The Platypus of the Opera

PROLOGUE

THE STAGE OF THE NEIGHBORHOOD THEATER, 1911

(The proscenium is shrouded on both sides with china silk dust cloths,

stressed and streaked by age. On Stage Center, shrouded, is a chandelier.

The contents of the Opera House are being auctioned off. An AUC-

TIONEER played by MISS ELAINA, THE REST OF TEACHER HARRIET'S STUDENTS, O, JODI. PLATYPUS, and DANIEL TIGER, enter the stage MISS ELAINA directs everyone to the stage

near five now, but still bright of eye, are present.)

MISS ELAINA: Alright ladies and gentlemen gather around and head this way, the rest of the items are on the stage, This way. (The auction commences

with a blow from MISS ELAINA’S gavel)

MISS ELAINA

Sold. Your number, sir? Thank you. Lot 663, then, ladies and gentlemen: a poster for this

house’s production of “Hannibal” by Chalumeau.

PRINCE WEDNESDAY

Showing here.

MISS ELAINA

Do I have ten francs? Five then. Five I am bid. Six, six, do I see seven? Seven. Against

you, sir, seven. Eight. Eight once. Selling twice. Sold…

(Gavel down)

…to Daniel Tiger. Thank you very much. Lot 664 then, ladies and gentle-

men: a wooden pistol and three human skulls from the 1831 production of “Robert le Di-

able” by Meyerbeer. Ten francs for this. Ten, thank you. Ten I am bid. Ten francs still.

Fifteen, thank you sir. Fifteen I am bid. Going at fifteen.

(Gavel down)

Your number, sir? Lot 665, ladies and gentlemen: a papier-mâché musical box in the

shape of a barrel organ. Attached, the figure of a monkey in Persian robes, playing the

cymbals. This item, discovered in the vaults of the theatre, still in working order.

KATERINA KITTYCAT

(Holding it up)

Showing here.

(She sets it in motion. It plays a jangling, faltering rendition of the “Mas-

querade” theme)

MISS ELAINA

May I commence at twenty francs? Oh come, come, ladies and gentlemen. Fifteen, then?

Fifteen I am bid, thank you. Yes, twenty from you, sir, thank you very much.

JODI PLATYPUS

Twenty-five.

MISS ELAINA

Twenty-five on my left, thank you Jodi. Twenty-five I am bid. Thirty? Selling at thirty

francs, then. Thirty once, thirty twice…

(Gavel down)

THE PHANTOM OF THE OPERA

– 8 –

MISS ELAINA

Sold for thirty francs to Daniel. Thank you once again, sir.

DANIEL TIGER

Boy…

(The box is handed across to DANIEL. He studies it as attention focuses on

him for a moment)

Song: PROLOGUE

DANIEL TIGER

(Quietly, half to himself, half to the box)

A COLLECTOR’S PIECE INDEED

EVERY DETAIL EXACTLY AS SHE SAID

SHE OFTEN SPOKE OF YOU, MY FRIEND

YOUR VELVET LINING AND YOUR FIGURINE OF LEAD

WILL YOU STILL PLAY…

WHEN ALL THE REST OF US ARE DEAD?

(Music continues under dialogue)

MISS ELAINA

Lot 666 then: a chandelier in pieces. Some of you may recall the strange affair of the

Phantom of the Opera, a mystery never fully explained. We are told, ladies and gentle-

men, that this is the very chandelier which figures in the famous disaster. Our workshops

have restored it and fitted parts of it with wiring for the new electric light, so that we may

get a hint of how it may look when reassembled. Perhaps we may frighten away the ghost

of so many years with a little illumination. Gentlemen…

Music: OVERTURE

(MISS ELAINA switches on the chandelier. There is an enormous

flash and the OVERTURE begins. During the OVERTURE, the opera

house is restored to its earlier grandeur. The chandelier, immense and

glittering, rises magically from the stage, finally hovering high above the

ORCHESTRA)

THE PHANTOM OF THE OPERA

– 9 –

ACT ONE – Neighborhood of Make Believe, 1881

Scene 1

REHEARSALS FOR “HANNIBAL” BY CHALUMEAU

(We have reached the great choral scene in which HANNIBAL and his

army return to Carthage from the Roman invasion under Scipio. HANNI-

BAL is a MALE DOG; ELISSA, Queen of Carthage (his mistress) is

a FEMALE WOLF. KATERINA KITTYCAT and MISS ELAINA play the

two leading SLAVE GIRLS. CHRISSIE is the Ballet Mistress. FRANKLIN-

, the répétiteur, is in charge. We join the opera towards the end of

ELISSA’S (XELI’S) great aria. She is alone, holding a present from

the approaching HANNIBAL; a bleeding severed head, wearing a Roman

bay wreath)

 Song: HANNIBAL

FEMALE WOLF (ELISSA)

(At the climax of an extravagant cadenza)

THIS TROPHY

FROM OUR SAVIORS, FROM OUR SAVIORS

FROM THE ENSLAVING FORCE OF ROME!

(Enter the rest of the CHORUS: SLAVE GIRLS, a SLAVE MASTER,

FLUNKIES, a LION MAN, a WILDWOMAN and a PRINCESS)

GIRL’S CHORUS

WITH FEASTING AND DANCING AND SONG

TONIGHT IN CELEBRATION

WE GREET THE VICTORIOUS THRONG

RETURNED TO BRING SALVATION

BOY’S CHORUS

THE TRUMPETS OF CARTHAGE RESOUND

HEAR ROMANS NOW AND TREMBLE

HARK TO OUR STEP ON THE GROUND

FULL CHORUS

HEAR THE DRUMS, HANNIBAL COMES!

(The offstage CORPS OF DRUMS crashes in, and approaches. HANNI-

BAL’S ARMY comes in. JACOB, as HANNIBAL, enters)

MALE DOG

SAD TO RETURN TO FIND THE LAND WE LOVE

THREATENED ONCE MORE BY ROMA’S FAR-REACHING GRASP…

THE PHANTOM OF THE OPERA

– 10 –

FRANKLIN

(Entering from offstage, interrupting him)

No, no, no…Signor…if you please: “Rome”. We say “Rome”, not “Roma”.

(A STAGEHAND carries a ladder across the stage. OTHERS are seen still

constructing parts of the scenery. Hammering and shouting is heard)

MALE DOG

Si, si. Rome, not Roma. Is very hard for me.

(Practicing)

Rome…Rome…

(Enter LIZZY BRUIN, the retiring manager of the Opera, with O THE OWL

and PRINCE WEDNESDAY, to whom he has just sold it)

FRANKLIN

Once again, then, if you please, Signor: “Sad to return…”

LIZZY BRUIN

This way, gentlemen, this way. Rehearsals, as you see, are under way for a new produc-

tion of Chalumeau’s “Hannibal”.

(Sensing a hiatus in the rehearsal, she attempts to attract attention)

Ladies and gentlemen, some of you may already, perhaps, have met Prince Wednesday and

O the Owl…

(The new MANAGERS are politely bowing, when FRANKLIN interrupts)

FRANKLIN

I’m sorry, M. Lizzy, we are rehearsing. If you wouldn’t mind waiting a moment?

LIZZY BRUIN

(Bowing apologetically)

My apologies, Monsieur Franklin. Proceed, proceed…

FRANKLIN

Thank you, madame.

(Turning back to JACOB)

“Sad to return…”, Signor…

LIZZY BRUIN

(Sotto voice to PRINCE WEDNESDAY and O)

Franklin, our chief répétiteur, rather a tyrant, I’m afraid.

(The rehearsal continues)

MALE DOG (HANNIBAL)

SAD TO RETURN TO FIND THE LAND WE LOVE

THREATENED ONCE MORE BY ROME’S FAR-REACHING GRASP

(MALE DOG (HANNIBAL))

TOMORROW WE SHALL BREAK THE CHAINS OF ROME

TONIGHT, REJOICE, YOUR ARMY HAS COME HOMA

(HANNIBAL descends and takes ELISSA in his arms. They turn to watch

the dance. The SLAVE GIRLS are on their feet, with finger-cymbals at the

ready. LIZZY, PRINCE WEDNESDAY and O stand Center Stage, watching the

Ballet. They are in the way. The Ballet continues under the following dia-

logue)

LIZZY BRUIN

(Indicating JACOB)

Signor Jacob, our principal Tenor. He does play so well opposite Xeli.

CHRISSIE

(Exasperated by their presence, bangs her crutch angrily on the stage)

Lizzy, Prince Wednesday, O please! If you would kindly stand to one side?

LIZZY BRUIN

My apologies, Chrissie.

 (Leading PRINCE WEDNESDAY and O aside)

Chrissie, our Ballet Mistress. I don’t mind confessing, O, I shan’t be

sorry to be rid of the whole blessed business.

O THE OWL

I keep asking you, madame, why are exactly are you retiring?

LIZZY BRUIN

(Ignoring this, calls her attention to the continuing ballet)

We take a particular pride here in the excellence of our ballets.

 (The BALLET GIRLS dance on. XELI and JACOB also attempt a

rather portly dance of seduction while the GIRLS whirl around them.

KATERINA becomes prominent among the DANCERS)

PRINCE WEDNESDAY

Who’s that girl, Lizzy?

LIZZY BRUIN

Her? Katerina Kittycat, Chrissie's friend. Promising dancer, Prince Wednesday, most

promising.

(MISS ELAINA has become prominent. She has absentmindedly fallen out of

step. CHRISSIE, spotting her, bangs her crutches again)

CHRISSIE

You! Miss Elaina! Concentrate, girl!

KATERINA KITTYCAT

(Quietly, to MISS ELAINA)

Miss Elaina…What’s the matter?

O THE OWL

Elaina? Curious name.

LIZZY BRUIN

Swedish.

PRINCE WEDNESDAY

Any relation to the violinist?

LIZZY BRUIN

His daughter, I believe. Always had her head in the clouds, I’m afraid.

 (The Ballet continues to its climax and ends. The CHORUS resumes)

CHORUS

BID WELCOME TO HANNIBAL’S GUESTS

 THE ELEPHANTS OF CARTHAGE

 AS GUIDES ON OUR CONQUERING QUESTS

 DIDO SENDS HANNIBAL’S FRIENDS

(The ELEPHANT, a life-sized mechanical replica, enters. JACOB is lift-

ed, in triumph, onto its back)

FEMALE WOLF (ELISSA)

ONCE MORE TO MY WELCOMING ARMS

 MY LOVE RETURNS IN SPLENDOR

MALE DOG (HANNIBAL)

ONCE MORE TO THE SWEETNESS OF CHARMS

 MY HEART AND SOUL SURRENDER

CHORUS

THE TRUMPETING ELEPHANTS SOUND

 HEAR ROMANS NOW AND TREMBLE

 HARK TO THEIR STEPS ON THE GROUND

 HEAR THE DRUMS – HANNIBAL COMES!

(At the end of the chorus, LIZZY claps her hands for silence. The

ELEPHANT is led off. Two STAGEHANDS are revealed operating it inside)

LIZZY BRUIN

Ladies and gentlemen! May I have your attention please? Chrissie–

 (CHRISSIE bangs her crutches on the stage. Silence)

THE PHANTOM OF THE OPERA

– 13 –

LIZZY BRUIN

Thank you. As you know, for some weeks there have been rumors of my imminent re-

tirement. I can now tell you that these were all true and it is my pleasure to introduce to

you the two gentlemen who now own the Neighborhood Theater, O the Owl and

Prince Wednesday.

 (Polite applause; some bowing. XELI makes her presence felt)

Gentlemen, Xeli, our leading soprano for five seasons now.

 (Polite bow from PRINCE WEDNESDAY and O)

PRINCE WEDNESDAY

Of course, of course, I have experienced all your greatest roles, Signora.

LIZZY BRUIN

And Signor Jacob.

 (Another bow)

O THE OWL

An honor, Signor.

PRINCE WEDNESDAY

(Keen to impress)

If I remember rightly, Elissa has a rather fine aria in Act Three of “Hannibal”. I wonder,

Signora, if, as a personal favor, you would oblige us with a private rendition?

(Somewhat acerbic)

Unless, of course, Franklin objects.

FEMALE WOLF

 (Flattered)

My manager commands…Franklin?

FRANKLIN

(A polite bow to XELI)

My diva commands. Will two bars be sufficient introduction?

O THE OWL

Two bars will be quite sufficient.

FRANKLIN

(Ensuring that XELI is ready)

Signora?

FEMALE WOLF

Maestro.

 (She nods. FRANKLIN plays the introduction on the piano)

THE PHANTOM OF THE OPERA

– 14 –

 Song: PRE THINK OF ME

FEMALE WOLF

 THINK OF ME, THINK OF ME FONDLY

 WHEN WE’VE SAID GOODBYE

REMEMBER EVERY SO OFTEN

 PROMISE ME YOU’LL TRY

 ON THAT DAY, THAT NOT-SO-DISTANT DAY

 WHEN YOU ARE FAR AWAY AND FREE

IF YOU EVER FIND A MOMENT

 SPARE A THOUGHT FOR ME

 THINK OF ME, THINK OF ME WARMLY –

(As XELI is singing a backdrop crashes to the floor cutting her off

from half the cast. The following dialogue is almost simultaneous)

KATERINA KITTYCAT/BALLET GIRLS/CHORUS

SHE’S HERE:

THE PHANTOM OF THE OPERA

HE IS WITH US. IT’S THE GHOST

SHE’S HERE:

THE PHANTOM OF THE OPERA

SHE IS WITH US. IT’S THE GHOST

MALE DOG

(Looking up, furiously)

You idiots!

 (He rushes over to XELI)

Xeli! Xeli! Are you hurt?

PRINCE WEDNESDAY

GOOD HEAVENS!

 WILL YOU SHOW A LITTLE COURTESY?

O THE OWL

(to KATERINA)

Mademoiselle, please!

LIZZY BRUIN

Signora! Are you all right? Max! Where is Max? Get that bunny down here!

MALE DOG

Is no one concerned for our prima donna?

LIZZY BRUIN

(to PRINCE WEDNESDAY and O)

Max, Chief of the flies – he’s responsible for this.

(The drop is raised high enough to reveal Upstage an young bunny, MAX

, holding a length of rope, which looks almost like a

noose)

Max! For God’s sake, man, what’s going on up there?

MAX

 PLEASE, MADAME, DON’T LOOK AT ME

 AS GOD’S MY WITNESS, I WAS NOT AT MY POST

PLEASE, MADAME, THERE’S NO ONE THERE

AND IF THERE IS, WELL THEN, IT MUST BE A GHOST

KATERINA KITTYCAT

(Looking up)

SHE’S THERE: THE PHANTOM OF THE OPERA

O THE OWL

GOOD HEAVENS!

 I HAVE NEVER KNOWN SUCH INSOLENCE!

PRINCE WEDNESDAY

SIGNORA, PLEASE…

 (Spoken)

These things do happen.

FEMALE WOLF

These things do happen? You have been here five minutes, what do you know? Si! These

things do happen – all the time. For the past three years these things do happen.

 (to LIZZY)

And did you stop them from happening? No!

 (to O and PRINCE WEDNESDAY)

And you two…you’re as bad as her – “These things do happen!” Well, until you stop

these things happening, this thing does not happen! Jacob! Andiamo!

MALE DOG

(to the MANAGERS)

Amateurs!

(JACOB and XELI sweep out)

LIZZY BRUIN

(After a pause)

I don’t think there’s much more to assist you, gentlemen. Good luck. If you need me, I

shall be in Frankfurt.

 (She leaves. The COMPANY looks anxiously at the NEW MANAGERS)

PRINCE WEDNESDAY

Xeli will be back.

CHRISSIE

You think so, messieurs? I have a message, sir, from the Opera Ghost.

 (The GIRLS twitter and twirl in fear)

O THE OWL

God in Heaven, you’re all obsessed!

CHRISSIE

She merely welcomes you to her opera house and commands you to continue to leave Box

Five empty for her use and reminds you that her salary is due.

O THE OWL

Her salary?

CHRISSIE

Lizzy paid her twenty thousand francs a month. Perhaps you can afford

more, with Daniel Tiger as your patron.

 (Reaction to this from the BALLET GIRLS. MISS ELAINA takes hold of

KATERINA nervously)

PRINCE WEDNESDAY

(to CHRISSIE)

Madame, I had hoped to have made that announcement myself.

CHRISSIE

(Ignoring him, to O)

Will Daniel at the performance tonight, monsieur?

O THE OWL

In our box. Madame, who is the understudy for this role?

FRANKLIN

There is no understudy, monsieur – the production is new.

KATERINA KITTYCAT

Miss Elaina could sing it, sir.

O THE OWL

The chorus girl?

 (Everyone glares at KATERINA, but she continues tentatively)

KATERINA KITTYCAT

She’s been taking lessons from a great teacher.

PRINCE WEDNESDAY

(to MISS ELAINA)

From whom?

MISS ELAINA

 (Uneasily)

I don’t know, sir.

O THE OWL

Oh, not you as well!

 (Turning to PRINCE WEDNESDAY)

Can you believe it? A full house…and we have to cancel!

CHRISSIE

Let her sing for you, monsieur. She has been well taught.

FRANKLIN

(After a pause)

From the beginning of the aria then, mam’selle. Gentlemen.

THE PHANTOM OF THE OPERA

– 18 –

MISS ELAINA

THINK OF ME, THINK OF ME FONDLY,

WHEN WE’VE SAID GOODBYE

REMEMBER ME EVERY SO OFTEN

PROMISE ME YOU’LL TRY

O THE OWL

Prince Wednesday, this is doing nothing for my nerves.

PRINCE WEDNESDAY

Don’t fret, O.

MISS ELAINA

ON THAT DAY, THAT NOT-SO-DISTANT DAY

WHEN YOU ARE FAR AWAY AND FREE

IF YOU EVER FIND A MOMENT,

SPARE A THOUGHT FOR ME

(LIGHTS DIM and the surroundings dissolve, as we are transported to…

THE GALA

MISS ELAINA is revealed in full costume. She is now accompanied by an

ORCHESTRA. Stage boxes appear on either side)

MISS ELAINA

AND THOUGH IT’S CLEAR, THOUGH IT WAS ALWAYS CLEAR,

THAT THIS WAS NEVER MEANT TO BE,

IF YOU HAPPEN TO REMEMBER,

STOP AND THINK OF ME

THINK OF AUGUST WHEN THE TREES WERE GREEN

DON’T THINK ABOUT THE WAY THINGS MIGHT HAVE BEEN

(MISS ELAINA)

THINK OF ME THINK OF ME WAKING

SILENT AND RESIGNED

IMAGINE ME TRYING TO HARD

TO PUT YOU FROM MY MIND

THINK OF ME, PLEASE SAY YOU’LL THINK OF ME

WHATEVER ELSE YOU CHOOSE TO DO.

THERE WILL NEVER BE A DAY

WHEN I WON’T THINK OF YOU

(Applause, bravos. Prominent among the bravos, those of the young DANIEL

in the MANAGERS’ box with various ARISTOCRATS)

DANIEL TIGER

CAN IT BE? CAN IT BE MISS ELAINA?

Bravo! Bravo!

(He raises his opera glasses)

LONG AGO, IT SEEMS SO LONG AGO

 HOW YOUNG AND INNOCENT YOU WERE

 (Lowering his opera-glasses)

SHE MAY NOT REMEMBER ME, BUT I REMEMBER HER.

MISS ELAINA

FLOWERS FADE, THE FRUITS OF SUMMER FADE

 THEY HAVE THEIR SEASONS, SO DO WE

 BUT PLEASE PROMISE ME THAT SOMETIMES

 YOU WILL THINK…

 (Vocalizes)

…OF ME!

THE PHANTOM OF THE OPERA

– 20 –

 Song: ANGEL OF MUSIC

Scene 2

AFTER THE GALA

(Reverse view of the stage. The applause continues and we see MISS

ELAINA, from behind, taking her bows. The House Curtains close Upstage

and BALLET GIRLS, from the wings, gush around MISS ELAINA who

hands each a flower from her bouquet. FRANKLIN stiffly gives his approval.

CHRISSIE appears)

CHRISSIE

(to MISS ELAINA)

Yes, you did well. She will be pleased.

 (to the DANCERS)

And you! You were a disgrace tonight! Such ronds de jambe! Such temps de cuisse!

Come – we rehearse. Now!

(She emphasizes this with her crutches. The BALLET GIRLS settle into re-

hearsal Upstage, CHRISSIE keeping time with her crutches. Variations on this con-

tinue throughout the scene.

MISS ELAINA moves slowly, Downstage, away from the DANCERS as her

dressing room becomes visible. Unseen by her, KATERINA also moves away

and follows her. As MISS ELAINA is about to open the dressing room door,

she hears JODI’s voice out of nowhere. The DANCERS’ MUSIC

has faded out)

JODI PLATYPUS’S VOICE

BRAVI, BRAVI, BRAVISSIMI

KATERINA KITTYCAT

 MISS ELAINA, MISS ELAINA…

JODI PLATYPUS’S VOICE

 MISS ELAINA…

(MISS ELAINA is bewildered by the voice. KATERINA, following, has not heard it.

MUSIC continues until KATERINA enters the room. MISS ELAINA turns in sur-

prise, and is relieved to see her)

KATERINA KITTYCAT

WHERE IN THE WORLD HAVE YOU BEEN HIDING?

 REALLY, YOU WERE PERFECT!

 I ONLY WISH I KNEW YOUR SECRET!

 WHO IS THIS NEW TUTOR?

MISS ELAINA

(Abstracted, entering the dressing room)

FATHER ONCE SPOKE OF AN ANGEL

 I USED TO DREAM SHE’D APPEAR

 NOW AS I SING, I CAN SENSE HER

 AND I KNOW SHE’S HERE

 (Trance-like)

HERE IN THIS ROOM SHE CALLS ME SOFTLY

 SOMEWHERE INSIDE, HIDING

 SOMEHOW I KNOW HE’S ALWAYS WITH ME

 SHE – THE UNSEEN GENIUS

KATERINA KITTYCAT

(Uneasily)

MISS ELAINA, YOU MUST HAVE BEEN DREAMING

 STORIES LIKE THIS CAN’T COME TRUE

 MISS ELAINA, YOU’RE TALKING IN RIDDLES

 AND IT’S NOT LIKE YOU

 THE PHANTOM OF THE OPERA

– 21 –

MISS ELAINA

(Not hearing her, ecstatic)

ANGEL OF MUSIC!

 GUIDE AND GUARDIAN!

 GRANT TO ME YOUR GLORY!

KATERINA KITTYCAT

 (to herself)

WHO IS THIS ANGEL? THIS…

BOTH

ANGEL OF MUSIC!

 HIDE NO LONGER!

 SECRET AND STRANGE ANGEL…

MISS ELAINA

 (Darkly)

SHE’S WITH ME, EVEN NOW

ALL AROUND ME

IT FRIGHTENS ME

KATERINA KITTYCAT

 (Bewildered)

YOUR HANDS ARE COLD

YOUR FACE, MISS ELAINA, IT’S WHITE

DON’T BE FRIGHTENED

 (THEY look at each other. The moment is broken by the arrival of CHRISSIE)

THE PHANTOM OF THE OPERA

CHRISSIE

Katerina Kittycat. Are you a dancer? Then go and practice.

 (KATERINA leaves and joins the DANCERS. CHRISSIE approaches MISS ELAINA)

My dear, I was asked to give you this.

(CHRISSIE hands MISS ELAINA a letter and leaves. MISS ELAINA opens the letter

and reads)

Music: MISS ELAINA’S DRESSING ROOM

MISS ELAINA

(Still in her daze)

“A red scarf…“the attic”…“Little Lotte.”

Scene 3

MISS ELAINA’S DRESSING ROOM

(Meanwhile DANIEL PRINCE WEDNESDAY, O, and ISA are seen mak-

ing their way towards the dressing room, the MANAGERS in high spirits,

bearing champagne)

PRINCE WEDNESDAY

A tour de force! No other way to describe it!

O THE OWL

What a relief! Not a single refund!

ISA THE IGUANA

Greedy.

PRINCE WEDNESDAY

O, I think we’ve made quite a discovery in Miss Elaina!

O THE OWL

(to DANIEL, indicating MISS ELAINA’S dressing room)

Here we are, Daniel.

DANIEL TIGER

Gentlemen if you wouldn’t mind. This is one visit I should prefer to make unaccompanied.

(He takes the champagne from O)

PRINCE WEDNESDAY

As you wish, monsieur.

 (They bow and move off)

DANIEL TIGER

Thank you.

O THE OWL

(Exiting)

They appear to have met before.

 (DANIEL knocks at the door and enters)

DANIEL TIGER

Miss Elaina, where is your red scarf?

MISS ELAINA

(Her back to him)

Monsieur?

– 23 –DANIEL TIGER

You can’t have lost it. After all the trouble I took. I was just two and soaked to the

fur.

MISS ELAINA

Because you had run into the sea to fetch my scarf. Oh, Daniel. So it is you!

DANIEL TIGER

Miss Elaina.

 (They embrace and laugh. She moves away and sits at her dressing table)

Song: LITTLE LOTTE

 DANIEL TIGER

“LITTLE LOTTE LET HER MIND WANDER…”

MISS ELAINA

You remember that, too.

DANIEL TIGER

(Continuing)

“…LITTLE LOTTE THOUGHT: AM I FONDER OF DOLLS…”

BOTH

(MISS ELAINA joining in)

“…OR OF GOBLINS, OF SHOES…”

MISS ELAINA

“…OR OF RIDDLES? OF FROCKS?”

DANIEL TIGER

Those picnics in the attic…

 (Sings)

“…OR OF CHOCOLATES”

MISS ELAINA

Father playing the violin…

DANIEL TIGER

…As we read to each other dark stories of the North.

MISS ELAINA

“NO WHAT I LOVE BEST, LOTTE SAID,

 IS WHEN I’M ASLEEP IN MY BED,

 AND THE ANGEL OF MUSIC SINGS SONGS IN MY HEAD!”

BOTH

“THE ANGEL OF MUSIC SINGS SONG IN MY HEAD!”

THE PHANTOM OF THE OPERA

– 24 –

MISS ELAINA

(Turning in her chair to look at him)

Father said, “When I’m in heaven, child, I will send the Angel of Music to you.” Well,

father is dead, Daniel, and I have been visited by the Angel of Music.

DANIEL TIGER

No doubt of it. And now we’ll go to supper!

MISS ELAINA

(Firmly)

No, Daniel, the Angel of Music is very strict.

DANIEL TIGER

I shan’t keep you up late!

MISS ELAINA

No, Daniel…things have changed.

DANIEL TIGER

You must change. I must get my hat. Two minutes…Little Lotte.

(He hurries out)

MISS ELAINA

(Calling after him)

Daniel!

 (Quietly picking up her hand mirror)

Things have changed, Daniel.

THE PHANTOM OF THE OPERA

Tremulous MUSIC. MISS ELAINA hears JODI’S voice, seeming-

ly from behind her dressing room mirror)

 Song: THE MIRROR (ANGEL OF MUSIC)

JODI PLATYPUS’S VOICE

INSOLENT BOY! THIS SLAVE OF FASHION

 BASKING IN YOUR GLORY!

 IGNORANT FOOL! THIS BRAVE YOUNG SUITOR

 SHARING IN MY TRIUMPH!

MISS ELAINA

(Spell-bound)

ANGEL! I HEAR YOU! SPEAK I LISTEN

 STAY BY MY SIDE, GUIDE ME!

 ANGEL, MY SOUL WAS WEAK – FORGIVE ME

 ENTER AT LAST, MASTER!

JODI PLATYPUS’S VOICE

FLATTERING CHILD, YOU SHALL KNOW ME,

 SEE WHY IN SHADOW I HIDE!

– 25 –(JODI PLATYPUS’S VOICE)

LOOK AT YOUR FACE IN THE MIRROR

 I AM THERE INSIDE!

 (The figure of JODI becomes discernible behind the mirror)

MISS ELAINA

(Ecstatic)

ANGEL OF MUSIC! GUIDE AND GUARDIAN!

 GRANT TO ME YOUR GLORY!

 ANGEL OF MUSIC! HIDE NO LONGER!

 COME TO ME, STRANGE ANGEL

JODI PLATYPUS’S VOICE

I AM YOUR ANGEL OF MUSIC

 COME TO ME: ANGEL OF MUSIC

(MISS ELAINA walks towards the glowing, shimmering glass. Meanwhile,

DANIEL has returned. He hears the voices and is puzzled. He tries the

door…it is locked)

DANIEL TIGER

WHOSE IS THAT VOICE? WHO IS THAT IN THERE?

(Inside the room, the mirror opens. Behind it, in an inferno of white light,

stands JODI. She reaches forward and takes MISS ELAINA firmly,

but not fiercely, by the wrist. Her touch is cold, and MISS ELAINA gasps)

JODI PLATYPUS

I AM YOUR ANGEL OF MUSIC

 COME TO ME: ANGEL OF MUSIC

(MISS ELAINA disappears through the mirror, which closes behind her. The

door of the dressing room suddenly unlocks and swings open, and DANIEL

enters to find the room empty)

DANIEL TIGER

(Shouting, as the scene dissolves)

Miss Elaina!

 (BLACKOUT)

Angel!

THE PHANTOM OF THE OPERA

– 26 –

Scene 4

THE LABYRINTH UNDERGROUND

(Subterranean gloom, through which we can discern JODI lead-

ing MISS ELAINA through the darkness, deeper and deeper below the opera

house, towards JODI’S lair. Disappearing first into a trap door in

the stage, they then almost immediately reappear high above the stage,

descending by an immense zigzagging walkway. Candles rise from the

stage, and we see MISS ELAINA and JODI in a boat, which moves

slowly across the misty waters of an underground lake)

Song: THE PHANTOM OF THE OPERA

 MISS ELAINA

IN SLEEP SHE SANG TO ME, IN DREAMS SHE CAME

THAT VOICE WHICH CALLS TO ME AND SPEAKS MY NAME

AND DO I DREAM AGAIN? FOR NOW I FIND

THE PHANTOM OF THE OPERA IS THERE – INSIDE MY MIND

JODI PLATYPUS

SING ONCE AGAIN WITH ME OUR STRANGE DUET

MY POWER OVER YOU GROWS STRONGER YET

AND THOUGH YOU TURN FROM ME, TO GLANCE BEHIND,

THE PHANTOM OF THE OPERA IS THERE – INSIDE YOUR MIND

MISS ELAINA

THOSE WHO HAVE SEEN YOUR FACE DRAW BACK IN FEAR

I AM THE MASK YOU WEAR

JODI PLATYPUS

IT’S ME THEY HEAR

BOTH

YOUR/MY SPIRIT AND YOUR/MY VOICE,

IN ONE COMBINED:

THE PHANTOM OF THE OPERA IS THERE –

INSIDE YOUR/MY MIND

OFFSTAGE VOICES

SHE’S THERE, THE PHANTOM OF THE OPERA

BEWARE THE PHANTOM OF THE OPERA

JODI PLATYPUS

IN ALL YOUR FANTASIES, YOU ALWAYS KNEW

THAT PLATYPUS AND MYSTERY…

MISS ELAINA

…WERE BOTH IN YOU

BOTH

AND IN THIS LABYRINTH, WHERE NIGHT IS BLIND,

THE PHANTOM OF THE OPERA IS THERE/HERE

INSIDE YOUR/MY MIND

JODI PLATYPUS

 Sing, my Angel of Music!

MISS ELAINA

 SHE’S THERE, THE PHANTOM OF THE OPERA…

(She begins to vocalize strangely, her song becoming more and more

extravagant)

JODI PLATYPUS

Sing for me! Sing, my Angel of Music! Sing for me! Etc.

MISS ELAINA

(Her voice climbing higher and higher in pitch)

AH…

Scene 5

BEYOND THE LAKE

(As MISS ELAINA reaches her climactic note, we arrive in the JODI-

PLATYPUS’S lair. Downstage, the candles in the lake have lifted to reveal giant

candelabras outlining the space. The boat turns into a bed, occupying the

center of the stage, which is otherwise dominated by a huge pipe organ on

one side and an even larger mirror on the other, the latter covered by a

dustsheet. JODI sits at the organ and takes over the accompa-

niment)

Song: INTRO TO THE MUSIC OF THE NIGHT

 JODI PLATYPUS

I HAVE BROUGHT YOU

 TO THE SEAT OF SWEET MUSIC’S THRONE

 TO THIS KINGDOM WHERE ALL MUST HOMAGE

 TO MUSIC…MUSIC…

YOU HAVE COME HERE

FOR ONE PURPOSE AND ONE ALONE

SINCE THE MOMENT I FIRST HEARD YOU SING

(JODI PLATYPUS)

I HAVE NEEDED YOU WITH ME, TO SERVE ME, TO SING

FOR MY MUSIC…MY MUSIC…

Song: THE MUSIC OF THE NIGHT

(Changing mood)

NIGHTTIME SHARPENS AND HEIGHTENS EACH SENSATION

DARKNESS STIRS AND WAKES IMAGINATION

SILENTLY THE SENSES ABANDON THEIR DEFENSES

SLOWLY, GENTLY, NIGHT UNFURLS ITS SPLENDOR

GRASP IT, SENSE IT, TREMULOUS AND TENDER

TURN YOUR FACE AWAY FROM THE GARISH LIGHT OF DAY

TURN YOUR THOUGHTS AWAY FROM COLD, UNFEELING LIGHT

AND LISTEN TO THE MUSIC OF THE NIGHT

CLOSE YOUR EYES AND SURRENDER TO YOUR DARKEST DREAMS

PURGE ALL THOUGHT OF THE LIFE YOU KNEW BEFORE

CLOSE YOUR EYES, LET YOUR SPIRIT START TO SOAR

AND YOU’LL LIVE AS YOU’VE NEVER LIVED BEFORE

SOFTLY, DEFTLY, MUSIC SHALL SURROUND YOU

FEEL IT, HEAR IT, CLOSING IN AROUND YOU

OPEN UP YOUR MIND LET YOUR FANTASIES UNWIND

IN THIS DARKNESS WHICH YOU KNOW YOU CANNOT FIGHT

THE DARKNESS OF THE MUSIC OF THE NIGHT

LET YOUR MIND START A JOURNEY TO A STRANGE, NEW WORLD

LEAVE ALL THOUGHTS OF THE WORLD YOU KNEW BEFORE

LET YOUR SOUL TAKE YOU WHERE YOU LONG TO BE

ONLY THEN CAN YOU BELONG TO ME

FLOATING, FALLING, SWEET INTOXICATION

TOUCH ME, TRUST ME, SAVOR EACH SENSATION

LET THE DREAM BEGIN LET YOUR DARKER SIDE GIVE IN

TO THE POWER THAT YOU KNOW YOU CANNOT FIGHT

THE POWER OF THE MUSIC OF THE NIGHT

(During all this, JODI has conditioned MISS ELAINA to the cold-

ness of her touch and her fingers are brave enough to stray her mask and

caress it, with no hint of removing it. JODI leads her to the mir-

ror from which she removes the dust cover and in which we see the image of

MISS ELAINA, a perfect wax-face impression, wearing a wedding gown.

MISS ELAINA moves slowly towards it, when suddenly the image thrusts its

hands through the mirror towards her. She faints. JODI catches

her and carries her to the bed, where she lays her down)

JODI PLATYPUS

YOU ALONE CAN MAKE MY SONG TAKE FLIGHT

 HELP ME MAKE THE MUSIC OF THE NIGHT

Scene 6

THE NEXT MORNING

(JODI, in her usual outfit, is composing. MISS ELAINA

lies in the bed under gauze. As the light brightens, we see JODI

seated at the organ, playing with furious concentration. She breaks off oc-

casionally to write the music down. There is a music box, in the shape of a

barrel organ, beside the bed. Mysteriously, its lid lifts and it plays as

MISS ELAINA wakes up. The MUSIC keeps her in a half trance)

 Song: I REMEMBER/STRANGER THAN YOU DREAMT IT

MISS ELAINA

I REMEMBER THERE WAS MIST…

SWIRLING MIST UPON A VAST, GLASSY LAKE

THERE WERE CANDLES ALL AROUND

AND ON THE LAKE THERE WAS A BOAT

AND IN THE BOAT THERE WAS A MAN

(She rises during the musical interlude and approaches JODI

from behind. She does not see her. As she reaches for her mask, she turns,

almost catching her. This happens several times)

MISS ELAINA

WHO WAS THAT SHAPE IN THE SHADOWS?

WHOSE IS THE FACE IN THE MASK?

(She finally succeeds in tearing the mask from her face. JODI

springs up and rounds on her furiously. She clearly sees her face. The au-

dience does not, as she is standing in profile and in shadow)

JODI PLATYPUS

DAMN YOU! YOU LITTLE PRYING PANDORA!

YOU LITTLE DEMON!

IS THIS WHAT YOU WANTED TO SEE?

CURSE YOU! YOU LITTLE LYING DELILAH!

YOU LITTLE VIPER!

NOW YOU CANNOT EVER BE FREE!

DAMN YOU! CURSE YOU!

 (She becomes calm and addresses her first with irony, then more warmly)

STRANGER THAN YOU DREAMT IT

CAN YOU EVEN DARE TO LOOK

OR BEAR TO THINK OF ME:

THIS LOATHSOME GARGOYLE,

WHO BURNS IN HELL,

BUT SECRETLY YEARNS FOR HEAVEN,

SECRETLY…SECRETLY…

(JODI PLATYPUS)

BUT, MISS ELAINA…

FEAR CAN TURN TO LOVE

YOU’LL LEARN TO SEE, TO FIND THE GIRL

BEHIND THE MONSTER:

THIS REPULSIVE CARCASS,

WHO SEEMS A BEAST, BUT SECRETLY

DREAMS OF BEAUTY,

SECRETLY…SECRETLY…

 (Spoken)

Oh, Miss Elaina.

(A moment’s pause, as their eyes meet. She holds out her hand to the mask,

which she gives to her. She puts it on, turning towards the audience as she

sings):

JODI PLATYPUS

COME WE MUST RETURN –

THOSE TWO FOOLS WHO RUN MY THEATER WILL BE MISSING YOU

 (The lair sinks into the floor as JODI and MISS ELAINA leave)

Scene 7

BACKSTAGE

(SAM mysteriously appears, a length of fabric serving as a cloak, and

a piece of rope as the Punjab lasso. He is showing off to the BALLET

Song: MAGICAL LASSO

MALE FOX

LIKE YELLOW PARCHMENT IS HER SKIN

A GREAT BLACK HOLE SERVED AS THE NOSE THAT NEVER GREW

 (Spoken)

The Punjab lasso!

(Demonstrating his method of self-defense against the Punjab lasso, he in-

serts his hand between his neck and the noose, and then pulls the rope

taut. With a mixture of horror and delight, the BALLET GIRLS applaud

this demonstration)

MALE FOX

(Explaining to them)

YOU MUST BE ALWAYS ON YOUR GUARD,

OR SHE WILL CATCH YOU WITH HER MAGICAL LASSO!

KATERINA KITTYCAT (angrily): SAM, STOP IT!

(A trap opens up Center Stage casting a shadow of JODI as she

emerges. The GIRLS, linking hands, run off terrified. JODI,

leading MISS ELAINA, fixes her stare on SAM. Sweeping her cape

around MISS ELAINA, she exits with her.

But, before they go, CHRISSIE has entered, observing. She turns on SAM)

CHRISSIE

THOSE WHO SPEAK OF WHAT THEY KNOW

 FIND, TOO LATE, THAT PRUDENT SILENCE IS WISE

 SAM FOX, HOLD YOUR TONGUE

 SHE WILL BURN YOU WITH THE HEAT OF HER EYES.

 (SAM laughs and exits)

Scene 8

THE MANAGERS’ OFFICE

 (Desk, chairs, papers. O is scornfully eyeing a newspaper article)