| Music | Andrew Lloyd Webber |
| Lyrics | Charles Hart |
| Book | Andrew Lloyd Webber and Richard Stilgoe |
| Source | Le Fantome de l’Opera by Gaston LeRoux. |
| Premiere | West End: 9 October 1986 (15 236 performances) Broadway: 26 January 1988 (13 981 performances) Direction: Harold Prince Choreography: Gillian Lynne |
| Adaptations | 2004 Film Adaptation 2006 Live Las Vegas Spectacular (Phantom) 2011 Concert Film Adaptation 2025 Live Immersive Production (Masquerade) |
| Licensing | Andrew Lloyd Webber Show Licensing |
If ever a musical divided audiences and critics, The Phantom of the Opera is it. No other musical has run longer on Broadway, yet the show received mixed reviews from the critics. Fans embrace the lush orchestrations of tunes they can hum as they leave the theatre, while some academics lament the pop sensibilities and repetitive nature of the score. Only in its translation from the page to the stage does the show seem to unite those who view it: headed by Harold Prince, with choreography by Gillian Lynne, the original production was deftly staged and startlingly theatrical, brought to life in a series of glorious and unforgettable designs by Maria Björnson. The epitome of the megamusical production style popularised in the 1980s, The Phantom of the Opera is a lushly romantic operetta made modern through the use of all the trappings that contemporary theatre stagecraft has at its disposal.
Where beauty meets the darkness within…
Synopsis and Musical Numbers
Prologue
Paris, 1911. An auction is being held on the stage of the Paris Opera House. One man seems to be buying many sentimentally valued items – including a musical box with the figure of a mechanical monkey. This man is Raoul, Vicomte de Chagny. (“Prologue”) The next item is a reconstructed chandelier, which featured in the ‘famed tragedy of the Paris Opera’. The auctioneer calls for a demonstration of the new wiring, and suddenly the chandelier rises to the ceiling of the theatre, transporting the audience back in time (“Overture”).
Act I
Paris, 1881: The company is rehearsing a new opera, Hannibal. The manager of the Opera arrives and announces his retirement. The new managers, André and Firmin are introduced. André asks Carlotta, the company’s Prima Donna, to perform a piece from the opera for them. As she is singing, a backdrop falls suddenly, almost killing her. Buquet, the chief flyman, is called but he can offer no explanation. The ballet girls whisper that it must be the work of the “opera ghost”. Carlotta is furious and storms out, vowing not to return until these strange occurrences stop happening. The new managers, who are now left without a leading lady, have their problems added to when Madame Giry, the ballet mistress, hands them a note from the opera ghost, in which he demands a salary and the use of Box Five for the opera. Meg Giry, Madame Giry’s daughter, suggests that her friend Christine Daaé could take Carlotta’s place. Christine has been taking singing lessons, but claims she does not know from whom.At Madame Giry’s insistence the managers grant her an audition (THINK OF ME). As Raoul watches from the managers’ box and applauds her performance, he is echoed by an unseen voice.
Meg asks Christine about her teacher, but all Christine can tell her that it is the “ANGEL OF MUSIC” which her late father had promised he would send to her. She has only heard him in her dressing room; she has never seen him. Raoul goes backstage to her dressing room to congratulate Christine. They realize that they were playmates as children (LITTLE LOTTE). Raoul insists on taking her out to dinner and leaves to get his coat. As soon as he is gone, the strange voice is heard again, and gradually a figure appears behind the mirror. It is the Phantom, her ANGEL OF MUSIC. The mirror glides open and THE PHANTOM OF THE OPERA draws Christine inside with him. Raoul returns and hears the voice, but the door is locked. Suddenly the dressing room door opens, but when Raoul enters the room, the mirror has slid shut and it is empty.
Christine and the Phantom journey through the labyrinth beneath the Opera House, crossing a lake to arrive at the Phantom’s lair. The Phantom explains why he has been teaching Christine – so that she may sing his MUSIC OF THE NIGHT. Christine falls into a trance and wakes the next morning to the sound of a musical box (I REMEMBER). The Phantom is seated at his organ, absorbed in his composition. Christine quietly approaches him and unmasks his from behind. Furious, he turns on her, and Christine recoils from the horror of his face and his anger (STRANGER THAN YOU DREAMT IT). Once his anger is spent, he breaks down, and Christine, moved by pity, returns his mask. He takes her back to the surface.
Buquet catches sight of the pair as they return. Madame Giry also witnesses the scene, and cautions Buquet not to speak of what he has seen (MAGICAL LASSO). There is confusion everywhere surrounding Christine’s sudden disappearance. Raoul, Carlotta, Piangi, Madame Giry and Meg all meet in the managers’ offices, brandishing NOTES from the Phantom. The letter that causes the most debate is that which demands that Carlotta be replaced by Christine in the lead role of the upcoming opera Il Muto. The managers reassure Carlotta that she will remain the star and that Christine will be cast in a silent role. The Phantom’s voice is heard warning them against that course of action (PRIMA DONNA).
For the performance, Raoul sits in Box Five. The Phantom interrupts the show, repeating his demands, and when these are still ignored, he magically causes Carlotta to croak like a toad instead of singing (POOR FOOL, HE MAKES ME LAUGH). The managers give in to the Phantom and offer a ballet sequence while Christine changes for the performance. During the ballet Buquet’s body, hung with the Punjab lasso, falls from the flies. In the ensuing panic, Christine and Raoul flee to the roof. There she tells him of her experiences with the Phantom (WHY HAVE YOU BROUGHT ME HERE?). Raoul is incredulous, but offers her protection. They profess their love for each other, and agree to leave together that night (ALL I ASK OF YOU). Once they leave, the Phantom emerges from where he has been listening and vows revenge. As the cast of Il Muto are taking their bows, he brings down the chandelier, which lands at Christine’s feet on the stage.
Act II
Paris, 6 months later: The Opera is having a MASQUERADE to celebrate the New Year. The Ensemble activity becomes background, as Andre, Firmin, Meg, Giry, Piangi and Carlotta come to the fore, glasses in hand. They clink glasses and move off as Raoul and Christine emerge. She is admiring a new acquisition: an engagement ring from Raoul, which she has attached to a gold chain around her neck. Christine, almost coquettish, almost jittery, goes from man to man. But too many of her partners seem to be replicas of the Phantom, and each spins her with increasing force. Eventually Raoul rescues her and holds her tightly. He whirls her back into the dance, as the music heads towards its climax. A figure dressed as Red Death appears on the staircase. It is the Phantom. He gives the score of his opera to André, demanding that is be performed (WHY SO SILENT). He tears the engagement ring from Christine’s neck and disappears. Raoul questions Madame Giry about the Phantom, and she tells him what she knows – that he is a deformed genius who escaped from a freak show, and was presumed dead, but that he still lives somewhere in the Opera House. André and Firmin have no wish to perform the Phantom’s work (NOTES II). However, Raoul proposes a plan, in which they go along with his plans, and then, when he attends the performance, they will be prepared. Christine does not want to become involved, but eventually agrees (TWISTED EVERY WAY). The frustrated company begins rehearsals.
Christine goes to visit her father’s grave (WISHING YOU WERE SOMEHOW HERE AGAIN). While there, the Phantom appears and attempts to regain his influence over her (WANDERING CHILD). However, Raoul arrives and takes Christine away. The Phantom is furious and declares war on them both (BRAVO, MONSIEUR).
The performance of Don Juan Triumphant, the Phantom’s opera, begins. Police officers have secured all the doors. As the opera progresses, it becomes obvious that Piangi has been replaced by another singer (THE POINT OF NO RETURN). Christine unmasks the Phantom in front of the audience. Police rush onto the stage, but the Phantom is able to take Christine and escape. Piangi, who has also met with the Punjab lasso, is discovered behind the scenes. Raoul follows the Phantom, aided by Madame Giry (DOWN ONCE MORE). She shows him the way to the lake. They are followed by an angry mob – TRACK DOWN THIS MURDERER. In the Phantom’s lair, Christine confronts the Phantom with the fact that his true disfigurement is in his soul. Raoul arrives, and the Phantom lets him in, only to trap him in a noose and offer Christine an ultimatum: either she stays with him or Raoul dies. Christine’s answer is to kiss him. Stunned by this act, the Phantom lets them both go. Christine comes back to return his ring, and he tells her he loves her. She leaves with Raoul in the boat. As the mob draws in to the lair, the Phantom sits in his throne, drawing his cloak around him. Meg is the first to arrive. She approaches the throne and tears the cloak away. All that is left is the Phantom’s mask.
Characters
Principal Roles
The Phantom of the Opera. 30s – 40s. High baritone or tenor (with a good low range) from low A flat to high A flat. Needs a dynamic, bravura, ‘star’ performance, both frightening and irresistible.
Christine Daae. 20s. Beautiful young singer. Soprano voice that combines elements of classical and pop singing. A light, floaty soprano. She sings briefly to high E.
Raoul, Vicomte de Chagny. Late 20s – early 30s. Dashing, handsome young aristocrat. High baritone (2 octave range from A flat to A flat).
Monsieurs Firmin and André. Late 30s – 50ish. The managers of the Paris Opera House. Trying to be elegant, they are slightly befuddled and bumbling. Need good instincts for stylish comedy. Good supporting roles. Baritones; one sings to A, one to G.
Carlotta Guidicelli. 30s – early 40s. The prima donna of the Paris Opera. A diva in every sense of the word. Coloratura soprano, to high E. Requires opera training.
Madame Giry. Late 30s – early 50s. The Opera’s ballet mistress. An ominous, stern, forbidding figure. Mezzo soprano to high B flat.
Ubaldo Piangi. Late 30s – 50s. The opera’s leading tenor, Italian style singer, sings to high C. Requires opera training.
Meg Giry. Late Teens – Early 20s. A member of the Corps de Ballet. Must dance on pointe and sing mezzo soprano to G.
Speciality Roles
Don Attilo (in Il Muto)/Passarino (in Don Juan Triumphant). 30s – 40s. Bass or Bass baritone with a solid and legitimate low F. Should be a physically interesting character man with a good sense of comedy.
Wardrobe Mistress/ Confidante (in Il Muto). 30s – 40s. Contralto or low mezzo. Physically interesting character woman. Short and round or tall and thin.
Monsieur Reyer. 30s – 40s. Tenor. Character role. The repetiteur (vocal coach) of the Paris Opera. An agitated, finicky, meticulous fellow. A strict disciplinarian, always on the verge of hysteria.
Monsieur Lefèvre. Late 30s – early 50s. Manager of the Paris Opera House who is handing over his position at the top of the show. Eager to be rid of the whole situation. Good instincts for stylish comedy.
Ensemble Roles
1905: Auctioneer, 2 Porters, Bidders. 1881: Joseph Buquet, Stagehands, Madame Firmin, Policemen, Chief Fire Officer, 2 Fire Marshals, Marksman, the Ballet Chorus of the Opera Populaire*. In Hannibal: Princess, Slave Master*. In Il Muto: Fop, Two Epicene Men (a Hairdresser and Jeweller), Shepherd*. In Don Juan Triumphant: Innkeepers Wife, 2 Pages.
*The dancers in The Phantom of the Opera should be strong classical dancers, not tap dancers, jazz dancers or ‘hoofers.’ Female dancers must be under 5’6” and must be experienced, classically trained dancers. They should have a degree of innocence about them and look very young (18-25). Male dancers must be 6’0 or taller and must be classical/ballet dancers. They should have solid classical technique with a musical theater flair.
The Phantom of the Opera is one of those shows that has numerous recordings in various languages, making the task of reviewing each of them in any depth rather difficult. Thus I’ll be focusing my attention on a handful of the English language recordings. The images here allow to you to purchase the recordings from Amazon: just click on the image and you will be directed to a page with further details on each recording.
1. The Original London Recording
This was the recording that introduced the world at large to a show that would become an international sensation. A comprehensive overview of the score and indeed the show as a whole is provided over two discs, providing an immersive listening experience. As the Phantom, Michael Crawford conveys the torture of a human being so damaged that he dwells on the edges of humanity. Vocally, he’s not my favourite Phantom, but his approach to the role from an acting standpoint is compelling. His performances of the songs demand attention. It’s also not easy to dismiss Sarah Brightman in the role that was written for her. While she certainly isn’t the best Christine that has appeared in the show over the quarter century it’s been running, there’s a sweet vulnerability in her performance that certainly suits the role. (Note, however, Ms Brightman, that the correct pronunciation of opera includes no final “r”.) Steve Barton is probably the least controversial of the three leads. His is a fine performance in a thankless role. The supporting cast delivers the goods.
2. The Canadian Cast Recording
The Canadian Cast Recording was the first English language recording to follow the London Cast Recording. A highlights recording that skips a great deal of the bits and pieces in between the songs proper, the main reason for having this recording in your collection would be to have some record of Rebecca Caine’s marvellously acted and sung performance in the show. Although vocally, her voice sounds perhaps a shade too mature for the role, Caine takes the operetta cliché that is the stuff of Christine’s character and moulds it into something more complex. Every Christine that has followed surely owes something to Caine’s performance in the role. As far as Phantoms go, Colm Wilkinson plays into the extremes of the role and this creates a darker, more fractured take on the role. It certainly works in the Phantom’s more powerful moments, but the quieter moments (as in the parts of the generally over-articulated “Music of the Night” or the Phantom’s reprise of “All I Ask of You” near the end of Act I) come across in a manner that is rather contrived. Byron Nease is a blustery peacock of a Raoul and all the less sympathetic for it. The supporting cast members are fine, but perhaps feel a little weighed down by the seriousness of approach that was clearly taken in this production of the show.
3. 1993 Studio Cast Recording
Let’s face it. It’s rare for studio recordings to hold their own against genuine cast recordings, even when – as in this case – some of the performers have played the roles they are singing on stage. On this recording, we have Claire Moore, Sarah Brightman’s alternate in the original cast, singing the role of Christine several years after she played the role on stage. There are two problems here. Firstly, there’s the general maturity of her voice, which is only natural given the passage of time between 1986 and 1993. The second is that Moore doesn’t really nail the arc of the role vocally, climaxing in her first number (“Think of Me”) and never bettering the standard she sets there. That said, her performance of “Think of Me” is outstanding, my personal favourite from a vocal perspective. Barring a suave and charming contribution from John Barrowman as Raoul and a sincere performance from Megan Kelly as Meg, the rest of the recording is basically a wash. Graham Bickley is a bland Phantom, neither mysterious nor virtuosic in a role that requires at least that and more. The big numbers all disappoint in one way or another: the title song is too slow and lacks punch; the balance of “Prima Donna” is all over the place, leaving it to sound like a quartet; and the mix on “Masquerade” is too wet, an echo of the bright, sharp sound it was designed to have, to make any real impact on the listener. If you are looking to buy a single recording of the show, don’t let it be this one. This is one for the completists.
4. The Film Soundtrack
If the 1993 Studio Recording is one for the completists, then so is this one. The movie may be no great shakes, but at least when you’re watching it, you will have the visuals to distract you, for better or worse, from a soundtrack that offers very little by way or general satisfaction and very little in comparison with other recordings of the show. Emmy Rossum delivers a bland reading of Christine, which has less to do with her innate talent than it does with the take on the character in the film, and that is largely to do with Joel Schumacher’s inability to tell the story in any particular style or with any particular vision. Gerard Butler battles valiantly with the score, but it is that conflict that one follows in a listen of the score rather than that which is going on dramatically. Patrick Wilson sounds fine as Raoul, but makes little impression in the bigger scheme of things. (Of course, that is partly to do with the way the character is written, even in the stage version of the show.) The highlight of the recording is Margaret Preece, who sings the role of Carlotta, who is played by Minnie Driver in the film. That sums up the problem with this album: when Carlotta is the highlight of the proceedings, you know that something is amiss.
5. The 25th Anniversary Recording
Between the opening night of The Phantom of the Opera in London and this, the 25th Anniversary concert, things changed. It became en vogue for the Phantoms to become younger and sexier and for the Raouls to become snobbier and snottier. Part of this can be attributed, I think, to the Las Vegas production, in which glamour and shortcuts triumph over sense and depth, and part of it to the premiere of Love Never Dies, in which some of the characters that appear in both shows develop in ways so extreme such that back-dated tweaks were made in the original so that some parts of the sequel make a bit more sense. Those two landmarks in Phantom history also delivered to us the two leads in this 25th anniversary concert: Sierra Boggess (who got her big break playing Christine in the Las Vegas production and then originated the role in Love Never Dies) and Ramin Karimloo (who played Raoul on stage in 2003, Christine’s father in the film adaptation of the show and eventually the Phantom in both The Phantom of the Opera and Love Never Dies). The recording is a live one and, like all live recordings of musical theatre, never completely satisfies. Boggess is a rather shrill Christine, sounding at her best earlier on in the show. By the time we get to “Wishing You Were Somehow Here Again”, it’s all interpretation and no technique. The best musical theatre actresses can deliver both. But perhaps what is most distracting about Boggess’s performance is her accent, which falters on some of the vowels and anytime she hits the lateral consonant. Karimloo was more effective vocally in Love Never Dies, but he sounds fine on this recording, if perhaps he veers a little towards blustery genericism now and then. Hadley Fraser gets the dynamics of his relationship with Christine wrong, playing up Raoul’s chauvinism too much when he is with her. Perhaps this is one of the concessions made so that Phantom dovetails more neatly with Love Never Dies, but it doesn’t quite work. Wendy Ferguson as Carlotta delivers an exemplary “Think of Me”, but then checks out vocally when she is in non-diegetic scenes: it seems to me that Carlotta should be acted the other way around if that difference is going to be there. The rest of the cast ranges from delightful (Daisy Maywood as Meg) to appalling (Barry James as Monsieur Firmin, who is barely tolerable). Overall, the album is a third choice, trailing behind both the Original London and Canadian cast recordings. I would rather buy one of those and get this cast on DVD or Blu-Ray if you’re going to get it at all.
Musical Cyberspace 