump up ^ Bresnan, Conor (2005-02-02). "Around the World Round Up: 'Fockers' Inherit the World". Box Office Mojo. Retrieved 2011-02-16.
29.Jump up ^ "MOVIES WITH BOX OFFICE GROSS RECEIPTS EXCEEDING 1 BILLION YEN". Motion Picture Producers Association of Japan. Retrieved 2011-02-16.
30.Jump up ^ "2005 Japan Yearly Box Office". Box Office Mojo. Retrieved 2011-02-16.
31.Jump up ^ "The Phantom of the Opera - International Box Office Results". Box Office Mojo. Retrieved 2011-02-16.
32.Jump up ^ "The Phantom of the Opera". Academy of Motion Picture Arts and Sciences. Retrieved 2009-10-14.
33.Jump up ^ "Phantom of the Opera, The". Hollywood Foreign Press Association. Retrieved 2009-10-14.
34.Jump up ^ "Past Saturn Awards". Academy of Science Fiction, Fantasy & Horror Films. Retrieved 2009-10-14.
35.Jump up ^ "2005 Saturn Awards Nominations". Academy of Science Fiction, Fantasy & Horror Films. Retrieved 2009-10-14.
36.Jump up ^ "Andrew Lloyd Webber's The Phantom of the Opera". Rotten Tomatoes. Retrieved 2009-09-19.
37.Jump up ^ "Andrew Lloyd Webber's The Phantom of the Opera". Metacritic. Retrieved 2009-09-19.
38.Jump up ^ Jonathan Rosenbaum (2004-12-20). "The Phantom of the Opera". Chicago Reader. Retrieved 2009-10-06.
39.Jump up ^ Stephanie Zacharek (2004-12-22). "The Phantom of the Opera". Salon.com. Retrieved 2009-10-06.
40.Jump up ^ David Ansen (2004-12-20). "The Phantom of the Opera: Into the Night". Newsweek. Retrieved 2009-10-09.
41.Jump up ^ Owen Gleiberman (2005-01-15). "The Phantom of the Opera". Entertainment Weekly. Retrieved 2009-10-09.
42.Jump up ^ Roger Ebert (2004-12-22). "The Phantom of the Opera". Chicago Sun-Times. Retrieved 2009-10-09.
43.Jump up ^ Michael Dequina (2004-12-22). "Andrew Lloyd Webber's The Phantom of the Opera". Film Threat. Archived from filmthreat .com/Reviews.asp?Id=6784 the original on 2005-04-11. Retrieved 2009-10-09.
External links[edit]
 Wikiquote has a collection of quotations related to: The Phantom of the Opera (2004 film)
Official website
The Phantom of the Opera at the Internet Movie Database
Michael Williams; Benedict Carver (1998-04-05). "Banderas drawn to 'Phantom'". Variety.


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The Phantom of the Opera (1986 musical)
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"The Phantom of the Opera (musical)" redirects here. For other musicals based on the Gaston Leroux novel, see The Phantom of the Opera (disambiguation).

The Phantom of the Opera
Phantom.jpg
Logo

Music
Andrew Lloyd Webber
Lyrics
Charles Hart
Richard Stilgoe (additional)
Book
Andrew Lloyd Webber
Richard Stilgoe[1]
Basis
Le Fantôme de l'Opéra
 by Gaston Leroux
Premiere
9 October 1986 – Her Majesty's Theatre, London
Productions
1986 West End
 1988 Broadway
 1989 Toronto, Canada
 1991 First US Tour
 1992 Second US Tour
 1993 San Francisco
 2004 Film Adaptation
 2005 São Paulo
 2006 Las Vegas Spectacular
 2008 Third US Tour
 2011 25th Anniversary
 2009 Buenos Aires
 2012 UK Tour
 2013 25th Anniversary on Broadway
 2013 North American Tour
 2014-2015 North American Tour
 2013 Hamburg Revival
 2014 Moscow
 2014 Philadelphia
 2014 Tartu
 2014 Prague
 2015 Helsinki
 Various international and amateur productions
Awards
1986 Laurence Olivier Award for Best New Musical
 1988 Tony Award for Best Musical
The Phantom of the Opera is a musical with music by Andrew Lloyd Webber and lyrics by Charles Hart with additions from Richard Stilgoe. Lloyd Webber and Stilgoe also wrote the musical's book together.[1] Based on the French novel Le Fantôme de l'Opéra by Gaston Leroux, its central plot revolves around a beautiful soprano, Christine Daaé, who becomes the obsession of a mysterious, disfigured musical genius.
The musical opened in London's West End in 1986, and on Broadway in 1988. It won the 1986 Olivier Award and the 1988 Tony Award for Best Musical, and Michael Crawford (in the title role) won the Olivier and Tony Awards for Best Actor in a Musical.[2] It is the longest running show in Broadway history by a wide margin, and celebrated its 10,000th Broadway performance on 11 February 2012, the first production ever to do so.[3] It is the second longest-running West End musical, after Les Misérables, and the third longest-running West End show overall, after The Mousetrap.[4][5][6]
With total estimated worldwide gross receipts of over $5.6 billion (the highest in history) and total Broadway gross of US$845 million (surpassed only by The Lion King),[7] Phantom is the most financially successful entertainment event to date.[8][9] By 2011 it had been seen by over 130 million people in 145 cities in 27 countries, and continues to play in both London and New York.[8]


Contents  [hide]
1 Development 1.1 Idea
1.2 Lyricists
1.3 Score
1.4 Design, direction, and choreography
1.5 First preview at Sydmonton
1.6 West End
1.7 Broadway
1.8 Amateur productions
2 Synopsis 2.1 Prologue
2.2 Act I
2.3 Act II
3 Casting 3.1 Original Casts
4 Musical numbers
5 Orchestration
6 Recordings 6.1 Certifications 6.1.1 Original 1986 London production sales and certifications
6.1.2 Local productions sales and certifications
6.1.3 Highlights From The Phantom of the Opera sales and certifications

7 Allegations of plagiarism
8 Other productions 8.1 Feature film version
8.2 Phantom: The Las Vegas Spectacular
9 Copyright release
10 Awards and nominations 10.1 Original London production
10.2 Original Broadway production
11 Sequel
12 See also
13 Notes
14 External links

Development[edit]
Idea[edit]
In 1984 Lloyd Webber contacted Cameron Mackintosh, the co-producer of Cats and Song and Dance, to propose a new musical. He was aiming for a romantic piece, and suggested Gaston Leroux's book The Phantom of the Opera as a basis. They screened both the 1925 Lon Chaney and the 1943 Claude Rains motion picture versions, but neither saw an effective way to make the leap from film to stage. Later, in New York, Lloyd Webber found a second-hand copy of the original, long-out-of-print Leroux novel, which supplied the necessary inspiration to develop a musical:

"I was actually writing something else at the time, and I realized that the reason I was hung up was because I was trying to write a major romantic story, and I had been trying to do that ever since I started my career. Then with the Phantom, it was there!"[10]
Lyricists[edit]
Lloyd Webber first approached Jim Steinman to write the lyrics because of his "dark obsessive side", but he declined in order to fulfill his commitments on a Bonnie Tyler album.[11] Alan Jay Lerner was then recruited, but he became seriously ill after joining the project and was forced to withdraw; none of his contributions (mostly involving the song "Masquerade") are credited in the show.[12][13] Richard Stilgoe, the lyricist for Starlight Express, wrote most of the original lyrics for the production. Charles Hart, a young and then-relatively unknown lyricist, later rewrote many of the lyrics, along with original lyrics for "Think of Me". Some of Stilgoe's original contributions are still present in the final version, however.[14]
Score[edit]
Inspired in part by an earlier musical version of the same story by Ken Hill,[15] Lloyd Webber's score is sometimes operatic in style but maintains the form and structure of a musical throughout. The full-fledged operatic passages are reserved principally for subsidiary characters such as Andre and Firmin, Carlotta, and Piangi. They are also used to provide the content of the fictional "operas" that are taking place within the show itself, viz., Hannibal, Il Muto, and the Phantom's masterwork, Don Juan Triumphant. "Here, Lloyd Webber pastiched various styles from the grand operas of Meyerbeer through to Mozart and even Gilbert and Sullivan."[16] These pieces are often presented as musical fragments, interrupted by dialogue or action sequences in order to clearly define the musical's "show within a show" format. The musical extracts from the Phantom's opera, "Don Juan Triumphant", during the latter stages of the show, are dissonant and modern—"suggesting, perhaps, that the Phantom is ahead of his time artistically".[17]
Design, direction, and choreography[edit]
Maria Björnson designed the sets and over 200 costumes, including the elaborate gowns in the "Masquerade" sequence. Her set designs, including the chandelier, subterranean gondola, and sweeping staircase, earned her multiple awards.[18][19] Hal Prince, director of Cabaret, Candide, Follies, and Lloyd Webber's Evita, directed the production, while Gillian Lynne, associate director and choreographer of Cats, provided the integral musical staging and choreography.
First preview at Sydmonton[edit]
A preview of the first act was staged at Sydmonton (Lloyd Webber's home) in 1985, starring Colm Wilkinson (later the star of the Toronto production) as the Phantom, Sarah Brightman as Kristin (later Christine) and Clive Carter (later a member of the London cast) as Raoul. This very preliminary production used Richard Stilgoe's original unaltered lyrics, and many songs sported names that were later changed, such as "What Has Time Done to Me" ("Think of Me"), and "Papers" ("Notes"). The Phantom's original mask covered the entire face and remained in place throughout the performance, obscuring the actor's vision and muffling his voice. Björnson designed the now-iconic half-mask to replace it, and the unmasking sequence was added.[14] Clips of this preview performance were included on the DVD of the 2004 film production.[20]
West End[edit]
Phantom began previews at Her Majesty's Theatre in London's West End on 27 September 1986 under the direction of Hal Prince, then opened on 9 October. It was choreographed by Gillian Lynne and the sets were designed by Maria Björnson, with lighting by Andrew Bridge.[21] Michael Crawford starred in the title role with Sarah Brightman as Christine and Steve Barton as Raoul. The production, still playing at Her Majesty's, celebrated its 10,000th performance on 23 October 2010, with Lloyd Webber and the original Phantom, Michael Crawford, in attendance. It is the second longest-running musical in West End (and world) history behind Les Misérables, and third overall behind The Mousetrap.[22][23]
A 25th-anniversary stage performance was held in London on 1 and 2 October 2011 at the Royal Albert Hall and was screened live in cinemas worldwide.[24] The production was produced by Cameron Mackintosh, directed by Laurence Connor, musical staging & choreography by Gillian Lynne, set design by Matt Kinley, costume design by Maria Björnson, lighting design by Patrick Woodroffe and sound design by Mick Potter. The cast included Ramin Karimloo as the Phantom, Sierra Boggess as Christine, Hadley Fraser as Raoul, Wynne Evans as Piangi, Wendy Ferguson as Carlotta, Barry James as Monsieur Firmin, Gareth Snook as Monsieur Andre, Liz Robertson as Madame Giry and Daisy Maywood as Meg Giry. Lloyd Webber and several original cast members, including Crawford and Brightman, were in attendance. A DVD and Blu-ray of the performance was released in February 2012,[25] and it began airing in March 2012 on PBS's "Great Performances" television series.[24]
In March 2012 a new production directed by Laurence Connor began a UK and Ireland tour to commemorate the 25th anniversary of the show, beginning at the Theatre Royal Plymouth and traveling to Manchester, Bristol, Dublin, Leeds, Edinburgh, Milton Keynes, Cardiff and Southampton. John Owen-Jones and Earl Carpenter alternate as the Phantom with Katie Hall as Christine and Simon Bailey as Raoul.[26]
Broadway[edit]
Phantom began Broadway previews at the Majestic Theatre on 9 January 1988 and opened on 26 January.[9][27] Crawford, Brightman, and Barton reprised their respective roles from the West End. The production continues to play at the Majestic, where it became the first Broadway musical in history to surpass 10,000 performances on 11 February 2012.[28] On 26 January 2013 the production celebrated its 25th anniversary with its 10,400th performance.[29] It is, by over 3,000 performances, the longest-running show in Broadway history.[21]
Amateur productions[edit]
In 2013 the rights to perform "Phantom" were released to non-professional groups.[30] CLOC musical theatre staged the world amateur premier in May 2013 at the National Theatre in Melbourne, Australia. In June 2013 Windmill Theatre Company staged the production at the Drum Theatre in Dandenong. Also in June 2013, Wellington Musical Theatre debuted the New Zealand premiere starring Chris Crowe and Barbara Graham.
Synopsis[edit]
Prologue[edit]
On the stage of the fictional Opéra Populaire in 1905,[31][32] an auction of old theatrical props is underway. Lot 665, purchased by the elderly Raoul, Vicomte de Chagny, is a papier-mâché music box in the shape of a monkey. He eyes it sadly, noting that its details appear "exactly as she said". Lot 666 is a shattered chandelier that, the auctioneer explains, has a connection to "the strange affair of the Phantom of the Opera, a mystery never fully explained". As the chandelier is uncovered, its lamps flicker to life and it magically rises over the audience to its original position in the rafters. As it ascends, the years roll back and the Opéra returns to its 1880s grandeur. ("Overture")
Act I[edit]
It is now 1881.[33] As Carlotta, the Opéra's resident soprano prima donna, rehearses for that evening's performance, a backdrop collapses without warning. "The Phantom! He's here!" the anxious cast members whisper. The Opera's new owners, Firmin and André, try to downplay the incident, but Carlotta refuses to continue and storms offstage. Madame Giry, the Opéra's ballet mistress, tells Firmin and André that Christine Daaé, a Swedish chorus girl and orphaned daughter of a prominent violinist, has been "well taught" and could sing Carlotta's role. With cancellation of the performance their only alternative, the owners reluctantly audition Christine, and to their surprise she is equal to the challenge. ("Think of Me")



 Michael Crawford and Sarah Brightman performing the title song
Backstage after her triumphant début, Christine confesses to her best friend Meg (Madame Giry's daughter) that she knows her mysterious teacher only as an invisible "Angel of Music" ("Angel of Music"). The Opera's new patron, Raoul, the Vicomte de Chagny, finds Christine, his old childhood playmate, in her dressing room. ("Little Lotte") Christine reminisces with Raoul about the "Angel of Music" stories that her late father used to tell them and confides that the Angel has visited her and taught her to sing. Raoul laughs at her "fantasies" and invites her to dinner. He exits and a jealous Phantom appears in Christine's mirror in the guise of The Angel of Music. ("The Mirror/Angel of Music (Reprise)") Christine begs him to reveal himself and The Phantom obliges, then guides her into a ghostly underground realm. ("The Phantom of the Opera") They cross a subterranean lake to his secret lair beneath the opéra house. The Phantom explains that he has chosen Christine to sing his music and enchants her with his own sublime voice. ("The Music of the Night") Christine sees a mannequin resembling herself in a wedding dress, and when the mannequin suddenly moves, she faints. The Phantom picks her up and places her gently on a bed.
As the Phantom composes music at his organ, Christine awakens to the sound of the monkey music box. ("I Remember…") She slips behind the Phantom, lifts his mask, and beholds his real face. The Phantom rails at her curiosity, then ruefully expresses his longing to look normal—and to be loved by her. ("Stranger Than You Dreamt It")
Meanwhile, inside the opéra house, Joseph Buquet, the Opéra's chief stagehand—who, like Madame Giry, inexplicably knows much about the Phantom—regales everyone with tales of the "Opéra Ghost" and his terrible Punjab lasso. ("Magical Lasso") Madame Giry warns Buquet to exercise restraint. In the managers' office, Madame Giry delivers a note from the Phantom: He demands that Christine replace Carlotta in the new opera, Il Muto, or there will be a terrible disaster "beyond imagination". ("Notes…") Firmin and André assure the enraged Carlotta that she will remain the star, ("Prima Donna") but during her performance, ("Poor Fool, He Makes Me Laugh") the Phantom reduces her voice to a frog-like croak. A ballet interlude begins, to keep the audience entertained—but a series of menacing shadows can be seen on the backdrop. Suddenly the corpse of Buquet, hanging from the Punjab lasso, drops from the rafters. Firmin and André plead for calm as the Phantom's diabolical laughter is heard.
In the ensuing mêlée, Christine escapes with Raoul to the roof, where she tells him about her subterranean rendezvous with the Phantom. Raoul is skeptical, ("Why Have You Brought Me Here?/Raoul, I've Been There") but swears to love and to protect her always. ("All I Ask of You") The Phantom, who has overheard their conversation, is heartbroken. As he angrily vows revenge against Raoul, ("All I Ask of You (Reprise)") the Opéra's mighty chandelier crashes to the stage as the curtain falls.
Act II[edit]



 Steve Barton and Sarah Brightman in the final scene
Six months later, in the midst of the gala masquerade ball, the Phantom, costumed as the Red Death, makes his first appearance since the chandelier disaster. ("Masquerade/Why So Silent?") He announces to the stunned guests that he has written an opera entitled Don Juan Triumphant. He demands that it be produced immediately, with Christine (who is now engaged to Raoul) in the lead role, and warns of dire consequences if it is not. He seizes Christine's engagement ring and vanishes in a flash of fire and smoke. Raoul demands that Madame Giry tell him about the Phantom. She reluctantly replies that he is a brilliant musician and magician born with a terrifyingly deformed face, who escaped from captivity in a traveling freak show and disappeared.
During rehearsals, Raoul hatches a plan to use Don Juan Triumphant as a trap to capture the Phantom, knowing the Phantom will be sure to attend its première. ("Notes/Twisted Every Way") Christine, torn between her love for Raoul and her gratitude for the Phantom's teaching, visits her father's grave, longing for his guidance. ("Wishing You Were Somehow Here Again") The Phantom appears, again under the guise of the Angel of Music. ("Wandering Child") Christine nearly falls under his spell, but Raoul arrives to rescue her. The Phantom taunts Raoul, launching fiery missiles at him, ("Bravo Monsieur") until Christine begs Raoul to leave with her. Furious, the Phantom sets fire to the cemetery.
Don Juan Triumphant opens with Christine and Ubaldo Piangi, the Opéra's principal tenor, singing the lead roles. ("Don Juan") During their duet, Christine suddenly realizes that she is singing not with Piangi, but with the Phantom himself. ("The Point of No Return") He expresses his love for her and gives her his ring, but Christine rips off his mask, exposing his deformed face to the shocked audience. As Piangi is found strangled to death backstage, the Phantom seizes Christine and flees the theatre. An angry mob led by Meg searches the theatre for the Phantom, while Madame Giry directs Raoul to the Phantom's subterranean lair, and warns him to beware his Punjab lasso.
In the lair Christine is forced to don the doll's wedding dress. ("Down Once More/Track Down This Murderer") Raoul arrives, but the Phantom captures him with his lasso. He tells Christine that he will free Raoul if she agrees to stay with him forever; if she refuses, Raoul will die. ("Final Lair") Christine tells the Phantom that it is his soul that is deformed, not his face, and kisses him. The Phantom, having experienced kindness and compassion for the first time, sets them both free. Christine returns the Phantom's ring to him, and he tells her he loves her. She cries, forces herself to turn away, and exits with Raoul. The Phantom, weeping, huddles on his throne and covers himself with his cape. The mob storms the lair and Meg pulls away the cape—but the Phantom has vanished; only his mask remains.[34]
Casting[edit]
Original Casts[edit]
The original casts of the major productions of The Phantom of the Opera:[35][36]

Character
Original West End Cast
Original Broadway Cast
Original Canadian Cast
Original Las Vegas Cast

The Phantom of the Opera
Michael Crawford Colm Wilkinson Brent Barrett
Anthony Crivello‡
Christine Daaé
Sarah Brightman
Claire Moore† Sarah Brightman
Patti Cohenour† Rebecca Caine
 Susan Cuthbert Sierra Boggess
 Elizabeth Loyacano‡
Raoul, Vicomte de Chagny
Steve Barton Byron Nease Tim Martin Gleason
Carlotta Giudicelli
Rosemary Ashe Judy Kaye Lyse Guerin Elena Jeanne Batman
 Geena Jeffries Mattox‡
Madame Giry
Mary Millar Leila Martin Kristina Marie Guiguet Rebecca Spencer
Meg Giry
Janet Devenish Elisa Heinsohn Donna Rubin Brianne Kelly Morgan
Monsieur Richard Firmin
John Savident Nick Wyman Gregory Cross Lawson Skala
Monsieur Gilles André
David Firth Cris Groenendaal Paul Massell John Leslie Wolfe
Ubaldo Piangi
John Aron David Romano Peter Cormican Larry Wayne Morbitt
† The role of Christine Daaé is double-cast in most professional productions. The secondary actress performs the role twice a week (on Broadway, Thursday evening and Saturday matinée).[37]
‡ Three roles (The Phantom, Christine, and Carlotta) were double-cast in the original Las Vegas production, with the two actors in each pair singing alternate performances.[38] Later, Las Vegas casting became identical to that in the Broadway production, with single casting for all characters except Christine.[39]
Notable West End replacementsPhantom
-Dave Willetts -John Owen-Jones -Ramin Karimloo -Peter Jöback -Simon Bowman -Earl Carpenter
Christine
-Claire Moore -Rebecca Caine -Myrra Malmberg -Gina Beck -Rachel Barrell -Leila Benn Harris -Robyn North -Meredith Braun
Raoul
–Michael Ball -John Barrowman -Simon Bowman -Simon Burke -Clive Carter -Killian Donnelly -Ramin Karimloo -Robert Meadmore -Oliver Thornton
Carlotta
–Julia Goss -Margaret Preece -Shan Cothi
Notable Broadway replacementsPhantom
–Timothy Nolen -Steve Barton -Mark Jacoby -Davis Gaines -Thomas James O'Leary -Hugh Panaro -Howard McGillin -Gary Mauer -Brad Little -John Cudia -Peter Jöback -Norm Lewis
Christine
-Lisa Vroman –Patti Cohenour -Rebecca Luker -Rebecca Pitcher -Jennifer Hope Wills -Sierra Boggess
Raoul
-Gary Mauer –Hugh Panaro -Brad Little -John Cudia -Tim Martin Gleason
Monsieur André
–George Lee Andrews
Musical numbers[edit]
Prologue"Overture" – Instrumental
Act IA Rehearsal for Hannibal / "Think of Me (Introduction)" – Carlotta, Piangi, Chorus and Ballet Girls / Carlotta, Ballet Girls, André and Buquet
"Think of Me" – Christine and Raoul
"Angel of Music" – Meg and Christine
"Little Lotte / Angel of Music (Reprise)" – Christine, Raoul, and The Phantom
"The Phantom of the Opera" – The Phantom and Christine
"The Music of the Night" – The Phantom
"I Remember... / Stranger Than You Dreamt It" § – Christine and The Phantom
"Magical Lasso" – Buquet, Meg, Madame Giry, and Ballet Girls
"Notes" – Firmin, André, Raoul, Carlotta, Madame Giry, Meg, Piangi, and The Phantom
"Prima Donna" – Firmin, André, Raoul, Carlotta, Madame Giry, Meg, Piangi, and The Phantom
"Poor Fool, He Makes Me Laugh" – Carlotta, Piangi and Company
"Why Have You Brought Us Here? / Raoul, I've Been There" § – Raoul and Christine
"All I Ask of You" – Raoul and Christine
"All I Ask of You (Reprise)" – Raoul, Christine, and The Phantom
 Act II"Entr’acte" – Instrumental
"Masquerade / Think of Me (Reprise)" – Ensemble, Christine and Raoul
"Why So Silent?" – The Phantom
"Notes (Reprise)" – Firmin, André, Carlotta, Piangi, Raoul, Christine, Madame Giry, and The Phantom
"We Have All Been Blind / Twisted Every Way" § – Raoul, Firmin, André, and Christine
A Rehearsal for Don Juan Triumphant – Carlotta, Piangi, Christine and Chorus
"Wishing You Were Somehow Here Again" – Christine
"Wandering Child / Bravo, Monsieur!" § – Phantom, Christine, and Raoul
Music from Don Juan Triumphant – Piangi, Carlotta, Christine and Company
"The Point of No Return" – The Phantom and Christine
"Down Once More / Track Down This Murderer" § – The Phantom, Christine, Raoul, and Company
"Finale" – Instrumental

Notes:
§ The forward slash used here between two titles indicates two musical numbers about which it is difficult to distinguish when one ends and the other begins. (Such pairs are often merged on recordings into a single track.)
Orchestration[edit]
There are several scores: 27 piece orchestra (original score), 13 piece orchestra (Bus&Truck reduced score), 45 piece orchestra (25th Anniversary score).
The Broadway production utilizes a 27-piece pit orchestra:
Reed I: Flute/Piccolo
Reed II: Flute/Clarinet
Reed III: Oboe/English horn
Reed IV: B-flat Clarinet/Bass Clarinet/E-flat Clarinet
Reed V: Bassoon
 Horns I–III
Trumpets I–II
Trombone
Percussion I–II
Keyboards I–II: Piano, Synthesiser
 Violins I-VIII
Violas I–II
Cellos I–II
Double Bass
Harp

Recordings[edit]
Cast recordings have been made of the London,[40] Austrian,[41] and Canadian productions.[42]
The recording of the 1986 original London cast, released by Polydor Records in 1987, was released in both a single CD Highlights From The Phantom of the Opera and a two CD Phantom of the Opera, both of which have been certified 4× Platinum in the US.[43] Phantom was also certified 3× Platinum in the UK.[44] The Canadian cast recording went 2× Platinum in Canada.[45] In Switzerland, Phantom was certified 3× Platinum and Highlights was certified 2× Platinum.[46] Recordings of the Vienna cast and the Hamburg cast were certified Gold and triple Platinum, respectively, in Germany.[47] The original album recording has sold an alleged 24 million copies worldwide.[48]
A live recording of The Phantom of the Opera at the Royal Albert Hall was released in the UK on 15 November 2011 and subsequently in the U.S. and Canada on 7 February 2012,[49] along with Blu-ray and DVD videos, and a collectors' box set of the Royal Albert concert, the original cast recording, and the sequel, Love Never Dies.[49][50]
Certifications[edit]


Original 1986 London production sales and certifications[edit]

Region
Certification
Sales/shipments


Canada (Music Canada)[51]
2× Platinum 200,000^
New Zealand (RMNZ)[52]
12× Platinum 180,000^
Poland (ZPAV)[53]
Gold 50,000*
Sweden (GLF)[54]
Gold 50,000^
United Kingdom (BPI)[55]
3× Platinum 900,000^
United States (RIAA)[56]
4× Platinum 4,000,000^

*sales figures based on certification alone
^shipments figures based on certification alone
xunspecified figures based on certification alone


Local productions sales and certifications[edit]

Region
Certification
Sales/shipments


Austria (IFPI Austria)[57]
Platinum 50,000x
Canada (Music Canada)[58]
8× Platinum 800,000^
Germany (BVMI)[59]
3× Platinum 1,500,000^
Germany (BVMI)[60]
Gold 250,000^
Sweden (GLF)[61]
Gold 50,000^
Switzerland (IFPI Switzerland)[62]
3× Platinum 150,000x

*sales figures based on certification alone
^shipments figures based on certification alone
xunspecified figures based on certification alone


Highlights From The Phantom of the Opera sales and certifications[edit]

Region
Certification
Sales/shipments


Canada (Music Canada)[63]
8× Platinum 800,000^
Switzerland (IFPI Switzerland)[64]
2× Platinum 100,000x
United States (RIAA)[65]
4× Platinum 4,000,000^

*sales figures based on certification alone
^shipments figures based on certification alone
xunspecified figures based on certification alone





Allegations of plagiarism[edit]
In 1987 the heirs of Giacomo Puccini charged in a lawsuit that the climactic phrase in "Music of the Night" closely resembled a similar phrase in the sequence "Quello che tacete" from Puccini's opera Girl of the Golden West.[66][67] The litigation was settled out of court for an undisclosed amount.[68][69]
In 1990 a Baltimore songwriter named Ray Repp filed a lawsuit alleging that the title song from Phantom was based on a song that he wrote in 1978 called "Till You." After eight years of litigation – including an unsuccessful countersuit by Lloyd Webber claiming that "Till You" was itself a plagiarism of "Close Every Door" from Joseph and the Amazing Technicolor Dreamcoat[70] — the jury found in Lloyd Webber's favor.[71]
Roger Waters has repeatedly claimed in interviews that the signature descending/ascending half-tone chord progression from Phantom's title song was plagiarised from the bass line of a track on the Pink Floyd 1971 album Meddle called "Echoes."[72] He has never taken any legal action ("Life's too long to bother with suing Andrew fucking Lloyd Webber"), but he did add an insulting reference to Lloyd Webber in his song "It's a Miracle": "We cower in our shelters/With our hands over our ears/Lloyd Webber's awful stuff/Runs for years and years and years/An earthquake hits the theatre/But the operetta lingers/Then the piano lid comes down/And breaks his fucking fingers./It's a miracle!".[73]
Other productions[edit]


 This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2013)
Phantom has been translated into several languages and produced in over 28 countries on six continents. With only the exception of Hungary, Poland, New Zealand and the 25th Anniversary UK and US Tours, these productions have all been "clones", using the original staging, direction, sets and costume concepts.[74] International productions include the following:
Argentina: The Argentine production premièred in March 2009 at Buenos Aires' Teatro Ópera and closed 29 November 2009 after 194 performances.
Australia: 1990–1998: Melbourne, Sydney, Brisbane, Adelaide, and Perth; 2007–2009: Melbourne, Brisbane, Sydney, Auckland, Perth and Adelaide, both starring Anthony Warlow. Marina Prior starred as Christine in the original production. In the original Australian production, Rob Guest later took over the title role.[75] The final leg of the recent tour was staged in Adelaide in an arena format featuring giant screens on either side of the stage that presented footage shot simultaneously with the performance. 2013: Canberra starring Michael Cormick with Julie Lea Goodwin starring as Christine from 9–23 August 2013.[76]
Austria: The German language production premiered at the Theater an der Wien in December 1988.[77]
Belgium: The Dutch production was performed in Stadsschouwburg Antwerpen Stadsschouwburg Antwerpen in Antwerp.
Brazil: São Paulo, premièred at Teatro Abril in April 2005.
Canada: The Canadian production of Phantom ran for over ten years (September 20,1989 - October 31,1999) in Toronto, Ontario at the Pantages Theatre, ending abruptly when Livent collapsed. The Music Box Tour (Third U.S. National Tour) played dates across Canada in 2006–2007 including Calgary, Vancouver, Edmonton, Winnipeg, Toronto, Saskatoon and Ottawa.
Canadian International Touring Company: 11 March 1991 – October 1995 toured Canada, Hawaii, Alaska, Hong Kong and Singapore
China: The Shanghai production played 97 performances at the Shanghai Grand Theatre. The World Tour is currently having their sixth season at the Culture Plaza Theatre at Shanghai Culture Square from 3 December 2013 to 26 January 2014.[78]
Denmark: Det Ny Theater, Copenhagen (2000–2001, 2003–2004, 2009)
Finland: Will premiere in Helsinki in 2015 as a Finnish National Opera production in original language.[79]
Germany: "Das Phantom der Oper" opened at the Stage Neue Flora Theatre, Hamburg from 1990 to 2001, the Palladium Theatre in Stuttgart from 2002 to 2004, and at the Colosseum Theatre in Essen from 2005 to 2007. A second Hamburg production is scheduled in December 2013 at the Stage Theatre Neue Flora.
Hong Kong: First tour – at the Hong Kong Cultural Centre Grand Theatre June to October 1995; Second tour – July to August 2006 at the Hong Kong Cultural Centre Grand Theatre.
Hungary: Madách Theatre, Budapest. This production, which began in 2003, was the first to modify the original staging with new sets, costumes and direction.[74] The five hundredth performance on 20 September 2007 featured four successive sets of casts.
Japan: Shiki Productions produced the show in 1988, the first production performed in a language other than English. The production celebrated its 25th Anniversary on 29 April 2013 and finished its run at the Dentsu Shiki Umi Theatre in Tokyo on 15 June.
Mexico: Mexico City, premiered at Teatro Alameda, Centro Cultural Telmex in December 1999.
Netherlands: At the Circus Theatre in Scheveningen. More than 1,000 performances (1993–1996) with Henk Poort as the Phantom.
New Zealand: Opened at the Aotea Centre in Auckland in 1997 and at The Civic, The Edge-Auckland in 2008. A local production (with new designs)[80] opened on 13 June at the St. James Theatre in Wellington[81] and closed on 16 July 2013.
Philippines: The World Tour had its second season from August until October 2012 at the Tanghalang Nicanor Abelardo (Main Theatre) of the Tanghalang Pambansa (National Theatre) in the Cultural Center of the Philippines, featuring sets and several cast members from the 2011 – 2012 South African tour.
Poland: Warsaw production premiered in March 2008 at Teatr Muzyczny Roma, featuring original sets, costumes, and direction; closed June 2010.
Singapore: First tour at the Kallang Theatre from 26 February 1995 to 20 May 1995, 2nd tour at the Esplanade - Theatres on the Bay from 23 March 2007 to 20 May 2007.[82] The World Tour had their fifth season from 16 July to 1 September 2013 at the Grand Theatre, Marina Bay Sands.
South Africa: Opened in 2004 at the Opera House, Artscape Theatre Centre in Cape Town and at the South African State Theatre in Pretoria. A 2011 - 2012 South African tour of the show commenced at the Artscape Theatre in Cape Town and at the Teatro at Montecasino in Johannesburg.
South Korea: A Korean-language production opened in 2001 at the LG Arts Centre in Seoul and in 2009 at Charlotte Theater in Seoul. The World Tour visited in 2005 at the Opera House, Seoul Arts Center in Seoul. In December 2012, the World Tour had their third season at the Blue Square Music Hall in Seoul for the Broadway production's 25th Anniversary celebration using sets from the 2011–2012 South African tour featuring several cast members who performed in Manila; closed on March 2013. The World Tour returned to South Korea in Daegu at the Daegu Arts Center Keimyung; opened 27 February 2014.
Spain: Madrid, premiered at Teatro Lope de Vega on 4 September 2002.
Sweden: 1989–1995, Oscarsteatern, Stockholm. More than 1,000 performances. Starring Mikael Samuelson as the Phantom.
Switzerland: Performed in both English and German at the Musical Theatre Messe Basel in Switzerland for over a year in 1996–1997.
Taiwan: began on 18 January 2006 at National Theater and Concert Hall (Taiwan) and July 2009 at Taipei Arena, with Brad Little as the Phantom. The World Tour will return to Taiwan on 11 September 2014 at the Taipei Arena.
Thailand: The World Tour had their fourth season at the Muangthai Rachadalai Theatre in Bangkok from 7 May to 9 June 2013.
United States: Los Angeles (1989–1993), San Francisco (1993–1999). A US National tour commenced in 1991 in Los Angeles, and closed on 31 October 2010 at the Pantages Theatre in Hollywood, California, after nearly 2 decades. The closing night performance was attended by many former cast- and crew-members, including Andrew Lloyd Webber and Sarah Brightman.[83]
Feature film version[edit]
A film version, directed by Joel Schumacher and starring Gerard Butler as the Phantom, Emmy Rossum as Christine, Patrick Wilson as Raoul, Minnie Driver as Carlotta, and Miranda Richardson as Madame Giry opened in limited release on 22 December 2004 in the U.S. and later in nationwide release on 21 January 2005.[84]
Phantom: The Las Vegas Spectacular[edit]
An edited production renamed Phantom – The Las Vegas Spectacular opened 24 June 2006 at The Venetian Resort Hotel Casino in Las Vegas, Nevada, in a theatre built specifically for the show to resemble the Opéra Garnier in Paris.[85] The production ran 95 minutes with no intermission, and was directed and choreographed by Harold Prince and Gillian Lynne, with scenic designs by David Rockwell. The show featured updated technology and effects, including a re-engineered chandelier capable of reassembling in midair during the overture while the entire interior of the venue (not merely the stage) returned to its 1880s halcyon days.[38] Almost 45 minutes' worth of material was eliminated, such as the Don Juan Triumphant rehearsal. "Poor Fool, He Makes Me Laugh" and "The Point of No Return" were significantly shortened.[38] Other changes resembled those in the 2004 film, such as staging the chandelier crash at the plot's climax (during performance of "The Point of No Return") rather than mid-story.[39][86] The Las Vegas production closed on 2 September 2012.
Copyright release[edit]
In 2011 The Really Useful Group (copyright owners of Phantom) released certain rights to the play in celebration of its 25th anniversary. In April 2011 Central High School in Knoxville, Tennessee became the first school to perform Phantom under the new rights.[87][88]
Awards and nominations[edit]
Original London production[edit]

Year
Award Ceremony
Category
Nominee
Result
1986 Laurence Olivier Award[89][90] Best New Musical Won
Best Actor in a Musical Michael Crawford Won
Designer of the Year Maria Björnson Nominated
2002 Most Popular Show Won
Original Broadway production[edit]

Year
Award Ceremony
Category
Nominee
Result
1988 Drama Desk Award Outstanding Musical Nominated
Outstanding Actor in a Musical Michael Crawford Won
Outstanding Actress in a Musical Sarah Brightman Nominated
Outstanding Director of a Musical Harold Prince Won
Outstanding Music Andrew Lloyd Webber Won
Outstanding Orchestrations David Cullen and Andrew Lloyd Webber Won
Outstanding Set Design Maria Björnson Won
Outstanding Costume Design Won
Outstanding Lighting Design Andrew Bridge Won
Tony Award[91] Best Musical Won
Best Performance by a Leading Actor in a Musical Michael Crawford Won
Best Performance by a Featured Actress in a Musical Judy Kaye Won
Best Direction of a Musical Harold Prince Won
Best Book of a Musical Richard Stilgoe and Andrew Lloyd Webber Nominated
Best Original Score Andrew Lloyd Webber, Charles Hart and Richard Stilgoe Nominated
Best Scenic Design Maria Björnson Won
Best Costume Design Won
Best Lighting Design Andrew Bridge Won
Best Choreography Gillian Lynne Nominated
Sequel[edit]
Main article: Love Never Dies (musical)
The sequel to Phantom, written by Lloyd Webber, Glenn Slater and Ben Elton with lyrics by Slater, is called Love Never Dies.[92] It was loosely adapted from the 1999 novel The Phantom of Manhattan by Frederick Forsyth in collaboration with Lloyd Webber. Set in 1907 (a decade after the conclusion of Phantom according to the production's announcement,[93] but actually 26 years later, as the original show was set in 1881[33]), Christine is invited to perform at Phantasma, a new attraction at Coney Island, by an anonymous impresario. With her husband Raoul and son Gustave in tow she journeys to Brooklyn, unaware that it is the Phantom who has arranged her appearance at the popular beach resort.[93][94]
The original production was directed by Jack O'Brien and choreographed by Jerry Mitchell with set and costume designs by Bob Crowley,[92] and opened at the Adelphi Theatre in the West End on 9 March 2010.[95] Though it ran for over 17 months and closed on 27 August 2011, the production received mixed reviews.[96][97][98] A scheduled Broadway opening in November 2010 was postponed until Spring 2011[99] and later canceled.[100] A revamped Australian production, starring Ben Lewis and Anna O'Byrne, opened 21 May 2011 at the Regent Theatre in Melbourne to more favorable notices.[101][102][103][104] After the Melbourne run ended on 12 December 2011 the production moved to the Capitol Theatre in Sydney where it played from January to April 2012.[105][106]
See also[edit]
Phantom
List of best-selling albums in New Zealand
List of best-selling albums worldwide
Love Never Dies
Notes[edit]


 This article uses bare URLs for citations, which may be threatened by link rot. Please consider adding full citations so that the article remains verifiable. Several templates and the Reflinks tool are available to assist in formatting. (Reflinks documentation) (July 2014)
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41.Jump up ^ Discogs.com entry "Das Phantom Der Oper"
42.Jump up ^ Discogs.com entry "The Phantom Of The Opera" Original Canadian Cast
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44.Jump up ^ "British album certifications – Phantom of the Opera". British Phonographic Industry. Enter Phantom of the Opera in the field Search. Select Title in the field Search by. Select album in the field By Format. Click Go
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47.Jump up ^ "Gold-/Platin-Datenbank ('Das Phantom der Oper')" (in German). Bundesverband Musikindustrie.
48.Jump up ^ Murray, Rebecca. "Phantom of the Opera Soundtrack List". Sony Classical Records. About.com. Retrieved 2012-12-03.
49.^ Jump up to: a b http://www.thephantomoftheopera.com/news/latest-news/phantom-live-in-cinemas-for-25th-anniversary
50.Jump up ^ http://broadwayworld.com/article/Details-Revealed-for-THE-PHANTOM-OF-THE-OPERA-25th-Anniversary-Box-Set-20110905
51.Jump up ^ "Canadian album certifications – Andrew Lloyd Webber – Phantom of the Opera". Music Canada. Retrieved 7 August 2012.
52.Jump up ^ Scapolo, Dean (2007). The Complete New Zealand Music Charts: 1966–2006. Wellington: Dean Scapolo and Maurienne House. p. 12. ISBN 978-1877443-00-8.
53.Jump up ^ "Polish album certifications – Andrew Lloyd Webber – Phantom of the Opera" (in Polish). Polish Producers of Audio and Video (ZPAV). Retrieved 7 August 2012.
54.Jump up ^ "Guld- och Platinacertifikat − År 1987−1998" (PDF) (in Swedish). IFPI Sweden. Retrieved 7 August 2012.
55.Jump up ^ "British album certifications – Stage Cast Recordings – Phantom of the Opera". British Phonographic Industry. Retrieved 7 August 2012. Enter Phantom of the Opera in the field Search. Select Title in the field Search by. Select album in the field By Format. Click Go
56.Jump up ^ "American album certifications – Andrew Lloyd Webber – Phantom of the Opera". Recording Industry Association of America. Retrieved 7 August 2012. If necessary, click Advanced, then click Format, then select Album, then click SEARCH
57.Jump up ^ "Austrian album certifications – Diverse – Phantom der Oper" (in German). IFPI Austria. Retrieved 7 August 2012. Enter Diverse in the field Interpret. Enter Phantom der Oper in the field Titel. Select album in the field Format. Click Suchen
58.Jump up ^ "Canadian album certifications – Various Artists – The Phantom of the Opera". Music Canada. Retrieved 7 August 2012.
59.Jump up ^ "Gold-/Platin-Datenbank (Musical Hamburg; 'Musical Hamburg – Das Phantom der Oper')" (in German). Bundesverband Musikindustrie. Retrieved 8 August 2012.
60.Jump up ^ "Gold-/Platin-Datenbank (Musical; 'Musical Wien – Das Phantom der Oper')" (in German). Bundesverband Musikindustrie. Retrieved 8 August 2012.
61.Jump up ^ "Guld- och Platinacertifikat − År 1987−1998" (PDF) (in Swedish). IFPI Sweden. Retrieved 1 November 2012.
62.Jump up ^ "The Official Swiss Charts and Music Community: Awards (Musical; 'Phantom of the Opera (Andrew Lloyd Webber)')". Hung Medien. Retrieved 7 August 2012.
63.Jump up ^ "Canadian album certifications – Various Artists – The Phantom of the Opera (Highlights)". Music Canada. Retrieved 7 August 2012.
64.Jump up ^ "The Official Swiss Charts and Music Community: Awards (Musical; 'Phantom of the Opera (Highlights) (Andrew Lloyd Webber)')". Hung Medien. Retrieved 7 August 2012.
65.Jump up ^ "American album certifications – Andrew Lloyd Webber – Highlights from Phantom of the Opera _Loncon Cast_". Recording Industry Association of America. Retrieved 7 August 2012. If necessary, click Advanced, then click Format, then select Album, then click SEARCH
66.Jump up ^ Hear the Opera Andrew Lloyd Webber Allegedly Plagiarized. SFist. Retrieved 10 September 2010.
67.Jump up ^ Who's Listening to Lloyd Webber? Theatre Communications Group archive Retrieved 7 November 2011
68.Jump up ^ HOW THE WEST WON THE MET (13 June 2010). San Jose Mercury News (CA). Article ID: 1408078
69.Jump up ^ LET'S HEAR 'GIRL OF THE GOLDEN WEST' SING (12 June 2010) San Jose Mercury News (CA). Article ID: 1408152
70.Jump up ^ Andrew Lloyd Webber Loses Round in Battle Over Allegedly Stolen Song (5 December 1996). Seattle Post-Intelligencer Retrieved 10 September 2010.
71.Jump up ^ Lloyd Webber Wins Phantom Battle. BBC News Retrieved 10 September 2010.
72.Jump up ^ "Who the hell does Roger Waters think he is?". Q magazine. November 1992. Retrieved 20 November 2009.
73.Jump up ^ It's a Miracle Lyrics Roger Waters Online
74.^ Jump up to: a b "Official website of the Hungarian production". Theater Madách. Retrieved 23 April 2008.
75.Jump up ^ "Australian Broadcasting Corporation The world Today".
76.Jump up ^ "The Phantom of the Opera - Canberra Theatre Centre". Retrieved 13 October 2013.
77.Jump up ^ "Official website of the German production". Retrieved 23 April 2008.
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79.Jump up ^ "Official press release for production in Finland". Retrieved 14 October 2013.
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83.Jump up ^ "Phantom" To Close at Pantages. neontommy.com Retrieved 27 January 2011.
84.Jump up ^ The Phantom of the Opera (2004) at the Internet Movie Database. Retrieved 31 January 2008
85.Jump up ^ "Phantom: The Las Vegas Spectacular official site". Really Useful Group/Mackintosh Ltd. Retrieved 23 April 2008.
86.Jump up ^ McKenzie, Kristine (3 October 2006). "Phantom: The Las Vegas Spectacular show review — Beloved show lives up to new name". LasVegas.com. Retrieved 23 April 2008.
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89.Jump up ^ "OLIVIER AWARDS 1986". westendtheatre.com. Retrieved 19 July 2010.
90.Jump up ^ "The Laurence Olivier Awards: full list of winners 1976–2008". officiallondontheatre.co.uk. Retrieved 19 July 2010.
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92.^ Jump up to: a b "Love Never Dies: The Show – The Creative Team". LoveNeverDies.com Official Site. Retrieved 19 July 2010.
93.^ Jump up to: a b "Phantom Sequel, Love Never Dies, Now Due in London and on Broadway in March 2010". Playbill. 18 May 2009.
94.Jump up ^ "Love Never Dies: The Show – Background". Love Never Dies (official site).
95.Jump up ^ Bamigboye, Baz. Ramin Karimloo originated the Phantom, and Sierra Boggess played Christine. Joseph Millson, Summer Strallen, and Charlie Manton were all in the original cast of Love Never Dies as well.Watch out for... Daily Mail. 3 April 2009.
96.Jump up ^ "Love Never Dies sees mixed reviews". CBC News. 10 March 2010.[dead link]
97.Jump up ^ "Broadway debut of Love Never Dies is postponed". BBC News. 7 April 2010.
98.Jump up ^ Healy, Patrick (7 April 2010). "Broadway Opening for ‘Love Never Dies’ Is Delayed Until 2011". NY Times.
99.Jump up ^ Gans, Andrew (6 April 2010). "Love Never Dies Postpones Broadway Opening to Spring 2011". Playbill.
100.Jump up ^ Love Never Dies Scraps Plans for Spring Broadway Run
101.Jump up ^ Bedford, Angie. "Love Never Dies Review". The Theatre Channel at Webwombat. Retrieved 27 September 2011.
102.Jump up ^ Solomon, Les (30 May 2011): "Australia's Creative Pride. AussieTheatre.com Retrieved 22 August 2001
103.Jump up ^ Herbert, Kate (30 May 2011): "Australia Never Dies" review. Melbourne Herald Sun archive Retrieved 22 August 2011
104.Jump up ^ Boyd, Chris (30 May 2011): Phantom sequel spectacularly unmasked. The Australian archive Retrieved 22 August 2011
105.Jump up ^ LOVE NEVER DIES Arrives at Sydney's Capitol Theatre
106.Jump up ^ Andrew Lloyd Webber's Love Never Dies Ends Australian Run 1 April
External links[edit]
Official website
The Phantom of the Opera at Playbill Vault
The Phantom of the Opera at the Internet Broadway Database
The Phantom of the Opera (The Guide to Musical Theatre)
Preceded by
Cats Longest-running Broadway show
 2006–present Succeeded by
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Wikipedia book




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Andrew Lloyd Webber musicals

























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The Phantom of the Opera


Books
The Phantom of the Opera (1909–1910) ·
 Phantom (1990) ·
 The Canary Trainer (1993) ·
 The Phantom of Manhattan (1999)
 

Stage adaptations
Phantom of the Opera (1976) ·
 The Phantom of the Opera (1986) ·
 Phantom (1991) ·
 Love Never Dies (2010)
 

Film and television
The Phantom of the Opera (1925) ·
 Song at Midnight (1937) ·
 Phantom of the Opera (1943) ·
 The Phantom of the Opera (1962) ·
 The Phantom of Hollywood (1974) ·
 Phantom of the Paradise (1974) ·
 Opera (1987) ·
 The Phantom of the Opera (1989) ·
 Phantom of the Mall: Eric's Revenge (1989) ·
 The Phantom of the Opera (1990) ·
 The Phantom Lover (1995) ·
 The Phantom of the Opera (1998) ·
 The Phantom of the Opera (2004) ·
 The Phantom of the Opera at the Royal Albert Hall (2011)
 

Characters
Erik ·
 Christine Daaé ·
 Viscount Raoul de Chagny ·
 The Persian ·
 Carlotta ·
 Madame Giry ·
 Meg Giry ·
 Joseph Buquet
 

Songs



Phantom (1986) Act 1

"A Rehearsal for Hannibal" ·
 "Think of Me" ·
 "Angel of Music" ·
 "Little Lotte" ·
 "The Phantom of the Opera" ·
 "The Music of the Night" ·
 "I Remember" ·
 "Stranger Than You Dreamt It" ·
 "Magical Lasso" ·
 "Notes " ·
 "Prima Donna" ·
 "Poor Fool, He Makes Me Laugh" ·
 "Why Have You Brought Us Here?" ·
 "Raoul, I've Been There" ·
 "All I Ask of You"
 


Phantom (1986) Act 2

"Masquerade" ·
 "Why So Silent?" ·
 "We Have All Been Blind" ·
 "Twisted Every Way" ·
 "A Rehearsal for Don Juan Triumphant ·
 "Wishing You Were Somehow Here Again" ·
 "Wandering Child" ·
 "Bravo, Monsieur!" ·
 "Music from Don Juan Triumphant" ·
 "The Point of No Return" ·
 "Down Once More" ·
 "Track Down This Murderer"
 


Other

"Learn to Be Lonely" ·
 "'Til I Hear You Sing"
 


Other
Gaston Leroux ·
 Andrew Lloyd Webber ·
 Ken Hill ·
 Maury Yeston ·
 Don Juan Triumphant ·
 Punjab lasso ·
 Adaptations ·
 Return of the Phantom ·
 Palais Garnier ·
 Lon Chaney (Sr.) ·
 "A Slight at the Opera"
 



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Categories: Albums certified double platinum by the Canadian Recording Industry Association
Albums certified duodecuple platinum by Recorded Music NZ
Albums certified gold by the Polish Producers of Audio and Video
Albums certified gold by the International Federation of the Phonographic Industry of Sweden
Albums certified triple platinum by the British Phonographic Industry
Albums certified multi-platinum by the Recording Industry Association of America
Albums certified platinum by the International Federation of the Phonographic Industry of Austria
Albums certified octuple platinum by the Canadian Recording Industry Association
Albums certified triple platinum by the Bundesverband Musikindustrie
Albums certified gold by the Bundesverband Musikindustrie
Albums certified triple platinum by the International Federation of the Phonographic Industry of Switzerland
Albums certified double platinum by the International Federation of the Phonographic Industry of Switzerland
1986 musicals
Broadway musicals
Compositions by Andrew Lloyd Webber
Laurence Olivier Award winning musicals
Musicals based on novels
The Phantom of the Opera
West End musicals
Tony Award for Best Musical
























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This page was last modified on 31 July 2014 at 00:41.
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http://en.wikipedia.org/wiki/The_Phantom_of_the_Opera_(1986_musical)