The Phantom Of The Opera (1986 Musical)

''The Phantom of the Opera'' is a musical with music by Andrew Lloyd Webber, lyrics by Charles Hart, additional lyrics by Richard Stilgoe and a libretto by Lloyd Webber and Stilgoe. Based on the 1910 French novel of the same name by Gaston Leroux, it tells the tragic story of a beautiful soprano, Christine Daaé, who becomes the obsession of a mysterious, masked musical genius living in the subterranean labyrinth beneath the Paris Opéra House.

The musical opened in London's West End in 1986 and on Broadway in New York in 1988, in a production directed by Harold Prince and starring English classical soprano Sarah Brightman (Lloyd Webber's then-wife) as Christine Daaé, screen and stage star Michael Crawford as the Phantom, and international stage performer Steve Barton as Raoul. It won the 1986 Olivier Award and the 1988 Tony Award for Best Musical, with Crawford winning the Olivier and Tony for Best Actor in a Musical. A film adaptation, directed by Joel Schumacher, was released in 2004.

''The Phantom of the Opera'' was the longest running show in Broadway history, and celebrated its 10,000th performance on February 11, 2012, becoming the first Broadway production in history to do so. It is the second longest-running West End musical, after '' Les Misérables'', and the third longest-running West End show overall, after '' The Mousetrap''. With total estimated worldwide gross receipts of over $6 billion and total Broadway gross of over $1 billion, ''The Phantom of the Opera'' was the most financially successful entertainment event until '' The Lion King'' surpassed it in 2014."''Phantom of the Opera'' Screening Earns Over £500,000 in the UK"
BroadwayWorld, 5 October 2011 By 2019, it had been seen by over 140 million people in 183 cities across 41 countries.

The original West End production at Her Majesty's Theatre, London, ended its run in 2020, its run cut short by the COVID-19 pandemic. A new production of ''Phantom'' opened in the same theatre in July 2021. The original Broadway production played its final performance on April 16, 2023.

Synopsis

Prologue

In the year 1911, the Paris Opéra House hosts an auction of old theatre memorabilia. Among the attendees is an aged Raoul de Chagny, who purchases Lot 665, a papier-mâché music box with a monkey figurine. He eyes it sadly, cryptically observing that it appears "exactly as she said". The next lot – Lot 666 – is a broken chandelier, portions of which have been renovated with electrical wiring. The auctioneer states that this chandelier was involved in a famous disaster, connected to "the strange affair of the Phantom of the Opera, a mystery never fully explained". He commands the auction assistants to turn on the power and light up the chandelier for all to see. As the overture plays, it flickers to life and ascends to the ceiling, as a transition back in time restores the opera house to its former grandeur ("Overture").

Act I

The year is 1881 – the cast of a new production, ''Hannibal'', is rehearsing ("Hannibal Rehearsal"). Carlotta, the Opéra's resident soprano prima donna, begins to perform an aria when a backdrop inexplicably falls from the flies, causing anxious chorus girls to shout, "He's here! The Phantom of the Opera!" The new owners, Firmin and André, try to downplay the incident, but Carlotta angrily storms offstage. Madame Giry, the Opéra's ballet mistress, suggests that Christine Daaé, a chorus girl and orphaned daughter of a prominent Swedish violinist, has been "well taught" and can sing Carlotta's role. As their only alternative is cancelling the sold-out show, the managers reluctantly audition her, and discover that she is indeed talented. As Christine sings the aria during the evening performance, the Opéra's new patron, Raoul, Vicomte de Chagny, recognizes her as his childhood friend and playmate ("Think of Me").

Backstage after her triumphant debut, Christine confesses to her friend, Madame Giry's daughter Meg, that her singing has been inspired by an unseen tutor she knows only as the "Angel of Music" ("Angel of Music"). Raoul visits Christine in her dressing room and the two reminisce about "Angel of Music" stories that her late father used to tell them. Christine confides that the Angel has visited her and taught her to sing ("Little Lotte"). Raoul indulges what he assumes are fantasies and insists on taking Christine to dinner. When Raoul leaves to fetch his hat, Christine hears the jealous Phantom's voice and entreats him to reveal himself. The Phantom obliges by appearing in her mirror ("The Mirror/Angel of Music (Reprise)"). Christine is hypnotized and irresistibly drawn through the mirror to the Phantom, who leads her down into the shadowy sewers below the Opéra house. The two board a small boat and cross a subterranean lake to his secret lair (" The Phantom of the Opera"). The Phantom explains that he has chosen Christine to sing his musical compositions. A mirror reflects an image of her in a wedding dress; when the mirror image spreads its arms towards the real Christine, she faints from shock. The Phantom lays her on a bed and covers her tenderly with his cloak (" The Music of the Night").

As the Phantom is composing 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 disfigured face. The Phantom rails at her prying, then ruefully expresses his longing to be loved ("Stranger Than You Dreamt It"). Moved by pity, Christine returns the mask to the Phantom, and he escorts her back above ground.

Meanwhile, Joseph Buquet, the Opéra's chief stagehand, regales the chorus girls with tales of the "Opéra Ghost" and his terrible Punjab lasso. Madame Giry warns Buquet to restrain himself ("Magical Lasso"). Arguments break out in the managers' office between Firmin, André, Raoul, and Carlotta over notes sent by the Phantom, including a demand that Christine replace Carlotta in the starring role of the new opera, ''Il Muto'' ("Notes"). Firmin and André assure the furious Carlotta that she will remain the star ("Prima Donna").

The première of ''Il Muto'' initially goes well, until the Phantom suddenly enchants Carlotta's voice, reducing it to a frog-like croak. Firmin rushes to defuse the situation by announcing to the audience that Christine will take over the starring role, and he instructs the conductor to bring the ballet forward to keep the audience entertained. Buquet's corpse drops from the rafters, hanging from the Punjab lasso. Mayhem erupts and the Phantom's evil laugh is heard throughout the auditorium ("Poor Fool, He Makes Me Laugh").

In the ensuing chaos, Christine escapes with Raoul to the rooftop and tells him about her subterranean encounter with the Phantom ("Why Have You Brought Me Here?/Raoul, I've Been There"). Raoul is skeptical but promises to love and protect her ("All I Ask of You"). The Phantom, who overheard their conversation, is heartbroken and swears revenge on Christine. In the auditorium, the chandelier crashes onto the stage during the ''Il Muto'' curtain call ("All I Ask of You (Reprise)").

Act II

Six months later, the Opera house hosts a masquerade ball. The Phantom, who has been conspicuously absent since the chandelier disaster, appears in costume as the Red Death. He announces that he has written an opera entitled ''Don Juan Triumphant'', and demands that it be produced with Christine (who is now engaged to Raoul) in the lead role. He pulls Christine's engagement ring from the chain around her neck and vanishes in a flash of light ("Masquerade/Why So Silent").

Raoul accosts Madame Giry and demands that she reveal what she knows about the Phantom. She reluctantly explains that the Phantom is a brilliant scholar, magician, architect, inventor, and composer, who was born with a deformed face. Feared and reviled by society, he was cruelly exhibited in a cage as part of a travelling fair until he eventually escaped and took refuge beneath the opera house.

Raoul plots to use the première of ''Don Juan Triumphant'' to trap the Phantom and end his reign of terror, knowing he will attend the opera's debut. He begs Christine to help lure the Phantom into the trap ("Notes/Twisted Every Way"). Torn between her love for Raoul and her awe of the Phantom, Christine visits her father's grave, begging for his guidance ("Wishing You Were Somehow Here Again"). The Phantom appears atop the mausoleum ("Wandering Child"). Christine begins to succumb to the Phantom's influence, but Raoul arrives to rescue her. The Phantom taunts Raoul, hurling fire balls at him until Christine begs Raoul to leave with her. Furious, the Phantom declares war upon them both.

''Don Juan Triumphant'' premieres with Christine and Piangi, the house tenor, singing the respective lead roles of Aminta and Don Juan. During Don Juan and Aminta's duet, Christine realizes that the Phantom has somehow replaced Piangi ("Don Juan Triumphant/The Point of No Return"). She calmly removes his mask, revealing his deformed face to the horrified audience. Exposed, the Phantom hurriedly drags Christine off the stage and back to his lair. Piangi's garrotted body is revealed backstage and the opera house plunges into chaos. An angry mob, vowing vengeance for the murders of Buquet and Piangi, search for the Phantom. Madame Giry tells Raoul how to find the Phantom's subterranean lair and warns him to beware the magical lasso ("Down Once More/Track Down This Murderer").

In the lair, the Phantom forces Christine to don a wedding dress. Raoul comes to the rescue but is ensnared in the Punjab lasso. The Phantom offers Christine an ultimatum: if she will stay with him, he will spare Raoul, but if she refuses, Raoul will die ("The Point of No Return Reprise"). Christine tells the Phantom that he's not alone and kisses him.

Having experienced both kindness and compassion for the first time, the Phantom frees Raoul. He also tells Christine that he loves her and she tearfully exits the lair with Raoul. As the angry search mob closes in, the Phantom huddles on his throne beneath his cloak. Meg is the first to enter the lair. She approaches the Phantom's throne and pulls away the cloak, finding only his mask ("Finale").

Development

Idea

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 and tragic 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 any 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: said Lloyd Webber, "I was actually writing something else at the time, and I realised 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!"Andrew Lloyd Webber, Martin Knowlde
''The Phantom of the Opera Companion''
Pavilion, 2007

Lyricists

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. Alan Jay Lerner (1918—1986) 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. Richard Stilgoe, the lyricist for '' Starlight Express'', was then hired and wrote most of the original lyrics for the show. However, 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 nevertheless.''Behind the Mask'' documentary on the 2004 film DVD

Score

Inspired in part by an earlier musical version of the same story by Ken Hill, 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 André 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." 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 signature, chromatic 5-note descending eighth-note run from the major root to the augmented 5th below was initially part of the track "Echoes" by Pink Floyd on their album "Meddle".

The musical extracts from the Phantom's opera, "Don Juan Triumphant", heard during the latter stages of the show, are dissonant and modern—"suggesting, perhaps, that the Phantom is ahead of his time artistically".

Design, direction, and choreography

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. 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

A preview of the first act was staged at Sydmonton Court (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, West End star David Burt was also featured as Monsieur Firmin and Jeff Shankley played opposite him as Monsieur André. 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. Maria Björnson designed the now-iconic half-mask to replace it, and the unmasking sequence was added. Clips of this preview performance were included on the DVD of the 2004 film production.

Productions

West End

''The Phantom of the Opera'' 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. Propst, Andy
Broadway's Phantom of the Opera to Reach Historic 9,000th Performance on 17 September
TheaterMania.com. 14 September 2009. Michael Crawford starred in the title role with Sarah Brightman as Christine, Steve Barton as Raoul, Rosemary Ashe as Carlotta, David Firth as Monsieur André, John Savident as Monsieur Firmin, Mary Millar as Madame Giry, Janet Devenish as Meg Giry, and John Aron as Piangi. When Crawford, Brightman, and Barton left the cast to open the Broadway production they were replaced by Dave Willetts, Claire Moore, and Michael Ball respectively. The production celebrated its 10,000th performance on 23 October 2010, with Lloyd Webber and the original Phantom, Crawford, in attendance. The 30th anniversary was on 10 October 2016 with a special appearance of the original cast during the curtain call. It is the second longest-running musical in West End history behind '' Les Misérables'', and third overall behind '' The Mousetrap''.

The production played its final and 13,919th performance on March 14, 2020, due to the shutdown of theatres resulting from the COVID-19 pandemic. The following month, it was announced that an "extended closure" of the original London production would be required to refurbish the sets and the theatre. In July 2020, social media outlets posted photographs of the sets, props, and costumes being loaded out from Her Majesty's Theatre. As Mackintosh had only recently closed the original 1985 London production of '' Les Misérables'' in order to replace it with a newer production that had previously toured the UK, speculation mounted that the original production of ''The Phantom of the Opera'' was to be overhauled or replaced entirely. Confirmation of this speculation was given on 28 July 2020, when Mackintosh announced that he and Lloyd Webber had decided to "permanently close" the original London production after a 33-year run, but that the two were "determined" for the musical to return to the West End.

In response to this announcement, the Really Useful Group denied that the original production was permanently closing, stating that the extended closure was simply to enable a refurbishment of the theatre and that the show would return "unchanged" and any returning production would "not be a new version of the show", but without confirming upon request by '' The Stage'' as to whether the production's 27-piece orchestra would return. In October 2020, Mackintosh contradicted this clarification by stating that the "new version" based on the 2020 UK tour would in fact be the production that would be staged at Her Majesty's Theatre post-pandemic.

Mackintosh confirmed in an interview on 4 December 2020 that the original London staging had officially ended, with investors having been given their closing notices, and that the 2020 tour would be moved into the show's original home at Her Majesty's Theatre. Lloyd Webber and Mackintosh announced a planned reopening on 27 July 2021. Planning documentation submitted by LW Theatres confirmed considerable redesigns of Maria Björnson's set, with the removal of the Angel statue, reductions in the mobility of the travelator and candelabra, and fewer gargoyles on the proscenium as had featured in the original production. It was additionally confirmed on 12 April 2021 that, contrary to claims by Lloyd Webber that the original production would return "in its entirety", the orchestra of the original production (once the largest for any West End musical) was to be halved for the show's return to the West End using the reduced tour orchestrations. On 15 April 2021, Mackintosh confirmed that the original staging would not be reinstated at Her Majesty's Theatre and that the designs of Maria Björnson, direction of Hal Prince, and choreography of Gillian Lynne would be "reimagined by a new team". The producer reconfirmed in an interview with the ''Daily Telegraph'' in April 2021 that the 2020 reduced touring redesigns would replace the originals at Her Majesty's Theatre. Full casting for the reopening was announced on 27 April 2021, with all previous longtime cast members having departed the show.

2021 West End revival

The second West End production of ''Phantom'' opened on 27 July 2021 at Her Majesty's Theatre, where the original production had premiered 35 years previously. Although Lloyd Webber described the show as "substantially identical" to the original production, this second West End production is "a reduced, cheaper version, with 14 musicians in an orchestra that used to have 27". Alterations were additionally made to the show's set design by Matt Kinley in order to "reduce running costs". This included, among other modifications, the loss of Maria Björnson's sculptures covering the sides of the proscenium (previously described by Harold Prince as the "key to the show") and the levitating Angel statue during the "All I Ask of You" sequence (replaced by a replica of Lequesne's ''La Renommée retenant Pégase'' that appears on the stage). Other sequences, including that of the descent to the lair (in which doubles of the Phantom and Christine were excised, previously mobile candelabra became stationary, and the number of candles populating the lake were reduced), were also restaged by Seth Sklar-Heyn. The use of sweeping red curtain that had concluded each act of the original production was replaced by a painted flat, and the mobility of the 'travelator' bridge was reduced. Whereas Prince had envisioned the show as a "black box" production requiring the use of