THE PHANTOM OF THE OPERA | Feb 8-19, 2017 | Theater League PRESENTED BY BROADWAY ACROSS AMERICA AT THE MUSIC HALL THE PHANTOM OF THE OPERA February 8-19, 2017 Tuesday Members Attend: Tuesday, February 14. DESCRIPTION Cameron Mackintosh’s spectacular new production of Andrew Lloyd Webber’s THE PHANTOM OF THE OPERA will come to Kansas City as part of a brand new North American Tour. Critics are raving that this breathtaking production is “bigger and better than ever before” and features a brilliant new scenic design by Paul Brown, Tony Award®-winning original costume design by Maria Björnson, lighting design by Tony Award®-winner Paule Constable, new choreography by Scott Ambler, and new staging by director Laurence Connor. The production, overseen by Matthew Bourne and Cameron Mackintosh, boasts many exciting special effects including the show’s legendary chandelier.

The beloved story and thrilling score – with songs like “Music of the Night,” “All I Ask Of You,” and “Masquerade” – will be performed by a cast and orchestra of 52, making this PHANTOM one of the largest productions now on tour. WHY YOU SHOULD SEE IT Worldwide, THE PHANTOM OF THE OPERA has been seen by more than 140 million people and won more than 70 major theater awards. RUNNING TIME TOTAL RUN TIME: 2:45 INTERMISSION: 0:20 The performance will begin promptly at the advertised curtain time. Latecomers will be held outside of the theater until the company approved entrance time.

SHOW-TIMES Wednesday, February 8, 2017: 7:30pm – 10:15pm Thursday, February 9, 2017: 2:00pm – 4:45pm Thursday, February 9, 2017: 7:30pm – 10:15pm Friday, February 10, 2017: 7:30pm – 10:15pm Saturday, February 11, 2017: 2:00pm – 4:45pm Saturday, February 11, 2017: 7:30pm – 10:15pm Sunday, February 12, 2017: 1:00pm – 3:45pm Sunday, February 12, 2017: 6:30pm – 9:15pm Tuesday, February 14, 2017: 7:30pm – 10:15pm Wednesday, February 15, 2017: 7:

30pm – 10:15pm Thursday, February 16, 2017: 7:30pm – 10:15pm Friday, February 17, 2017: 7:30pm – 10:15pm Saturday, February 18, 2017: 2:00pm – 4:45pm Saturday, February 18, 2017: 7:30pm – 10:15pm Sunday, February 19, 2017: 1:00pm – 3:45pm Sunday, February 19, 2017: 6:30pm – 9:15pm PHANTOM F.A.Q.

Q. How is the new production of THE PHANTOM OF THE OPERA “new”? A. Following the 25th Anniversary of THE PHANTOM OF THE OPERA, producer Cameron Mackintosh chose to honor PHANTOM’s worldwide success and its many fans with a new production. He chose a new creative team, including director Laurence Connor (co-director of the New 25th Anniversary Production of Les Misérables) and allowed them the freedom to tell this beloved story utilizing advances in theatrical wizardry. The production retains the beloved music, script, lyrics, and the Tony Award-winning costume design by Maria Björnson. Critics have hailed this new PHANTOM as “bigger and better than ever before.” Q. Is this new production of THE PHANTOM OF THE OPERA still the PHANTOM I know and love? A. Absolutely! The show, from original producer Cameron Mackintosh, retains the beloved story and score by Andrew Lloyd Webber. The sets, lighting, and sound have been redesigned for this new production, while retaining the original Tony Award-winning costumes. This PHANTOM is as grand and enormous a spectacle as the original and brings a fresh, new design to the stage.

This production travels in 20 trucks with a cast and orchestra of 52, making this PHANTOM one of the largest touring productions of a Broadway musical. Q. Is there a chandelier? What will it do? Will it fall? A. YES – There is a chandelier which incorporates advances in theatrical technology since 1986, when the original London production opened. The chandelier and the scene where the Phantom exacts his revenge have been conceived in an exciting new way, utilizing elements on the stage and in the theater house, including the famous plunge over the heads of the audience, but with new surprises. Q. Are there other special effects in the new production of THE PHANTOM OF THE OPERA – such as the boat, candles, etc? A. Christine’s journey into the Phantom’s lair has been completely redesigned and will incorporate a boat and candles in a brand new way. The new set design is by Paul Brown, a well known opera designer. He has created an authentic Paris Opera House environment with unique surprises and thrills for the audience, including the use of pyrotechnics and theater magic throughout the show. Q. Is this new production of THE PHANTOM OF THE OPERA playing elsewhere?

A. This new production toured the UK from February 2012 through May 2013 and was a tremendous success, selling out many performances. The North American tour is currently the only place to see the NEW production of THE PHANTOM OF THE OPERA. Q. Is this the same production as “The Phantom of the Opera at the Royal Albert Hall” televised on PBS? A. No. This tour of THE PHANTOM OF THE OPERA is an all-new, fully staged production that has never been televised. Q. What will the music be like in this new production of THE PHANTOM OF THE OPERA? A. The entire original score and all the songs by Andrew Lloyd Webber (including “Music of the Night,” “All I Ask Of You,” and “Masquerade”) remain completely intact – no changes have been made. The orchestrations have been updated with a fresh and modern feel and have been implemented in all other productions of THE PHANTOM OF THE OPERA worldwide. Q. Who directed this new production of THE PHANTOM OF THE OPERA? A. Director Laurence Connor provides the direction in this production.

Audiences will find the new direction has an edge and mystery fitting for the subject matter. Other members of the creative team include a brilliant new scenic design by Paul Brown, the original Tony Award-winning costume design by the late Maria Björnson, new lighting design by Tony Award winner Paule Constable, and new choreography by Scott Ambler. The production is overseen by Matthew Bourne and Cameron Mackintosh. Q. Is anyone from the original production associated with this new production of THE PHANTOM OF THE OPERA? A. Producer Cameron Mackintosh and composer Andrew Lloyd Webber are the driving forces behind both the brilliant original production, as well as the spectacular new production. In addition, the original Tony Award-winning costumes by the late Maria Björnson are featured in the new production. SHOULD I BRING THE LITTLE ONES The new production of THE PHANTOM OF THE OPERA is suggested for audiences aged 6+. The production includes gun shots and pyrotechnics. We encourage parents to consider these factors when making their decisions about attending the performance. Phantom Of The Opera Tickets Phantom Of The Opera Tickets Phantom Of The Opera Tickets Phantom of the Opera take you to an emotional journey of love, beauty, ugliness and hatred.

Phantom of the Opera is originally a French novel Le Fantôme de l'Opéra written by the French novelist Gaston Leroux in 1909. Gaston was a novelist and journalist. He was born in 1868 in Paris. His creation, Phantom of the Opera has been translated as many musicals, movies and theater shows. Gaston who claims that the main lead of Phantom of the Opera was a real character got the inspiration for his play while working on the proceedings of a legal case in which prisoners were reported to be kept in the basement of the Paris Opera. Today Paris Opera has been changed to Paris Ballet.

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017 View Tickets Wed Aug 09 2017 View Tickets Wed Mar 14 2018 View Tickets Wed Aug 08 2018 View Tickets Phantom of the opera gained wild fame as a film and musical form, but in the 1900s, it was a poor publication.

The most popular forms of Phantom are its movie version from 1925 and its theatrical version from 1986. The theatrical version was first created by composer Andrew Lloyd Webber. 62 years old music composer Andrew Webber was born in England in 1948. Andrew started showing his love for music since he was 6 years old. His first commercial piece was produced when he was nine years old. He created the musical form of Phantom of the Opera. Charles Hart and Richard Stilgoe wrote the lyrics for the musical creation of Andrew Webber. Phantom of the Opera is now considered the longest running theater show so far. It has been visualized by theater actors all over the world. Every season thousands of Phantom of the Opera Tickets are sold which is just another evidence of its popularity amongst the fans. The story of phantom of the Opera revolves around a young beautiful girl Christine Daaé. Christine Daaé who has been brought up by her father after her mother’s death earns fame all over the country by playing violin and singing folk lore and sacred scriptures. She has a firm belief in an angel of music which has been incorporated in her mind by her father.

After her father’s death, she starts working in the Paris Opera and hears a mysterious voice. Christine thinks that it’s the voice of the angel of music sent by her father. Christine get more assured of the heavenly link of the voice when the voice itself confirms that it is an angel and promises to teach her the music of the heavens. Their lessons continue when one day it turns out that the voice actually belonged to Eric who a disfigured man is living in the basement of the Opera House. Eric built a secret house in the basement of the Opera House during the construction of the building and now he is considered the ghost who takes money away from the administration of Opera. Eric had fallen madly in love with Christine. After Christine wins fame in the Opera with the help of Eric, he takes her to his cellular in the basement. Christine asks him to release her and let her live on the top with other humans after a promise of wearing his ring as a sign of faithfulness to Eric. When the childhood friend of Christine, Raoul hears her voice, he returns to her with a claim of love and promise to take her away from Eric. Eric gets mad and kidnaps Christine to save her from going away from him.

He forces Christine to marry him with a threat that he will destroy the whole Opera with explosives. Though she refuses at first, later after realizing that Raoul and another friends had been trapped in Eric’s torture cell, Christine marries Eric to save every one else. When they finally kiss, Eric gets so much moved by emotions that he sets Christine free to go live with the actual love of her life, Raoul. A few weeks later, the newspaper reports Eric to be dead. The musical adaptation of Phantom of Opera was a production of Hal Prince. The dances were choreographed by dance teacher Gillian Lynne. The theater company, Broadway Productions had performed Phantom of Opera nine thousand times by the year 2009. Currently, the main character of Phantom is played by John Cudia. Sarah Jean Ford is the current Christine and Roul is played by Ryan Silverman. Phantom of the Opera musical has won three Olivier Awards including Best New Musical award for 1986, ten Tony Awards for 1988 and the 2002 Olivier Audience Award for Most Popular Show. Phantom Of The Opera Events Tickets Prices The average price for Phantom Of The Opera Tickets start from $191.

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A:The Phantom of the Opera was originally written as a French opera in 1909. It has won three Olivier Awards and a Tony Award as well. You can get Phantom Of The Opera Tickets at any time until the final event or until the stocks end. However, as the demand for such tickets is generally high, you are advised to place your order at the earliest before the stocks fall short. Q:Are there any student discounts available to make phantom of the opera tickets broadway cheap? A:The Phantom of the Opera is a concoction of hatred, love, excitement and sorrow. It was written in 1909 and is still one of the most popular productions in the world. We offer many discount deals on Phantom Of The Opera Tickets and they are not reserved to any particular category of customers. Anyone can avail those discounts by simply going to the relevant link provided on our page. You can check the details provided and choose the deal most suitable to your requirements. Q:How can I search for Phantom Of The Opera Broadway Tickets on your website? A:You can easily search for Phantom Of The Opera tickets on our website by simply typing in your search query in the search bar located at the top our page.

In case you have incomplete information about the event, just type in either the artist name, venue name, or even the city name and our search engine will generate a list of events for you to choose from. You can also use our advanced search option to carry out a more focused search. Once you find the event's page, simply select the tickets you wish to purchase. Advanced Search WWE Tickets Testimonials I was really running out of options with where to take my girlfriend on our first anniversary when I found out that you guys still had tickets for the Elton John show, even when the venue showed they were sold out! I would just like to thank you guys for being there and making this a really special day for us both! Nelson Davies (Tampa - Florida) I don't usually write these for websites but your service has made me want to really commend what a great job you people are doing. Thanks to Josh, I found tickets for exactly where I wanted to sit and he even chucked in a nice discount for me! Three cheers guys! Jennifer Andrews (New York City - NY) I would just like to drop in a word to appreciate the friendly and polite customer service I have received from your representatives.

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For detailed information about the amounts and types of (a) sex and nudity, (b) violence and gore, (c) profanity, (d) alcohol, drugs, and smoking, and (e) frightening and intense scenes in this movie, consult the IMDb Parents Guide for this movie. The Parents Guide for The Phantom of the Opera can be found here . What is 'Phantom of the Opera' about? When Carlotta ( Minnie Driver ), the diva of the Paris Opï¿½ra House, refuses to perform due to threats from the mysterious 'Opera Ghost', young chorus-singer Christine Daae ( Emmy Rossum ) is substituted in her place, having been coached by the Phantom ( Gerard Butler ), who Christine knows as her 'Angel of Music' but who is actually a disfigured musical genius living in the sewers beneath the Opï¿½ra House. When Christine falls in love with the Opera's new patron, Vicomte Raoul de Changy ( Patrick Wilson ), the Phantom's heart is broken and turns to rage. What does "Hand at the level of your eyes" mean" The Phantom is known for strangling his victims with his famed "Punjab Lasso" (noose).

By keeping your hand at the level of your eyes, you create a space between the noose and your neck, allowing you to escape and render the rope useless. Did everyone sing their own part? Everyone in the movie does their own singing, except for Minnie Driver as Carlotta, who was dubbed by Margaret Preece; she had previously played the role on stage in London. Driver does sing the song "Learn to Be Lonely" during the end credits. Why wasn't the deformity worse? That was a judgement call on the part of the production team. From the Q&A with Joel Schumacher on the official website: "Even though the make-up in the stage show is grotesque, and very much a copy of the Lon Chaney make-up, I felt the audience is smarter than a lot of obvious prosthetics. The Phantom is very disfigured and the right side of his face is quite tragic.

Christine, however, always looks past that and views him with compassion as she sings, 'This haunted face holds no horror for me now / It's in your soul that the true distortion lies.' I did not want to bring you 'Freddy Krueger Goes to the Opera!'" From a costume designer in the Notes section of the official movie website: "Like the design of the Phantom's costume and mask, his underlying physical deformity had to be rendered convincingly, without alienating the audience in the process. We didn't want his disfigurement to be horribly grotesque. It was about trying to find the real person behind the mask. We want the audience to see his attractiveness, his anger and his vulnerability." Shircore, an Oscar winner in 1999 for her work on Elizabeth, based her design for the Phantom's disfigurement on a medical condition, underscoring the character's background as a misunderstood former sideshow freak. A life cast was made of Butler's face, from which gelatin prosthetics were created and then applied during a four hour process.

However, fans have pointed out that in that time period, far worse deformities would have been seen every day on the street, ranging from skin diseases to combat-related injuries to birth defects. In the show, Christine sings of the Phantom, "Distorted, deformed, it was hardly a face," which some feel should have been rewritten or excised given the decision to minimize the Phantom's deformities. Scholars of circus and sideshow history have pointed out that such a relatively mild condition would in no way have qualified someone as a circus freak. Why does the Phantom's hair change color? The Phantom has access to many costumes, wigs, make up, and prosthetics, which can be seen in his lair. The dark and slicked-back hair was a wig; you can see the Phantom adjusting it before 'Don Juan Triumphant'. What you see after the Phantom's "un-masking" is what he really looks like, without any prosthetics, wigs, make up, or a mask to cover his deformities. How many rings are in this film? There is only one ring, the ring Raoul gave to Christine.

According to the scene description in the script during the final lair scene - "He holds up the ring he tore from her neck." So yes, it is in fact the ring Raoul gave Christine which the Phantom then took from her during the Masquarade scene. Why aren't Michael Crawford or Sarah Brightman in this film? Joel Schumacher wanted to reduce the age of the characters for increased audience appeal. Crawford and Brightman were to appear in the film 15 years ago; as the character of Christine in the novel is 16 years old, Sarah Brightman is now too old for the part. Schumacher reduced the ages of the characters still further. There is a secondary reason to this, too. Crawford and Brightman were originally meant to be in the film when it was first written, however, due to time restraints, personal matters and other projects that Webber had to contribute himself to, the film was placed on hold until it was at a time where Crawford and Brightman were either no longer interested or too busy to dedicate themselves to the film. Why does Christine kiss the Phantom at the end?

According to the scene desription in the script - "She calmly puts the ring on her finger and kisses him full on the lips. The Phantom is stunned. Then, she leans toward him and embraces him again. But this time the kiss is long and deep. A lover's kiss. As it ends, they look straight into each others' eyes. The Phantom is crying, devastated. He has never known human love. Christine's gesture - her sacrifice and at the same time commitment - are too much for this tragic man to bear." What is the significance of the music box? The music box was something the Phantom made for himself (suggested from the toy he had at the gypsy freak show). It played for Christine when she woke up in the Phantom's lair, and it played for the Phantom after he let Christine go. You "Little Prying Pandora!" Pandora plays an intriguing role in Greek mythology. According to the most well known legend, she was the first woman, created by Zeus, the ruler of the gods.

Zeus was assisted in his task by other Greek deities, including Aphrodite, the goddess of love and beauty, who used her powers to bestow upon Pandora grace and loveliness; Hermes, messenger of the gods, gave Pandora persuasion; and Apollo, god of music and the arts, favored the woman with musical skill. Because of the gifts of the gods, Pandora was very attractive - her name even means "all gifts". However, Pandora had a flaw. She was curious. When she encountered a jar that belonged to Epimetheus, she could not resist learning about its mysterious contents, and so she therefore opened it. This jar contained all of the evils, which were then released into the world. The only thing that remained in the jar was hope. She, as the first woman, created after man, is sometimes compared to Eve in Hebrew myth. (Source) . Thus, Christine is the 'Pandora' of the story because, in her curiosity, she unmasked the Phantom, releasing his underlying anger.

"Don Juan Triumphant" Don Juan Tenorio is the subject of a morality play "El Burlador De Sevilla" by Tirso De Molina (1571?-1648), written to illustrate the mistake of too much faith. In the original play, Don Juan thinks he can do as he pleases, with plenty of time to repent and be forgiven before his death. This is a fatal miscalculation. Don Juan has made more than a thousand sexual conquests, but while preparing to seduce Doï¿½a Ana, he is discovered by her father, the Commander, who challenges him to a duel. Don Juan kills the Commander and escapes. Don Juan later passes the tomb of Ana's father, graced by a statue of that dead commander. The statue speaks, warning Don Juan that he will be punished for his wickedness. The statue offers his hand and Don Juan, fearless to the last, takes it. The statue takes Juan's hand in an unbreakable grip. A fiery pit opens and the statue drags Don Juan down into Hell, with no time to repent.

The story has been retold in a play by Moliere (``The Stone Feast,'' 1665), a long poem by Byron (``Don Juan,'' 1819-24), an opera by Mozart (``Don Giovanni,'' 1787) and in a four-act play by George Bernard Shaw ("Man and Superman"). The third act of the Shaw play, frequently presented alone as "Don Juan in Hell" is the Shavian notion of what the main characters, Juan, Ana, and the Commander might discuss with the Devil. Source . How do the stage show and film differ? There are many differences. For example, in the musical, the story occurs in 1881, while the movie takes place in 1870. In the movie, the ages are all shifted to be much younger than in the book or on stage. On stage and in the novel, Christine and Raoul are in their 20's, Phantom in his late 40's-50's. Mme. Giry was never Christine's caretaker in the stage musical, and her relationship to the Phantom is never fully explained.

In the musical, he is given a back-story (albeit briefly) much closer to that in the book, of a man who has traveled widely for much of his life and who helped to actually build the opera house. In the musical's "Think of Me", the backdrop falls, but it doesn't actually hit Carlotta as it does in the 2004 film, it just frightens her. Many of the costumes are different, and given more detail in the movie. In the stage show, the Phantom always wears a 'white tie', i.e., a white bow tie, shirt and waistcoat and a black tuxedo as well as a large black fedora, which is completely missing from the movie. In the musical, there is no horse in the scene where the Phantom leads Christine to his underground lair. In the ballet scene of "Il Muto", the stage version has the Phantom's shadow behind the backdrop, scaring the dancers. The movie doesn't have this. Many of the Phantom's actions in the stage show are not explained, giving him a more ghostly persona.

In the movie, however, most of his actions are shown/explained to emphasize that he is simply a man, not a ghost, i.e. in the stage show, he 'magically' makes Carlotta sound like a frog and laughs maniacally when Carlotta starts croaking. In the movie, we are shown the Phantom swapping Carlotta's throat spray in order to achieve this effect. Other examples of this are indicated by an asterisk (*). The chandelier drops after "All I Ask of You" at the end of Act 1 on stage, directly after the lyric "all that the Phantom asked of you!", instead of after "The Point Of No Return" as in the movie. This also prompts a lyric change in Masquerade from "...to the new chandelier!" to "...to our friends who are here!" The chandelier in the movie is considerably larger than on stage and of a different design whereas the stage version is very similar to the chandelier at the Paris Opera House seen here . On stage, the chandelier's drop narrowly misses the 'curtain call' of the cast of 'Il Muto' as they jump out of the way.

However, the only damage done is to the chandelier whereas, in the movie, the chandelier sets fire to the Opera Populaire. In 'Masquerade', the costumes are very bright and colorful in the stage versions, with people dressed as animals, clowns, and other creatures, including a costume very similar to the monkey on the music box complete with symbols. In the musical, the costumes are simplified, more ballgowns than costumes, and primarily black, white, and gold, giving it a more orderly and elegant effect. Managers Andre and Firmin dress in skeletal costumes on stage but dress in different costumes in the movie. Also, a reprise of "Notes/Prima Donna" that takes place after "Masquerade" was edited down and then rearranged throughout the movie, as were many other "Notes" scenes. The Red Death costume on stage has a full skull mask with moving jaw, a big red fedora with a plume, and is generally a much more ornate and theatrical costume than seen in the film version, complete with cloaks and a staff.* The mirrored room beneath the staircase is not featured in the stage musical.

(This mirrored room was put in the movie as a reference to the Phantom's torture room in the Leroux novel.) The original reprise of "Notes" was combined with "Why So silent?" A rehearsal scene of "Don Juan Triumphant" is omitted, in which the cast go through their first play-through of the show but don't take it seriously, and Piangi can't sing the part until the Phantom possesses the piano and everyone suddenly sings perfectly. * In the stage version of the cemetery confrontation, the Phantom conjures up lightning and shoots fireballs from his staff instead of sword fighting with Raoul.* In "Don Juan Triumphant," the Phantom does not wear a stylised Latin outfit but instead wears a cloak completely over his body and head. There are no flamenco dancers in "Don Juan" / "The Point of No Return" in the stage version as the scene is set in a banquet hall with the cast wearing traditional costumes. The movie version is set in a set which looks like Hades and has a Latin feel. The Phantom is far more deformed in the stage version than in the movie. In the movie he has bumpy, discolored skin and thinning hair.

In the stage version, he has giant cracks in his skull, wispy hair, one of his eyes is whited out, giant swollen lips, burns, cuts and generally more deformation.* When unmasked in "The Point of No Return", he runs off out of sight with Christine instead of dropping through a trap door. Instead of smashing a mirror and leaving through a secret passage after Christine and Raoul leave, the Phantom sits in his throne, and covers himself with his cape. Meg is the first to arrive in the lair, and lifts the cape from the throne, to reveal that the Phantom has disappeared, leaving only the mask. After "Masquarade" in the stage version, the actual Phantom runs off stage in a flash of darkness as a double appears at the top of the staircase and runs up the stairs to give the illusion that the Phantom apparrated. In the movie, he drops through a hole in the floor and Raoul follows him with a sword. However, the hole leads to a circle of mirrors planted by the Phantom and Raoul does not land a blow.

There is no such confrontation in the stage version.* The stage version and movie soundtrack do not use the same lyrics for "Think of Me." During the reprise of "Angel of Music" ("Wandering Child") in the graveyard seen in the stage version, the Phantom is on top of the tomb and Christine is singing directly to him. In the film version, he is unseen but heard from within her father's tomb, while a red light grows from within it. In the stage version, Raoul presents his plan to trap the Phantom during his opera in front of all of the main characters, causing a scene in which Carlotta accuses Christine of plotting the whole Phantom hoax for her personal gain and Christine refuses to go along with the plan. This scene is following by the rehearsal in which the Phantom 'possesses' the piano. Pieces of this scene are used in different spots in the movie, but some of it is cut out. What is different between the movie and book? Several characters from the book are changed or completely excluded in the Webber version. In the book, Raoul has an older brother, Comte Phillippe de Chagny. He dies while trying to find Raoul in the Phantom's lair; the police suspect Raoul.

Mamma Valerius, Christine's adopted mother and a profoundly naiive influence on Christine, suggests to the young girl that she ask the mysterious voice singing in her room if it might not be the voice of the Angel of Music, sent to her by her dead father. Of course, the "Angel" agrees. The "Daroga," a retired Persian cheif of police, has followed Erik to Paris from his native land and regards it as his duty to mitigate Erik's bad behaviour. Without his help Raoul would never have succeeded in rescuing Christine. And Mme Giry, in the book, is not the ballet mistress, but the keeper of various boxes, including the Ghost's own: Box Five on the Grand Tier. She is his go-between with the managers, but is convinced that the Ghost is, in fact, a ghost. Meg is her daughter, but is only a simple ballet girl and has no connection to Christine. Buquet (who is never seen alive in the book) was not a letch, but rather well-loved by all; but his curiosity led him into a trap.

Piangi is not in the book at all, and when the Phantom kidnaps Christine from the stage, he only drugs those he needs out of his way, rather than killing them. In the book, Christine is a member of the chorus who occasionally takes on larger (but not starring) roles, not a dancer. In the movie the Phantom has watched over and guided Christine since she was a child. How long he has done so in the stage musical is not explicitly stated but seems to have been for a much shorter time. In the book he first contacted Christine only about six months prior to the events in the book. The stage show and movie take place in the fictional "Opera Populaire" whereas the book takes place in the Palais Garnier, the home of France's National Academy of Music, in Paris. The real opera house does not have dormitories; in the book, Christine shared a small apartment with Mamma Valerius and her maid. When the Phantom first opens the mirror and steals Christine, she is expecting her angel. In the book, however, when she sees the masked man before her in the dark tunnel, she believes that she has been snatched out of her angel's arms by the terrifying opera ghost.

She panics so much that he partially sedates her. During the catacomb scene, the first time the Phantom takes Christine down to his lair, the horse he puts Christine on for some of the journey is a black and nameless stallion. In the book, he is a white stolen prize stallion from the Opera Populaire stables called Cesar. In the movie, the Phantom has a lair next to a lake, from which huge candelabras arise. In his lair, he has a shrine for Christine, a small room containing the wax figure of her wearing a wedding dress and veil, his bedroom with a kind of bowl shaped bed with burgundy bedding, and an area with his organ, drawings of Christine and the sheets of music he composed. In the book. Her bed is fancifully carved in the shape of a bird and surrounded by drifting curtains. In the book, Erik's underground home is hidden in the outer wall of the lake, five stories below ground. Once inside it appears to be a perfectly normal middle-class apartment, albeit without any windows. Specifically mentioned are two bedrooms, a dining room and an ensuite bathroom.

Christine's room is furnished with perfectly ordinary furniture; the Phantom, however, sleeps in a coffin on a dais, and has the notes of "Dies Irae" repeated around the top edge of the room. Christine faints in the movie when the Phantom shows her his wax figure of her (which is actually Emmy Rossum made up to look waxy and porcelain) in a wedding dress and veil. In the novel, he apparently drugs her on the way to his lair. Once there, she revives and becomes perfectly lucid. At one other point (in the very beginning) she does faint, but it is after her first performance when the audience overwhelms her with their applauding; she awakens in her room to unexpectedly find her childhood friend, Raoul, with her. In the book Erik, when he firsts brings her to his home, explicitly confesses his deceit to her and admits that he is not an angel nor a ghost, but only a man, and that he loves her. He never does do this in either the movie or the musical.

In the book, the graveyard scene is quite different: Christine is told that if she travels to her father's modest grave, her "Angel" (for she does not know, at this point, that he is just a man) will play for her on her father's violin. She does so, hears the music, and leaves the cemetery; she is unaware that Raoul has followed her, and knows nothing of the (much briefer) confrontation between him and Erik, in which Raoul simply gets a brief glimpse of his unmasked face before he is knocked out. Erik's disfigurement is a birth defect in both the book and film. Joseph Buquet, whom he hangs later on in the movie and musical (in the book his body is discovered in the first chapter), describes his face with "Like yellow parchment is his skin. A great black hole serves as the nose that never grew." When Christine unmasks Erik in the book, he gets angry and grabs her hands, then forces her nails into off his own deathly skin. His disfigurement is far more extreme than in the Webber version: he is extremely skinny and looks more like a withered corpse than a living man.

Christine describes his hands as "smelling like death" and "skeleton-like". In the movie, the Phantom's disfigurement is only on the right side of his face and up the side of his head into his hair; he seems to otherwise be perfectly normal. In his unmasking in the reprise of "All I Ask Of You", his black wig comes off, revealing the deformity of the skin on his head, cheek and forehead, especially his eye. In the stage show the deformity is slightly larger (hence the slightly larger mask that covers his entire nose, with the drooping, malformed lips beneath), but covers basically the same area, more or less. However, it is far more extreme. At the end of the book, unlike the musical, there is no doubt that "Erik is dead." The movie heavily implies that he did, in fact, escape and survive. But in the book there was no avenging mob to escape; he simply dies of a broken heart, several weeks after releasing Christine and returning the ring he had given her, which she lost as she kissed Raoul on the roof.

He asks only that she return the ring once he's dead and that she bury him; Leroux's description of the body he found shows that she kept her promise. FAQ Phantom of the Opera, The - AVRev.com Phantom of the Opera, The The Phantom Of The Opera studio: Gerard Butler, Emmy Rossum, Patrick Wilson, Miranda Richardson, Minnie Driver film release year: reviewed by: Abbie Bernstein Composer/producer Andrew Lloyd Webber’s quasi-rock opera “The Phantom of the Opera,” with lyrics by Charles Hart, loosely based on the novel by Gaston Leroux, opened on stage in London in 1986 and proceeded to become a hit of gargantuan proportions, running for years in the West End, Broadway and Los Angeles (to name a few cities). Although Leroux’s novel has been adapted for stage and screen many times before (very famously on film with Lon Chaney as the Phantom, and into a satirical filmic rock opera by Brian De Palma and Paul Williams), it’s safe to say no earlier movie version got this kind of build-up. So … how does the new filmic “Phantom” fare?

Well, with composer/impresario Lloyd Webber as producer, one would be correct in believing that the adaptation of his stage musical is faithful in spirit and largely in substance to its source. The screenplay by Lloyd Webber and director Joel Schumacher (with lyrics by Charles Hart and additional lyrics by Richard Stilgoe) fleshes things out for us a bit and throws in a few more flashbacks and flash-forwards, but mostly, the movie is for good and ill what one would reasonably expect – it’s as lavish and physically gorgeous as can be imagined, sort of swoonily hysterical in a Gothic romance way, and mostly well-performed. An auction in the decaying Paris Opera House of 1915, introduced in very well-rendered “aged” black-and-white footage in Chapter 1, reverts with the start of Lloyd Webber’s mega-famous organ riff in Chapter 1 to show us the music palace in its splendid 1870 heyday, with individual scenic elements restoring themselves and taking on full color just as the house changes management.

The new owners (Simon Callow, Ciaran Hinds) arrive shortly before the company’s resident diva, La Carlotta (Minnie Driver) – whose orange/red costume accents and blue eye shadow in Chapter 4 are appropriately vivid in the DVD transfer – throws a tantrum, necessitating a last-minute change in leading lady. The beautiful, very talented Christine Daae (Emmy Rossum) is chosen to fill the slot. Chapter 5 provides a sumptuous musical swell all around us as Christine embarks on her star-making turn. Whites bleed a bit when the stage lights are hot, but once the shots aren’t reproducing a spotlight effect, Christine’s pale skin and white gown are well-defined once more. Christine believes she is being mentored by an Angel of Music, and certainly a mysterious figure has been guiding her, but this is in actuality the Phantom of the Opera (Gerard Butler), a figure who hides in the shadows of the opera house but is attuned to everything that happens within it. The music that introduces him in Chapter 8 rattles in the speakers a bit (at least on my system).

The Phantom wants Christine to be the leading lady always and is content to use threats to make his will known to the opera’s impresarios. Meanwhile, Christine – despite her fascination with her enigmatic admirer – falls for the opera’s patron and her onetime childhood playmate, the Viscount Raoul (Patrick Wilson). This rouses the Phantom’s ire, even as he conflictedly seeks to both court Christine and warn her away. Raoul resolves to rescue his beloved … It’s all very melodramatic and huge. Rossum is a fabulous leading lady, with a beautiful singing voice and a strong presence. Butler has a really strong presence as well and is a quite compelling figure. There’s just one problem for nitpickers – much of the storyline revolves around the notion that the title figure is so deformed that he is compelled to lurk in the darkness and Butler is movie-star handsome. Yes, the Phantom’s mask conceals scarring on one side of the face, but it barely seems worth all the fuss. The distance provided by a large stage theater allows viewers to accept the horror of the Phantom’s visage in a way that movie close-ups absolutely refute.

Furthermore, the characters go into fits of hysteria about the Phantom – aka “the Opera Ghost” – before he’s actually done much of anything, and then, despite their fears, go ahead and deliberately provoke him. The Phantom eventually does get up to some very destructive and homicidal behavior, but it doesn’t quite make sense that the characters have spent two decades not especially worried about, or even believing in, the local legend, then at all once start to be terrified. Then again, this version of “The Phantom of the Opera” is decidedly not designed for the literal-minded or even those whose sense of irony prevents enjoyment of unselfconscious camp. Schumacher presents a dazzling spectacle that never questions its impact. The director loves big, cinematic effects here, like the visually and aurally surrounding display of fireworks, which detonate all around us in Chapter 20 at the start of an opera house gala. In Chapter 26, there’s a storybook illustration effect as Christine is seen in full warm color, with a snowy background all blues and whites behind her. Sword swooshes in the same chapter make good use of the surround, carrying a duel through the rears.

In Chapter 30, the famous chandelier crash and its aftermath (more extensive here than in the stage production) likewise travels through the rears, conveying a sense of large-scale disaster. The Lloyd Webber score remains one of the ultimate examples of sweeping pop opera and Rossum and Butler are great (even if he’s way too good-looking for this particular character), surrounded by fine comic turns from Driver, Hinds and Callow and a thoughtful, restrained one from Miranda Richardson as a wise member of the troupe. The DVD is also available in a special two-disc edition with making-of supplemental materials; the copy supplied for review is the no-frills single disc edition. “Phantom of the Opera” is at once delirious and safe, the very thing for those who like soaring voices, swirling costumes and swoony romanticism in several flavors. Viewers who tend to ask “Why” may enjoy it less and those who aren’t fans of this style of music may have a hard time, albeit they may find consolation in Anthony Pratt’s fabulous production design. In short, fans (or anyone who has the disposition to be a fan but somehow hasn’t encountered the material yet) will be happy; non-fans will remain unconverted.

more details Paris Opera House | The Phantom of the Opera By Andrew Lloyd Webber September 1986 Anyone familiar with a large opera house would testify that it is an extraordinary labyrinth of people and passageways, but the Paris Opera House of the last quarter of the nineteenth century, in which Gaston Leroux set The Phantom of the Opera, was remarkable by any standards. The huge building was constructed to designs by Charles Garnier from 1861-1875. It was a hotbed of politics and factions. From prima donna to stage-hand, the Opera House was governed by intrigue and rumor; everyone jostling for position, defending their own territory and scrabbling for new. At the time in which the novel is set, the Opera House boasted over fifteen hundred employees and had its own stables of white horses for the opera troupe underneath the forecourt. Even today, it employs over a thousand people and contains two permanent ballet schools within the building. The Paris Opera House rose to pre-eminence in the eighteenth century. After the Revolution it was restored to its leading position in Paris by Napoleon in the reforms of 1807.

Unquestionably among the most performed composers at that time was Salieri, whose music remained in the repertoire at the time of Leroux’s novel. Salieri had his greatest triumphs in Paris with Les Danaides (1787) and Tarare (1784). It is interesting that Mozart began to work with Da Ponte after the latter’s huge success with Salieri in France. Indeed, Mozart was not performed at the Paris Opera until the early 1800s and then only in a severely adapted form. Salieri was hailed as the natural successor to Gluck, the main force at the opera in the third quarter of the eighteenth century, and was greatly influenced by his music. But perhaps it was Meyerbeer who reigned supreme. His grand operas were a masterful potpourri of components. His music was accessible, his characterization brilliantly aided by his command of orchestration and he relished stage spectacle. This writer was chastened to learn that the 1849 production of Le Prophète was the first to feature roller-skating as a key ingredient and also introduced electric light as an effect. Indeed the Paris Opera always prided itself in its innovation.

Aladdin (1822) by Isouard introduced gas lighting to the stage. King of all this was the Opera’s chief designer Ciceri, the John Napier of the day. Spectacle was all. Hugo in his preface to Cromwell (1827) wrote “the stage should make as complete as possible the illusion of reality”. The Paris Opera’s eruption of Vesuvius was legendary, employing real stones and the titles of operas alone convey everything: Le Siege de Corinth (Rossini), La Muette de Portici (Auber), Robert Le Diable (Meyerbeer) (noted for its Phantom of the Nuns effect) and, of course, Gounod’s Faust, the opera which is the backdrop to the Leroux novel. Key also to Paris formula was the ballet. This was usually at the start of Act III. The gentlemen could dine before arriving at the theater in time to see their various young ladies in the corps de ballet. Wagner’s Tannhauser caused uproar with the Jockey Club because its ballet was placed too early in the production for their members’ convenience. The Paris Opera House survives in much the same form described in the novel.

It occupies a three-acre site and some idea of the labyrinthian nature of the building can be appreciated if one considers that the auditorium accounts for less than one fifth of the total space. There are over seventeen storeys, seven of which are below the stage level; the stables for the opera horses still exist. There is a monument to La Carlotta. More important, there really is a lake underneath the building; it is an integral part of the design, and the water level acts as a ballast, raised or lowered, depending on the weight of the stage, seven storeys above it. Everybody knows the Paris Opéra, at least by reputation. It is with regret that I assure you it hasn’t changed at all: for the sake of the passer-by who hasn’t been warned, let me say that it looks like a railway station. But once you’re inside you’ll be more likely to mistake it for a Turkish bath. – Debussy

Question: In which city's opera house does The Phantom lurk?
Answer: Paris