Blue Passion
December 2011
Read the Story of The Phantom of the Opera And it’s Sequel Love Never Dies The Phantom of the Opera In Other Media Plus Interviews with
The Phantom
25
Anniversary The Phantom Edition
$7.99 US
th
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Blue Passion The Phantom Edition
TABLE OF CONENTS December 2011
3 Editorial 5 Masthead Interview With the Phantom 7 Story of The Phantom of the Opera 11 Story of Love Never Dies 15 The Phantom in Other Media 17 Blue Passion is celabrating 25 years of Andrew Lloyd Webber’s musical The Phantom of the Opera. Blue Passion:The Phantom Edition Pg. 2
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Christine’s Corner Passion. It lies in all of us. Sleeping… waiting… and though unwanted, unbidden… it will stir, open its jaws, and howl. It speaks to us, guides us. Passion rules us all. And we obey. What other choice do we have? Welcome my dear new and returning readers, I would like to introduce you to one of my greatest obsession. This edition of Blue Passion will be all about The Phantom of the Opera. I can remember when I was little my aunt had this porcelain dolls of the phantom and being little I ran to my mom and said “Auntie has a scary doll.” I still to this day don’t know why but in love that phantom. In 2004 when The Phantom of the Opera can out I went to the movie with my aunt and fell in love. Now I have watch as many Phantom of the Opera movies I can find. I have the London cast CD and the different movies soundtracks and the London cast Love Never Dies CD (Phantom 2). I have read the different Phantom book including the book that this opera was base off of and sequel books like Phantom of Manhattan. On Saturday March 27, 2010 at 7:00 pm I was seated in the Golden Circle section 2, row D, seat 30 and awaited my first opera to begin. I was 20 years old and had finally saved enough money to drive to Las Vegas and buy a ticket for The Phantom of the Opera. I would have loved to see the Phantom for the first time in London but Las Vegas was good enough for the time being. It was magnificent! I laugh and cried and I could really fell the magic of music more then I ever have. The Phantom of the Opera has opened my world to all types of opera. One of the things on my bucket list is to see all the opera I love. And I hope that this magazine and the future one to come and the ones before have open your minds and hearts to opera and what it can do for you. -Christine Schwartz
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www.phantoonsoftheopera.com
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Blue Passion
Editor in Chief
Photo Editors
Design Director
Photo Assistant
Director of Photography
Copy Chief
Deputy Editors
Copy Editors Tameka Boyea, Lorrie Deegan, Kathrine Eisenhart, Guy Zwick, Erik Masiello, Darren Dunkley, Serena Frary, Kelly Shehorn, Max Taplin, Mathew Grennan, Lonnie Geibel, Neil Baley, Emilia Coplan
Christine Schwartzenburger Livia Jane Smith
David Groodchild
Josie Hayes, Michael Brown, AJ Espino, Brittany Light, Rocco J. Ferber, Kibra Habte, Mark R. Rather, Millie Mackenzie, Rebecca N. Frandsen
Managing Editor Connor Currie
Story Editors
Zhu Tao, Slava Kuprešak, František Streit, Rolla O. Villadsen, Liedeke Nelen, Katherine Howard, Tewelde Gebre, Aki-Petter Sievinen, Florismart Labossière, Leonie Decker, Leonie Decker, Tatiana Argüello Perea, Menegilda Took-Brandybuck
Online Editor
Francesca Crawford
Nyx Emerson
Vivian A. Joyner
Catherine R. Cooley
Research Chief Giorgio Tsoukalos
Research Editors Abia Rashad Sarkis, Production Chief Darryl Mejorado
Production Editors
Art Director Star Luna Night
Hugh Finegan, Guy Norsworthy, Clayton Quinton, Tyrone Trieu, Darren Bouknight, Lenore Quillin, Karina Koepke, Clinton Helvey, Kurt Harnois, Allan Custis
Deputy Art Director
Editorial Assistants
Rosetta J. Grant
Designers
Erôss András, Ciriaca Mancini, Daniel M. Boyd, Jamie C. Jones, Michael B. Richardson, Brenda W. Daley, Florence N. Hodges
Design Assistant Eva B. Lee
Deputy Photo Editor Alton J. Roy
Todd V. Walton, Jose L. Olivarez, Amie Schmaltz, Lance Roehl, Elnora Remer, Nelson Vandegrift, Odessa Valenta, Louisa Leite
Contributing Writers
Fernando Gennaro, Noreen Hilliker, Tanisha Cartier, Roxie Savidge, Louisa Gailes, Lorrie Moos, Jeanie Tworek, Christian Fielden
Contributing Artist Jamie Canizales
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interview with the Phantom
We caught up with London’s Phantom, John Owen-Jones, to find out how he feels about the character he’s played more times than any other West End actor. You’ve played the role more times than any other actor in the West End, how would you describe your personal relationship with the Phantom?
would have to say, it is like trying to choose which of your children you like best. I happen to actually have two children – and both of them were born during my original run in Phantom, so the show is very special to me.
It has been a great show to be involved in.
Has your portrayal of the Phantom changed over the years?
“I remember when I was at drama school someone asked me what I wanted to do when I left and I said I wanted to play two roles – Jean Valjean (in Les Miserables) and The Phantom.” Now I have done both and they are both very close to my heart. If I was asked which is my favourite and I
The way I play the role has
changed as I’ve grown as an actor. I am much more confident as a performer now and more willing to take risks. I was terrified when I first took the role as it is so iconic – and people have a very definite view about how they think it should be played. There is such a fervent fan base and established love of the show, and initially I was terrified of getting it wrong. But then I realised that was madness, and this time round I am much more willing to take risks. I think now it is
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more a case of instead of me fitting the role, the role now fits me. I think that is the difference!
Do you remember the first time you performed as the Phantom? If you could go back to it, what advice would you give yourself? I can remember getting a stand-
ing ovation and being completely overwhelmed by that. But I do think I took it a little bit too seriously to begin with and I was very aware of the responsibility of it all. My advice to myself now would be not to take it too seriously!
What is your favourite part of the show? My favourite part of the show
musically is probably the Managers’
scene. The post-modern element is so clever, the way they are all singing about opera but are actually talking about the show itself. Performancewise probably the Final Lair is my favourite – you can really let rip with that and take it as far as you like! The hardest bit is Music of the Night, by far, because it is the only male solo in the show so of course it carries a weight – and with the legacy of Crawford et all, you have to live up to all that, as well as it being the first time you see the Phantom. You have to launch straight into it and really hit the ground running.
If you could ask the original creative team any question about the show – who would you ask and what would it be? I have been lucky enough to actu-
ally work with some of the creative team, like Hal Prince and Gillian Lynne. Gillian was here just the other day, she often she comes in to tighten things up. I’ve never really had to ask either of them anything – they TELL you exactly how it should be done – and they are absolutely right.
theatre, but when I went to drama school to train as an actor someone said well of course if you can sing then you should do musicals because it is another string to your bow, and you need all the weapons you can get in this business. So pretty much ever since then, I have worked in musicals in the West End and Broadway. If you can work in ANY way as an actor, then you have to do it.
Where would you like to be in five years time? In five years time I’d like to be
on I’m A Celebrity Get Me Out of Here… no, not really! That would be my worst nightmare. I don’t know, I’m so busy at the moment with Phantom and having done Les Misérables 25th anniversary I just don’t get the time to think about things like that. But I’d like a recording career, I’d like to tour, to do film and TV – I’d like to do a bit of everything. I’m just happy to be working, and if I’m still working in 5 years time I’ll still be happy.
What’s your dream role?
“My dream role is the one that hasn’t been written yet – the one that’s written for me, that’s my dream if I’m ever lucky enough to have that happen.” But I wouldn’t mind having a crack
at a lot of other roles in musical theatre – George in Sunday in the Park with George, the Phantom in Love Never Dies, Sweeney in Sweeney Todd, The Man of La Mancha, Billy Flynn in Chicago, now that would be a bit of fun. As I said, I’m really happy just to work – because I just love acting, I love being on stage, I love performing.
Do you prefer singing with a mask on or without it?
When did you decide you want- Here’s a rather intellectual answer to that – as an actor, I always wear a ed to pursue a career in musimask! No, obviously it’s easier to sing cal theatre? I never consciously made a decision to pursue a career in musical theatre, I just sort of fell into it. I wanted to be an actor. I always loved singing and I thought everybody could sing – being Welsh it is part of the culture! So I started going to see Amateur Dramatics, and I joined my local group after doing some school plays. The first play I did was West Side Story but in a non-singing role. Acting – discovering and committing to the character – was the thing which really turned me on. It was much harder to me than singing, so I challenged myself to do that. I never even thought about musical
without a mask on, but when I played Valjean [in Les Misérables] I had a beard on, people didn’t see the real me. I think it presents a challenge, singing in the mask – you have to do a lot more ‘over the top’ communicating with the audience, you can’t be subtle because they can only see half your face, so you use the body more and it can be more physically demanding. But it doesn’t really make a difference when producing a sound – I tend to sing out the side of my mouth anyway, and as it happens it’s the side that isn’t covered by the mask. If you look at a lot of musical theatre actors they tend to sing out of the side of their mouth, I don’t know why that is. I know I do it!
What do you think is the biggest misconception about actors? That we’re lazy! I would say that
we’re classed in much the same way as students, we don’t get out of bed in the morning and we only do a couple of hours work a night. In fact, that’s what I thought they were all like before I joined the business, it was one of the reasons why I became an actor, I didn’t really want to work for a liv-
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ing! But it turned out we actually have to work really hard… as an example, I’ve got a show tonight and I won’t finish till 11, I was doing a photoshoot this morning at 10, now I’m doing an interview. I’ve had a 12-hour day, and I don’t get to see my family either. So the biggest misconception is probably that people think we’re lazy when in fact it’s actually a really demanding job, it’s anti-social, the hours are long, and it’s also very lonely sometimes. When you work with a company it’s great but the role of The Phantom for example – I don’t mix with the company because I’m on my own most of the time, so it can be very difficult. I think people think it’s an easy life, but it can be difficult, and of course, it’s very precarious. It’s feast or famine.
Who would make you starstruck if you met them? I don’t really get starstruck if I’m honest. I have idols.
“If Gene Kelly walked in here right now I’d probably faint.”
For two reasons, one because he’s dead! And two, because I used to watch all his films when I was a kid. And Tom Jones – Tom Jones is one of my big heroes. If I ever got to meet him, let alone work with him, that’s when my heart would be thumping. But mostly I can cope with it, because at the end of the day we’re all the same, we’re all just out to get through life. Some people have done it with great style – like Tom! I’ve also been very lucky to work with incredible people, like Sondheim and Andrew, but I’ve never got starstruck because I made a choice to be here. I’ve worked at it, and I feel like I deserve to be here. Also I realized about 10 years ago when I turned 30 – that everyone’s just making it up as they go along. As soon as you realize that it humbles everybody so that’s why I don’t get star struck.
John answered YOUR qusetions too...
would never expect someone like that to be sat in your dressing room.
‘Angel of Music’ asked: Why does the Phantom pick up Christine when she faints in the London production, in the US production she faints on the floor. Is it very hard picking her up every night? Hmm, your question is one of practicality. The Phantom picks Christine up in London because that’s how it has always been. In New York and I think in other areas of the world there are health and safety restrictions so the Phantom doesn’t catch Christine in case he does his back in! I’ve seen it on Broadway, loved the production, but it did strike me as being a bit odd that he didn’t catch her,when it was his fault that she fainted… Sometimes in the London production, if there’s something wrong with the boat for example and it’s not where it’s supposed to be we have to let Christine fall on the floor because there’s nowhere to put her otherwise. So it’s a question of practicality really.
Camille asked: What’s your most memorable performance of Phantom?
Ann asked: What changes would you make to the character of the Phantom if you were directing the show?
Camille, the most memorable
I’d give him a little bit more to do
performance of Phantom was when Bruce Willis was in the audience with his daughter. At Her Majesty’s we have a VIP room called the Royal Room, but that was booked up that night so he ended up coming into my dressing room in the interval, and we shared champagne – I couldn’t drink of course, because I was on! But it was very surreal, this seat I’m sitting on now is where Bruce Willis sat and we were chatting about his career and my career, in the interval of the show. That was one of those moments – you
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in Act One! But I think when you look at the show, it’s perfectly arranged as a star vehicle because the Phantom is the only male character who gets solo numbers, he closes Act One, he closes Act Two, he has all the best entrances and all the best exits and everybody talks about him – even when he’s not on stage, everybody’s chattering about The Phantom, The Phantom, The Phantom – so you think it’s a much bigger role than it is. So ultimately I wouldn’t change anything. I think people don’t realise that even though the Phantom isn’t onstage a lot, he’s
always doing something – changing costume, climbing up to sit in the Angel, hiding somewhere, going down through the trapdoor. It’s a very busy plot and there’s not much time to do anything else.
pretty big. The bit that does worry me every night is what we call the cross box -when Christine’s singing ‘Wishing You Were Somehow Here Again’, the Phantom is hiding in the cross box and then he emerges ghost-like from the shadows. I have Paul asked: Have you ever to stand in there for the entire song felt like you might fall off the and there’s a very famous story angel? (The point at which the where I think Dave Willets or one Phantom appears above the of the early Phantoms, got into the stage after the song ‘All I Ask cross box and it hadn’t been seOf You.’) cured properly so the whole thing fell backwards with him in it. So Paul, I’ve never felt like I might I always get very wary when I get into that because you never know… fall off the angel because we’re harnessed in. We have a three-point basically you’re standing in a black box, like a coffin, and you’re in the harness belt on. It’s not really necessary I think because in the angel, graveyard, AND you’re holding a big stick with fireworks inside it! the structure of it at the back that the audience don’t see is actually
Sophia asked: What’s the funniest think that’s ever hap-
pened to you onstage?
Well, onstage nothing really embarrassing has happened – apart from getting a nice big rip in my trousers, but that sort of thing is all par for the course really!
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The story of the musical
T
he Phantom of the Opera is a musical by Andrew Lloyd Webber, based on the French novel Le Fantôme de l’Opéra by Gaston Leroux. The music was composed by Lloyd Webber, and most lyrics were written by Charles Hart, with additional lyrics by Richard Stilgoe. Alan Jay Lerner was an early collaborator, but withdrew due to illness after some initial work on a single song, “Masquerade”. The central plot revolves around a beautiful soprano, Christine Daaé, who becomes the obsession of a mysterious,
disfigured musical genius. In 1984 Lloyd Webber contacted Cameron Mackintosh, the co-producer of Cats and Song and Dance, to propose a new musical. He was aiming for a romantic piece, and suggested Gaston Leroux’s book The Phantom of the Opera as a basis. They screened both the 1925 Lon Chaney and the 1943 Claude Rains motion picture versions, but neither saw an effective way to make the leap from film to stage. Later, in New York, Lloyd Webber found a second-hand copy of the original, long-outof-print Leroux novel, which supplied the necessary inspiration to develop a musical:
“I was actually writing something else at the time, and I realized that the reason I was hung up was because I was trying to write a major romantic story, and I had been trying to do that ever since I started my career. Then with the Phantom, it was there!” Sarah Brightman was married to Andrew Lloyd Webber. Brightman starred as Christine Daaé in Lloyd Webber’s adaptation of The Phantom of the Opera. The role of Christine was written specifically for her. Lloyd Webber refused to open The Phantom of the Opera on Broadway unless Brightman played Christine.
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The story of the musical
F
rom the composer of some of the greatest musicals of all time, comes Andrew Lloyd Webber’s breathtaking new musical - Love Never Dies.
Directed by Simon Phillips, with spectacular set and costume designs by Gabriela Tylesova and choreography by Graeme Murphy, Love Never Dies was the winner of
3 prestigious 2010 Helpmann Awards for Best Scenic Design, Best Costume Design and Best Lighting Design. Love Never Dies continues the story of The Phantom of the Opera… featuring one of Lloyd Webber’s finest musical scores performed by a 21 piece orchestra, a stunning cast of 36 including Ben Lewis and Anna O’Byrne, over 300 incredible costumes and a magnificent set illuminated by over 5000 dazzling light bulbs. The year is 1907. It is 10 years after his disappearance from the Paris Opera House and the Phantom has escaped to a new life in New York where he lives amongst the screaming joy rides and freakshows of Coney Island.
In this new electricallycharged world, he has finally found a place for his music to soar. All that is missing is his love - Christine Daaé. Now one of the world’s finest sopranos, Christine is struggling in an ailing marriage to Raoul. So, it is with excitement she accepts an invitation to travel to New York and perform at a renowned opera house. In a final bid to win back her love, the Phantom lures Christine, her husband, and their young son Gustave from Manhattan, to the glittering and glorious world of Coney Island… not knowing what is in store for them.
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The Phantom of the Opera In Other Media
In this section we will explore The Phantom of the Opera in movies and in books. We are sure there are more but these are some of our favorites and/or ones we were able to review.
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Movies
The Phantom of the Opera, starring Lon Chaney 1925 (Top Left)
If it hadn’t been for Lon Chaney, who held out for this first ever film version of Phantom to be made by Universal, Gaston Leroux’s novel might well have sunk into obscurity beyond Ken Hill or Andrew Lloyd Webber’s view. The film remains one of the most faithful movie adaptations of the story (though of course that isn’t saying much...). Of course to modern audiences not used to silent movies the acting seems odd, but Chaney was the most subtle and accomplished actor of the silent era, and once you accept the conventions of films of the time he gives a truly moving, emotion-filled performance. Compare him with some of the other, rather hokey performances in the film - his is by far the most real.
The Phantom of the Opera, starring Claude Rains 1943 (Right) Universal’s second version of the Phantom story was geared towards taking advantage of the widescreen Technicolor technology, full of opera and operetta sequences, which now tend to drag. The story doesn’t just make radical departures from the book, it pretty much ignores it. Rains is a charismatic actor with a beautiful voice, and he has some moments of good emotion. Unfortunately the story changes really ruin it as a version of Phantom. This “Phantom” is a musician when he falls in love with Christine, whose singing lessons he pays for. He loses his position, tries to sell his compositions only to have them stolen, then is scarred by acid in a fight. There’s a sad ending, but no kiss - this Phantom is entirely a father figure.
The Phantom of the Opera, starring Herbert Lom 1962 (Bottom Left)
Hammer’s 1962 version is another than pays no heed to the original story, with a Phantom disfigured by fire and acid, camping out under the London Opera in a rather grotty mask. In fact this Phantom is more of a shabby aging composer than the perfectlyattired, passionate genius of the novel. There’s nothing wrong with Herbert Lom’s performance given the constraints of the role as written, but this movie doesn’t have a lot to recommend it to Phantom fans (again, no kiss) except for completist value.
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The Phantom of the Paradise, starring Paul Williams, William Finley and Jessica Harper 1974 (Top Right)
For anyone who feels Brian DePalma’s directorial style is often overblown and overheated, his 1974 Phantom of the Paradise is just silly enough to make his worst habits work. William Finley stars as Winslow Leach, a gawky, goofy, geeky composer whose Meat Loaf-like take on the legend of Faust is hijacked by an ageless megaproducer, Swan (the diminutive Paul Williams, who also wrote the film’s music), who’s made a Faustian pact of his own. Dejected and disfigured, Leach returns to haunt the opening of Swan’s new music hall, but Phantom of the Opera isn’t the only classic regurgitated by DePalma’s rough-but-lively, colorful and creative slapdash of ideas. The film also contains slight send-ups of Psycho and The Godfather, not to mention predating an idea or two from 1976’s Network, while also providing a more coherent alternative to the glam camp of The Rocky Horror Picture Show. While Phantom is certainly sloppy in parts, there’s a lot of fun to be had puzzling over the inspired casting of pintsized, pug-faced Williams as a devilish lothario, and in Gerrit Graham’s vivacious performance as the androgynous singer Beef. Also starring Jessica Harper as Leach’s muse, Phoenix.
The Phantom of the Opera, starring Maximillian Schell 1983 (Left)
This version appears to be unavailable in the US, but it’s not much of a loss. Again, a fine actor is put in the role of the Phantom, but a Phantom who bears scant relation to Leroux’s. He was disfigured in a fire, Christine (Jane Seymour) is the spitting image of his dead wife. Michael York is their version of Raoul. I found this version slow and tedious in the extreme, and it’s pretty much my least favourite of the lot. I was told I should praise Stan Winston’s make-up... but I don’t remember liking it much myself.
The Phantom of the Opera, animated 1988 (Bottom Right)
Although the animation in this 50 minute film is crude compared to what we’re used to, it’s surprisingly cute and surprisingly faithful to Leroux - perhaps the most faithful of all the film versions so far. The script uses liberal quotations from the novel, and Erik even looks as Leroux described. Apparently the first time since 1925 that anyone making a film of Phantom bothered to read the book.
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The Phantom of the Opera, starring Robert Englund 1989 (Top Left)
Aka the slasher version. Robert Englund is most known for playing Freddy Kreuger, and this version capitalizes on that by being out and out horror, with graphic deaths and a gory make-up. Oh, and a sex scene with a prostitute. In fact, if you can look past the slasher movie (and time shifting) aspects of the film, it has some beautiful scenes, particularly the scene at the graveyard. The cinematography, sets and costumes are excellent, the music written by the Phantom appropriately haunting, and it uses the music (and story elements) of Faust. Until the end, where all sympathy for him is lost, Englund’s performance does have some nice emotion and touching moments.
The Phantom of the Opera, starring Charles Dance 1990, miniseries (Right)
Acclaimed director Tony Richardson shot this version, based on the Kopit/Yeston musical but without the songs, at the Paris Opera House itself - so needless to say, it’s a treat to look at for Phantom fans. Dance’s Phantom is romantic, sympathetic, gentlemanly and attractive, so many fans love this version, but at nearly 3 hours it really drags. It also makes dramatic changes to the story which effect the characters, most notably Dance’s Phantom having been brought up in the depths of the opera house by his father, which rather ruins the whole never been loved, lifetime of abuse and rejection aspect of the character. We also never get to see his actual face! I find this version just to sappy and soppy, and Teri Polo’s Christine gets on my nerves, but some fans love it so it’s worth checking out and deciding for yourself.
The Phantom of the Opera, starring Julian Sands 1998 (Bottom Left)
Dario Argento’s film is stylish, psychologically fascinating, and utterly weird. This is definitely not a version that will be enjoyed by people who aren’t already partial to Argento’s work; it’s weird. The Phantom was raised by rats. The most majorly weird bit of it would be too much of a spoiler for me to give away, but suffice it to say I was left with a very different interpretation of the story in this version than in any other. It is perhaps best read as a story where the Phantom is entirely in Christine’s head, a fantasy or delusion grown from the status of women, particularly women in the theatre, at the time. As I said, unless you already like Argento, it’s not going to be popular amongst Phantom fans.
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Andrew Lloyd Webber’s Phantom of the Opera, starring Gerard Butler and Emmy Rossum 2004 (Top Right)
You already know this one. Joel Schumacher’s movie takes us a world away from the stage show or novel, into a fantasy Paris with a young and sexy cast, ornate scenery, and soap opera emotions. Singing ability was less important to him than looks, and the changes made the characters ages and backstories completely alter the dynamics and psychological motivations of the story. Still, it’s pretty to look at, and many people adore Butler’s Phantom. Emmy Rossum is as doe-eyed as Sarah Brightman ever was. The rest of the cast is mostly excellent.
Books
The Phantom of the Opera, by Gaston Leroux. 1910 (Left)
The book that started it all, a Phantom fan must-read. Find out Erik’s original background and deepen your understanding of the story. Gaston Leroux’s novel was originally published in France in 1910, and the narrative takes a semi-journalistic form, claiming that the events it describes really happened (and evidence has been found which points towards some real people with similar stories, and real families). Some might find the book melodramatic, but it is also profoundly touching in parts.
The Phantom of the Opera, by Gaston Leroux. Edited by Leonard Wolf. (Right)
Another edition of Gaston Leroux’s original novel, with a different translation and extensive notes by Leonard Wolf. Wolf’s commentary is variable, in places fascinating, in others frustrating by not addressing points we’d like to see examined, and occassionally ill-informed (to the fanatical fan, anyway). The translation includes paragraphs inexplicably cut out of most editions of the book, so I recommend picking this one up.
The Phantom Of The Opera: Film Companion (Bottom Left)
This is basically sections of the George Perry book, together with a section on the new movie and its screenplay. It also includes many photos from the film, as well as a couple of pictures from other productions around the world.
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Phantom, by Susan Kay (Top Left)
It would be heretical to say that Susan Kay’s magnificent Phantom is an even more essential read than Gaston Leroux’s, but many fans list it as their favorite version of the story. It deals with the story from multiple viewpoints, from before Erik’s birth to after his death. It is, quite simply, everything any Phantom fan could hope it could be. It is rich, beautifully written, true to Leroux’s characters whilst adding far more layers of depth, and heart-breaking. You will need a box of tissues when you read this book.
The Complete Phantom of the Opera, by George Perry (Right)
Written to go with the London show, this is a look into the background of the story, the author, the Paris Opera House, and of course Andrew Lloyd Webber’s musical. There’s the libretto of the original cast recording, loads of photographs, and it should be part of every fan’s collection.
The Phantom of the Manhattan, by Frederick Forsyth (Bottom Left)
The stunning continuation of the timeless classic The Phantom of the Opera. In The Phantom of Manhattan, acclaimed, bestselling suspense novelist Frederick Forsyth pens a magnificent work of historical fiction, rife with the insights and sounds of turn-ofthe-century New York City, while continuing the dramatic saga which began with Gaston Leroux’s brilliant novel The Phantom of the Opera... More than two decades have passed since Antoinette Giry, the mistress of the corps de ballet at the Paris Opera, rescued a hideously disfigured boy named Erik from a carnival and brought him to live in the labyrinthine cellars of the opera house. Soon thereafter, his intense, unrequited love for a beautiful chorus girl set in motion a tragic string of events, forcing him to flee Paris forever. Now, as she lies dying in a convent, Madam Giry tells the untold story of the Phantom and his clandestine journey to New York City to start anew, where he would become a wealthy entrepreneur and build the glorious Manhattan Opera House...all so he could see his beloved, now a famous diva, once again. But the outcome of her visit would prove even more devastating than before-- and yet, would allow the Phantom to know, for the first time in his brutal life, the true meaning of love... I can’t tell you why I have a dislike of this book it would spoil the book but I did .
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christine timeline The timeline of Christine in the media of movies and the musicals
Blue Passion:The Phantom Edition Pg. 25
phantom timeline The timeline of Phantom in the media of movies and the musicals
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25th Anniversary Box Set
$156.75
A beautiful limited edition 4-CD and 1 DVD set celebrating the 25th anniversary of the show’s London opening in 1986. Containing; • The original recording of The Phantom of the Opera and its 2010 sequel, Love Never Dies • A captivating hour-long DVD including original music videos, rare interviews and performance footage, the collection tells the complete story of the world’s greatest entertainment phenomenon. • 160-page fully illustrated hardback book details the compelling history of the show from page to stage and beyond. • The box set comes numbered and with an exclusive medallion • Replica of the 60-page opening night programme from Her Majesty’s Theatre. To celebrate the product release, we are delighted to offer free Postage and Packing to customers in the United Kingdom.