Dramaturg's Statement

This is what I would bring to the first meeting with the director(s) and design people as a dramaturg.

The musical of Phantom of the Opera was taken by Andrew Lloyd Webber from the original novelization of Le Fantome de l'Opera by Gaston Leroux. This dramatic tragedy takes place in late 19^th century Paris, France. The opera house that inspired Leroux's Opera Populare was in fact the real life Opera Garnier. This includes the backstage, the theater itself and the underground lake. Supposedly another part of the inspiration was that the Opera Garnier had had and incident where their chandelier fell and kill a single person. In Phantom, the incident with the with the chandelier and the person dying are two separate events. One happens at the end of the first act while the second happens during the second. The play also has to echo the feel of late 19^th century Paris, France. This includes the grave yard.

In Phantom, there are references to light and dark. When referencing the PHANTOM, most of the references have to do with the dark. He even lives in the underground lake that rests below the theater. When it comes to lighting, when it comes to the PHANTOM the lighting should become somewhat darker if it is not already dark. This includes during the graveyard and masquerade scenes. The opera at the end of the show however does not need too many lighting changes. He also has an air of mystery about him. Most of the time when it comes to mystery of some sort, fog is most often used. I wouldn't say to add huge amounts of it, however I would add just enough to make it so.

RAOUL on the other hand is a lighter character. He should have a little bit lighter when it comes to a his lighting. Especially when it comes to the graveyard and underground lake scenes. If there is fog in the scene – whether or not the PHANTOM is there – it should lessen a least a little bit.

Now as far as casting goes, non-traditional casting could be accepted. The down side is that you would have to be careful as to how you cast. Casting with the main characters has to be fairly strict. What needs to be done is the characters have to cast because of how they act, not for such things as race but for their acting instead. If the roles were cast purely on race and not for their performance, then either way it would show a statement about the political aspects of the the performance and not about the talent.

There are are a few scenes that I see the most difficulty in trying to recreate on the stage. The first ones that comes to mind are any scenes that use the boat for the underground lake. It would be difficult in trying to perform such a task as to create the boat and having the steering of it be easy. In past productions of Phantom this problem has dealt with in different ways. There is a way for it to be dealt with, it is just the question as to how it will be done.

The other issue that I see is with the chandelier. This will again be difficult because because it would have to “crash” into the stage each night of the performance. It would have to be sturdy enough to handle it, but look delicate enough to look genuine. This has also been addressed in the various productions. It's an issue that's not really an easy one to solve, however it can be solved a couple different ways.

Statement: Producing the Play

Production Problems by the Text

In Phantom of the Opera, there are actually quite a few problems that I have seen. Most if not all of them are production problems. First has to do with the underground area. In the underground area, the Phantom uses a boat to go from one side of the lake to the other. This would be very difficult in several ways - one of the ways being steering the boat if a boat is used. There are also various other architectural problems. The one that stands out for me personally is the chandelier(s). If one is used - or two depending - then they have to be careful with it/them since night after night they would have them "crashing" to the floor - twice a night if they have just one. And then there is the stairwells. There are multiple scenes with some sort of stairwell and it would be difficult with not only building at least two sets of stairs but figuring out how to get the cast members up to the top of the stairs if that is where they are supposed to start the scene.



Production Problems Posed by Our Context

As far as context production goes with Phantom there are only a few problems. The largest problem to take care of of the issues is actually having to do with costuming. Several of the costumes for the in-production plays are extremely elaborate - especially with Hannibal and Il Muto. There are also the late 19th century French uniforms that have to be done as well and the dresses and costumes for the masquerade scene at the start of the second act. There isn't much with morals that has to be worried about. It would be slightly troublesome for some if people don't like the thought of a murder or two men lusting after one woman - especially since one of the men is old enough to be her father. Other than that there is no real foreseeable issues with the context of the play.



Other Productions Solutions

Upon what I've seen and read about other productions many of the problems have been solved. With Baldwin-Wallace's production, they actually altered some of the scenes so that extreme special effects did not have to be used. Two of such scenes were the underground boat scene and the chandelier crashing to the ground. In one photo I saw from them, I assume that instead of a boat they actually used a live horse instead. Other productions have used boats from what I have seen of them and they have actually done very well. As far as costuming has gone, when Carroll Senior High made their production they raised the money themselves - over $75,000 when is was all said and done.



Critical Response

When reading each of the review, the critics of the ones that I had found had nothing but good things to say. Each had known the script and were familiar with it. The script was a favorite with little if anything changed about it from production to productions. Mostly what was reviewed though was how the production was put on from place to place. In the cases of the schools, they continually had to remind themselves that these people weren't professionals putting the plays on. They were impressed with each production and whether it was the amateur versions or the actual Broadway production, it didn't really matter in the end.

Majestic Theater 1988

Really Useful Theater Company
New York, City
1988 - present

Director: Harold Prince

Staging and Choreography: Gillian Lynne

Scenic & Design by Maria Bjornson

Lighting Design by Andrew Bridge

Sound Design by Martin Levan

Nyack High School 2008

National Youth Theater
New York
March 2008

Director: Joseph J. Egan
Associate Director/Choreographer: Greg Baccarini
Musical Director: Kurt Kelley
Costume Design: Tom Beck and Neil Schleifer
Lighting and Special Effects Design: Andrew Gmoser
Set Design: Joseph J. Egan
Sound Design: Bryan McPartlan


"The ensemble does lovely vocal work together in Masquerade and in their graceful dance numbers. Tom Beck and Neil Schleifer costume them in countless splendid creations for said Masquerade as well as the big opera numbers, adding much vibrancy to the show. Lighting Designer Andrew Gmoser is also essential to the feel of the show, kicking it off with an eerie glow to the fallen chandelier and setting the mood so well in The Point of No Return as well as The Phantom of the Opera number and the final scene. Kurt Kelley and his orchestra do nice work with the challenging score.
Director Joseph J. Egan has a great vision for this show as we see in both his direction and set design. He captures its haunting nature, its glimpses of comedy, and its pageantry."
Rob Hopper
http://www.nationalyouththeatre.com/reviews/reviews_nyack_phantom.html

Carroll Senior High School 2007

Carroll Theater Department
Carroll, Texas
November/December 2007

Director: Stacie Martinsen
Co-Director: Roald Martinsen
Musical Direction: Chris Hutchinson



"We went on Saturday evening. We saw the original in London with Michael Crawford so had not set my expections too high. We were blown away by this performance. The singing was excellent, orchestra darn good for half of it being high school students, costumes and staging amazing. We kept having to remind ourselves we were watching high school students! Well done!"
"AngieS"
http://www.neighborsgo.com/?page_id=4&cat_id=2&thread_id=25&post_type=1

Baldwin-Wallace College 2007

The Conservatory of Music at Baldwin-Wallace
Berea, Ohio
November 2007

Director: Victoria Bussert
Musical Direction: Stuart Raleigh
Scene Design: Jeff Herrmann
Costume Design: Charlotte Yetman
Choreography: Janiece Kelley-Kiteley



Phantom is a difficult show. It has a very complex score. It requires massive sets, numerous special effects, many period costumes and a large and very talented cast. It is a challenge for professionals, let alone the limits of a college budget and on and off stage talent.
Bussert wisely altered the script so that some of the special effects could be eliminated. The famous crashing to the stage floor of the chandelier was modified and the boat floating on water was eliminated. It mattered little. The overall effect was positive. This was a very, very good production.[...]The singing and dancing choruses were excellent. The choreography by Janiece Kelley-Kiteley and Associate Choreographer Martin Cespedes was excellent.[...] Jeff Herrmann’s scenic and lighting designs were outstanding. Charlotte Yetman’s costumes, which were era correct, were amazing in their detail.
Roy Berko
http://royberkinfo.blogspot.com/2007/11/phantom-of-opera-baldwin-wallace.html

Images

Stairway of the Opera Garnier taken from the center section.











Theater house taken from the back near the top. Looks like a packed house! Hey! Who's that in "Box Five"?
















The Opera Garnier chandelier, shimmering for all to see with this new-fangled thing called "electricity." (Wait... what do you mean it's not new?!)
















One of the hallways of the Opera Garnier. It appears to be very brightly illuminated here.











A pathway for the catacombs of Paris. Perhaps where the Phantom lead Christine to his home?











A more open catacomb corridor. Perhaps a boat could go through this area?











A place where many corridors appear to meet. Maybe this is where the Phantom called his home?





A walkway in a Paris cemetery. Perhaps Christine walked this to the mortuary?












Another shot of a cemetery. Awful dark, don't you think?



















A graveyard - of angels and phantoms. Which will visit you, an angel of music or a phantom of your nightmares?

World of the Play: Statement

In this musical of the Phantom of the Opera, many of the acts of the Phantom are fantastical in all senses of the word. However, where it takes place is actually a very real location. The story of Phantom takes place in 1881 Paris, France. The opera house - the Opera Populare - was actually said to have been inspired by a real place known as the Opera Garnier. The Opera Garnier has very elaborate architecture. It is a grand place that also holds an underground lake, cellars and other various elements.

The time of year is unknown through most of the play. However two hints are given as to when. When reading the times for the first and second acts it is said that the first act is in Paris 1881, while the second act takes place six months later. The second frame of time is hinted at during the first scene of the second act when Monsieur Firmin and Monsieur Andre say, "...What a splendid party!" "The prologue to a bright new year!" It is supposed that because this is said that the second act must take place somewhere around the New Year. This sets the first act somwhere around the summer of 1881 - more than likely in July.

(not done)

World of the Play: Macro View

Opera
"Opera is a form of theater in which the drama is conveyed wholly or predominantly through music and singing. Opera emerged in Italy around the year 1600 and is generally associated with the Western classical music tradition. Opera uses many of the elements of spoken theater such as scenery, costumes, and acting. Generally, however, opera is distinguished from other dramatic forms by the importance of song and conventions of vocal technique. The singers are accompanied by a musical ensemble ranging from a small instrumental ensemble to a full symphonic orchestra. Opera may also incorporate dance; this was especially true of French opera for much of its history."
http://www.newworldencyclopedia.org/entry/Opera

Relevance: The entire play takes place in and around an opera house. There are three fictional operas that are performed during the duration of the production.

Ballet
"Ballet developed as a separate, performance-focused art form in France during the reign of Louis XIV, who was passionate about dance and determined to reverse a decline in dance standards that began in the seventeenth century. Louis XIV established the Académie Royale de la Danse (which evolved into the company known today as the Paris Opera Ballet) in 1661. The earliest references to the five core positions of ballet appear in the writings of Pierre Beauchamp, a court dancer and was also a choreographer."
http://www.newworldencyclopedia.org/entry/Ballet

Relevance: Madame Giry - Meg's mother - is the ballet instructor for the Opera Populare. We don't know where she was taught or who she was taught by. Perhaps the person instructing them came from the Academie.


(not done)

World of the Play: Micro View

Paris 1881

Electrical Exhibition
"From August to November 1881 the first International Electrical Exhibition was held in Paris at the Palais de l'Industrie with an associated international congress. Great advances in electrical technology, especially in electric lighting, had been made and the exhibition was the showcase for a new branch of engineering-electrical engineering."
http://www.theiet.org/about/libarc/archives/featured/paris-exhibition.cfm

Relevance: at the very start of the play, the chandelier is wired with the "new electric light" so that they could get an idea of how it looked.


Catacombs

"The Catacombs of Paris (the “municipal Ossuary”) have been created at the end of the 18th century. The cemetery of Innocent (close to Saint-Eustace, in the district of the "Halles") had been used during nearly ten centuries and had become the origin of infection for all the inhabitants of the district. After multiple complaints, the Council of State, by decision of November 9, 1785, pronounced the removal and the evacuation of the cemetery of the Innocent ones.

Old Quarries were selected to deposit Parisian bones; Paris indeed had just created the General Inspection of the Quarries charged of the consolidation of the public highways undermined by the Quarries. The Quarries “of Tombe-Issoire” were the object of work including masonry and consolidations of galleries, and by the digging of a flanked staircase.

The removal of the bones began after the blessing of the place on April 7, 1786 and was continued until 1788, always at night and according to a ceremonial made up of a procession of priests who sang the burial service along the way borrowed by the tipcarts charged with bones and covered with a black veil. Thereafter, this place was used, until 1814, to collect the bones of all the cemeteries of Paris."

http://www.catacombes-de-paris.fr/english.htm

Relevance: Erik, the Phantom, lives in the Paris Catacombs and takes Christine down with him.


Opera Garnier
"The Palais Garnier, also known as the Opéra de Paris or Opéra Garnier, but more commonly as the Paris Opéra, is a 2,200-seat opera house on the Palace de l'Opera in Paris, France. A grand landmark designed by Charles Garnier in the Neo-Baroque style, it is regarded as one of the architectural masterpieces of its time."
http://en.wikipedia.org/wiki/Palais_Garnier

Relevance: Nearly all of the Phantom of the Opera takes place in the Opera Populare, which was inspired by the Opera Garnier.

The title of Vicompte
"As a rank in British peerage, it was first recorded in 1440, when John Beaumont was created Viscount Beaumont by King Henry VI. The word viscount corresponds in Britain to the Anglo-Saxon shire reeve (root of the non-nobiliary, royal-appointed office of sheriff). Thus early viscounts were originally normally given their titles by the monarch, not hereditary; but soon they too tended to establish hereditary principalities lato sensu (in the wider sense)."
http://en.wikipedia.org/wiki/Vicomte

Relevance: Raoul, who is a new patron of the Opera Populare, holds the title of Vicompte de Chagny.

Paris Cemeteries (specifically Pere Lachaise)

"Père Lachaise Cemetery French: Cimetière du Père-Lachaise; officially, cimetière de l'Est, "East Cemetery") is the largest cemetery in the city of Paris, France at (48 ha, 118.6 acres), though there are larger cemeteries in the city's suburbs.

Père Lachaise is one of the most famous cemeteries in the world. Located in the 20th arrondissement, it is reputed to be the world's most-visited cemetery, attracting hundreds of thousands of visitors annually to the graves of those who have enhanced French life over the past 200 years."
http://en.wikipedia.org/wiki/P%C3%A8re_Lachaise_Cemetery

Relevance: Christine visits a cemetery in the second act, where she goes to visit her father's grave, but is entranced by the Phantom.

(not done)

Statement on Characters and Casting

Statement on Non-Traditional Casting

Non-traditional casting would be really rather difficult for Phantom of the Opera. The casting is very specific and if not done correctly could actually cause any sort of unwanted political or racial statements. There are very few parts that you can be lenient with casting and not have many if any problems.

As far as casting is concerned, much of it includes having to move from place to place with little. It is unfortunate to say but it would not be best for very many people to be in the musical with any sort of disability. There are several ballet dancers and people would be moving around constantly onstage.

The parts of Raoul and the Phantom would have to be carefully cast. Both have to be male in gender. However when casting them, you have to watch how this is done. An example would be if you were to cast Raoul as white and the Phantom as non-white, it would be questioned as to if Christine chose Raoul because of color preference. Also if the casting was switched to where the Phantom was white and Raoul was non-white that would be a statement about interracial relationships.

In the same way, the way that Christine is cast must also be kept in mind. It is stated in the play that Christine is supposed to be the daughter of a Swedish violinist. Keeping this in mind, while she could possibly be non-white it would be best to consider performing research for this era for the country. In doing so, I have found that in the time of the late 1860's to early 1880's Sweden was mostly white in color.

The same must be said for the parts of Madame and Meg Giry – the aspects of age, ethnicity and race would have to be watched. Madame Giry is Meg's mother. Therefore, the appearance of Madame Giry must be older than that of Meg's. Also, if one is cast as someone who is non-white than the other would need to be cast the same. It would not really make sense if Madame Giry is non-white while her own daughter is.

In the instance of the parts of the pageboys, these two can be cast as either gender and any race. These two out of the entire cast are the most ambiguous as far as the gender role goes. In the original casting they were played by two women, however they can be cast as either men or women. However you do still have to somewhat watch with these two because you don't want to send the wrong message. If you were to cast both pageboys as black people – whether men or women – then it would seem as though you were typecasting them.

The parts of Piangi and Carlotta can also be fairly freely cast with the exception of gender. Carlotta must be female while Piangi must be male. This cannot be changed. This is actually fairly obvious when in the first act Piangi is portraying the character of Hannibal. Also, both characters of Andre and Firmin must be male – as stated by their titles of monsieur when speaking.

Characters

Cast of Characters

Male

The Phantom of the Opera - the supposed "theater ghost" of the play, teaches and is in love with Christine Daae

Raoul, Vicompte De Chagny - patron of the Opera Populare, childhood friend of and love intrest for Christine Daae

Monsieur Firmin - new owner of the Opera Populare, does not believe in the theater ghost

Monsieur Andre - new owner of the Opera Populare, does not believe in the theaer ghost

Ubaldo Piangi - male lead in the operas, supposed love interest for Carlotta Guidicelli

Monsieur Reyer - the orchestra leader of the Opera Populare

Monsieur LeFevre - former owner of the Opera Populare, leaves after first scene

Female

Christine Daae - ballet dancer forced into the limelight with her unknown soprano singing tallents by the Phantom, daughter of Sweedish violinist, love interest for both the Phantom and Raoul

Carlotta Guidicelli - prima donna of the Opera Populare, insists on taking most of the leads

Madame Giry - ballet instructor, mother of Meg, knows more about the theater ghost than she lets be known

Meg Giry - daughter of Madame Giri, friend of Christine Daae, ballet dancer

Fable and Plot Summary

Fable

In the beginning the two new owners of the Opera Populare are observing the practice for the production of ‘Hannibal’ and meeting the various people involved with it. When accidents start to occur the prima donna leaves and Christine is placed in her role. Her childhood friend Raoul sees her and wishes to meet with her and talk of the past. She, however, is taken by the Phantom down into his home. He allows her to sleep, in which the next morning she unmasks him for the first time. Meanwhile the new owners are fretting that she has disappeared. The Phantom leaves a letter that Christine is to take the lead in the next performance and the prima donna must take the role of the page boy. They do not follow this and when the play occurs, misfortune occurs. Raoul and Christine escape the disaster and she finally feels as though that she can be safe with him. However, the Phantom is not pleased. The new production ends with Christine as the lead and the old chandelier crashes at her feet.

Act two starts six months later where the owners are holding a magnificent masquerade. The Phantom has apparently left them alone all that time. Raoul and Christine are now secretly engaged, but Raoul doesn’t understand why it has to be a secret. It’s during the masquerade that the Phantom reappears with his production of ‘Don Juan Triumphant’ and takes the engagement ring away from Christine. As the rehearsals for the play continue, the Phantom continually sends notes to the company to inform them of what needs to be accomplished by the time the performance happens. Christine runs off to a cemetery and the Phantom appears to take her away again. Raoul just barely stops him and takes Christine back to the Opera Populare. During the performance the Phantom takes the place of the original Don Juan so that he can take Christine away. He attempts to destroy the theater and in the chaos Raoul is lead away by Madame Giry to a place where he can go to save Christine. She only goes so far before leaving him to his own devices, reminding him to keep his hand at the level of his eyes. He makes his way to where the Phantom is holding Christine captive. The Phantom, angry and wanting to be the only one who loves Christine, makes her choose between him or killing Raoul after unmasking himself. Christine finally says that she hates what the Phantom has done to them, however she kisses him as if to apologize. The Phantom releases the two as a mob comes closer them. He soon disappears, leaving the mask, and Meg shows up, picking the mask up in her hands.


Plot Summary

"Prologue
At the Opera Populaire in Paris in 1911, an auction is underway. Set pieces from the old theatre are being sold. Raoul, Vicomte de Chagny, purchases a music box 'in the shape of barrel organ'. Lot 666 is then up, which is a chandelier in pieces. The auctioneer mentions that the chandelier was involved in the "strange affair of the Phantom of the Opera, a mystery never fully explained." The chandelier illuminates and slowly begins to rise to the rafters of the theatre as the opera house is restored to its original grandeur (Overture).
Act I
At the Opera Populaire, 1881, a rehearsal for Hannibal is underway. Monsieur Lefevre, the owner, announces that he has sold the theatre to two new managers, Monsieur Firmin and Monsieur André. They observe two of the ballet dancers, Meg Giry and her friend, Christine Daaé, with some curiosity. André asks Carlotta Giudicelli, the resident diva, to sing an aria. She agrees, but in the middle of the song, a backdrop suddenly falls dangerously close to her. The company blames the accident on the Opera Ghost. Carlotta has dealt with such incidents for several years, and says that she has had too much of it. She quits, taking Piangi with her. The managers lament having to cancel the show, but Meg quickly suggests that they consider Christine. Christine starts her song ("Think of Me") tentatively, but eventually impresses the entire company with her voice and is given the role.
The managers and Raoul (the new patron of the Opera House) look on from the stage box during a performance. Raoul is particularly impressed; he remembers Christine from their childhood. After the performance, Madame Giry praises Christine and castigates the ballet girls, forcing them to practice into the night. The Phantom's voice in the distance commends Christine on that night's performance. Meg sneaks away from the rehearsal to find Christine outside her dressing room. She expresses her delight in her friend's change of fortune, but wonders how it came about. Christine tells Meg that the Angel of Music has been tutoring her in singing during the night. She thinks he has been sent from Heaven by her father. The two discuss the issue ("Angel of Music") until Madame Giry arrives to retrieve Meg and deliver a note from Raoul.
The managers bring Raoul to Christine's dressing room. She is pleased to see him, and reminisces with him ("Little Lotte"). She tells him about the Angel of Music. He invites her to dinner, but she declines because the Angel of Music is very strict, and would be angry. When Raoul leaves, the Phantom sings to Christine about his displeasure that Raoul is trying to court her ("Angel of Music/The Mirror"). Christine pleads for his forgiveness and begs the Angel to show himself. He complies, revealing himself behind Christine's mirror. The Phantom takes Christine behind the mirror and through a series of underground tunnels to his lair ("The Phantom of the Opera"), where he entreats her to sing for him. The Phantom later serenades her ("Music of the Night"). During this song, he shows her a life-size doll in a wedding gown that looks exactly like her. The doll then reaches out to grab her, and Christine faints. The Phantom, realizing that showing her the doll was too much, carries her to a bed.
The next morning, Christine sees the Phantom bent over his organ, furiously composing ("I Remember..."). As she sneaks up behind him, her curiosity gets the better of her,and she pulls back his mask. She sees his deformity behind the mask, though the audience does not. Chasing her about the lair, he challenges her to look at his face and in the end they finally both fall to the ground. The Phantom tries to explain that he only wants to be like everyone else, and that he hopes she will learn to love him in spite of his face ("Stranger than You Dreamt It"). She returns his mask and the two have a moment of understanding before he returns her to the surface. The two exit. As the Phantom and Christine sneak back into the theatre, Joseph Buquet regales the ballet girls with terrible tales of the mysterious Opera Ghost ("Magical Lasso"), telling them that the only way to protect themselves is to keep their 'hand at the level of your eyes'. The Phantom sees them, and the ballet girls run off screaming. Madame Giry tells Buquet to hold his tongue, or the consequences will be severe.
In the managers' office, Firmin, Andre, Raoul and Carlotta puzzle over several cryptic notes they have received from the "Opera Ghost". They all blame each other for the various notes which have menacing tones. Madame Giry arrives with another note, in which the Phantom tells the managers to keep Box Five free for him, to give the leading role in the opera Il Muto to Christine, and relegate Carlotta to a silent part ("Notes..."). Carlotta accuses Raoul of orchestrating the whole event and claims that he has had an affair with Christine. Fearing the loss of their main soprano (and her lover, the principal tenor, Piangi) the managers promise her that she will keep her leading role ("Prima Donna").
At Il Muto that night, Carlotta indeed plays the role of the Countess; Christine is the mute pageboy. Raoul decides to sit in Box Five to watch the show. The show is going well ("Poor Fool, He Makes Me Laugh"), until the Phantom appears on the proscenium arch. He screams that the managers did not keep box five empty. Then he angrily taunts Carlotta and makes her croak like a toad. She flees into Piangi's arms. The show stops and they announce that it will resume with Christine as the Countess. The ballet chorus is sent out to entertain the waiting crowd, but the performance is interrupted when the backdrop lifts to reveal the corpse of Joseph Buquet hanging from the rafters. In the ensuing melee, Christine finds Raoul and takes him to the roof where they will be "safe".
On the roof, Christine tries to tell Raoul that she has seen the Phantom's face and been in his lair, though Raoul does not believe her ("Why Have You Brought Me Here?/Raoul, I've Been There"). Christine hears the Phantom, but Raoul looks around and sees no one. Raoul promises to love and protect her always ("All I Ask of You"). The two make plans to see each other after the show. After Christine and Raoul head back downstairs, The Phantom emerges. He has heard the entire conversation. He is heartbroken, but his sorrow turns to rage and he vows vengeance against Raoul ("All I Ask of You (Reprise)"). Returning to the theatre, he sends the mighty chandelier crashing down on the stage during the curtain call.
Act II
Everyone is in attendance at the New Year's masquerade ball ("Masquerade"). The Phantom has not shown himself for six months. Christine and Raoul are now engaged. To Raoul's dismay, Christine insists on hiding her ring, which is on a chain on her neck. The Phantom enters, dressed as the title character from Edgar Allan Poe's "The Masque of the Red Death". He announces that he has written an opera, and that he expects the managers to produce it ("Why So Silent...?"). He also confronts Christine and takes her engagement ring from her saying that she belongs to him. Raoul begs Madame Giry to tell him about the Phantom. She tells him of a fair that visited the city years ago, complete with acrobats, conjurors, and freaks. The main attraction was a deformed man locked in a cage; a brilliant mind with the face of a living corpse. It was boasted that he was an architect, scholar, musician and composer, who once built a maze of mirrors for the Shah of Persia. Madame Giry goes on to say that he escaped and was presumed dead, but she can never forget him "for in this darkness, I have seen him again". She runs away as Raoul puts the pieces together.
The Phantom's opera, Don Juan Triumphant, causes chaos and arguments among the managers and actors. Christine has been granted the largest part in the opera, which angers everyone. She tells the managers she does not 'want any part in this plot' because she is afraid that the Phantom will capture her. Raoul realizes that they can use the opera as a trap to capture the Phantom ("Notes.../Twisted Every Way"). Christine is unhappy with the idea as she does not want the Phantom dead. Tormented by the choice she must make, she flees the room.
Rehearsals begin and everyone has their own conversation. Carlotta and Madame Giry are arguing about the song, while Pigani is having trouble pronouncing "tangle." Finally, Carlotta sings the song mockingly. The piano starts to play by itself, and everyone sings along mechanically, except for Christine. She visits her father's grave to try to make sense of the situation. She wishes her father was there to help her make the right choice; perhaps if she lets go of her father's memory, she will no longer be in thrall to the Phantom ("Wishing You Were Somehow Here Again"). The Phantom appears and sings to her, again in the guise of the Angel Of Music ("Wandering Child"). Christine falls back under his spell, easily.
Raoul enters the scene and brings Christine back to reality. The two men verbally spar ("Bravo Monsieur"), while the Phantom shoots fireballs down at Raoul, but Christine begs Raoul to run away with her. Enraged, the Phantom declares that they are both his enemies now and the Graveyard disappears in flames. Raoul and the police go over instructions to trap the Phantom. Raoul tells a marksman hiding in the orchestra pit to shoot to kill. The police set out to bar all of the exits. The voice of the Phantom is heard, taunting them. He appears in Box Five but vanishes as the marksman fires. Roaul rounds on him, but the Phantom interrupts, telling them to "Let the audience in, let my opera begin!" ("Don Juan"). Christine appears onstage to sing ("The Point of No Return"). Don Juan appears onstage, with his face covered. During her duet with "Don Juan," Christine realizes she is singing with the Phantom instead of Piangi. The Phantom gives her a ring and expresses his love. Christine whips off his mask to reveal his deformed face to everyone. Before the police can intervene, the Phantom drags Christine offstage. Carlotta cries out in horror as Piangi is discovered dead, and a mob sets out to track down the Phantom once and for all. Madame Giry finds Raoul to take him to the bridge above the lake, and tells him where to find the Phantom. She warns him of the Punjab lasso, telling him to keep "your hand at the level of your eyes." Meg asks that she comes with him, but Madame Giry tells her the Phantom is too dangerous.
Down in the lair, the Phantom has forced Christine to put on the wedding dress ("Down Once More/Track Down This Murderer"). Christine asks if he is going to kill her too. He assures her that he would not kill her, and that his face is the reason that she will not love him. Christine says that she is not afraid of his face, but his soul. Raoul arrives, pleading to the Phantom to let Christine go, "do what you like, only free her!" The Phantom admits him to the lair and then snares him in the Punjab lasso. The Phantom offers Christine a choice: either he will kill Raoul and let Christine go, or she will stay with him and Raoul can go free.
The Phantom insists that she must choose. Christine sadly tells the Phantom that he deceived her. Raoul apologizes and expresses his love for Christine, saying that as long as she is safe from the Phantom it doesn't matter what happens to him. Finally, Christine makes her choice and kisses the Phantom. Stunned by the kiss, which is the first real human love he has ever felt, he sets Raoul free and releases Christine. He asks them both to keep his existence a secret.
Raoul leaves, but Christine wants to return the Phantom's ring. The Phantom admits his love for her, and she forces herself to turn away. She and Raoul leave in the Phantom's boat, singing to each other. The Phantom sobs in the wedding veil Christine has left behind and cries out "You alone can make my song take flight. It's over now, the music of the night!" As the mob approaches, he sits down in his throne and pulls his cape around him. Meg slips through the bars in the gate and looks around for Christine. She notices the throne and cautiously walks over to it. When she pulls back the cape, she finds that the Phantom has vanished and all that remains is his mask. Meg picks up the mask and holds it aloft as a single light shining on the mask fades into darkness."
http://poto.wikia.com/wiki/The_Phantom_of_the_Opera_(1986_musical)

Exegegisis (Selective)

"Production of ‘Hannibal’ by Chalumeau"
Noun. A fictional opera.
"...featuring the aria "Think of Me", sung by Elissa. It is a grand opera after the bel canto style resembling Verdi."
http://en.wikipedia.org/wiki/List_of_fictional_musical_works#From_The_Phantom_of_the_Opera

"Sold to Raoul, Vicomte de Chagny"
Noun. Another word for viscount.
http://www.yourdictionary.com/vicomte
"a nobleman next below an earl or count and above a baron"
http://www.yourdictionary.com/viscount

"Signor… If you please;"


"Thank you, monsieur."


"Bravi, bravi, bravissimi…"


"And in this labyrinth"


"Mystery after gala night"


"To hell with Gluck and Handel"
"Christoph Willibald (von) Gluck (July 2, 1714 – November 15, 1787) was a German composer, one of the most important opera composers of the Classical music era, particularly remembered for Orfeo ed Euridice. He is also remembered as the music teacher of Marie-Antoinette who as Queen of France promoted Gluck and was his patron. Some regard him as the father of the Rococo and Classical age of music—at least in Opera. Gluck's operatic reforms, eliminating all that was undramatic, were a turning point in the history of the medium."
http://www.newworldencyclopedia.org/entry/Christoph_Willibald_Gluck

"George Frideric Handel (February 23, 1685 – April 14, 1759) was a leading composer of Baroque concerti grossi, operas, and oratorios. Born in Germany as Georg Friedrich Händel (ˈhɛndəl), he lived most of his adult life in England, and became a subject of the British crown on January 22, 1727. His most famous piece is the Messiah, an oratorio set to texts from the King James Bible (an excerpt of it is played by the chimes of the Houses of Parliament in London); other well-known works are Water Music and Music for the Royal Fireworks. He deeply influenced many of the composers who came after him, including Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven, and his work helped lead the transition from the Baroque to the Classical era."
http://www.newworldencyclopedia.org/entry/George_Frideric_Handel

"Signori, e vero? Non, non, non boglio udire! Lasciatemi moiré! O padre mio! Dio!"


"Masquerade! Paper faces on parade…"

Basic Facts

Phantom of the Opera by Andrew Lloyd Webber

Basics

full length play in English with a prologue and two acts, ten scenes in the first act and nine in the second

15-17 M (not including extras), 15-18 F (including Christine alternate, not including extras)

based off of the French novel Le Fantôme de l'Opéra by Gaston Leroux
http://en.wikipedia.org/wiki/The_Phantom_of_the_Opera

setting: prologue 1905, acts one and two 1881
location: The Paris Opera, Paris, France

running time: 2 hours 30 minutes with one intermission
http://broadwayworld.com/shows/index.php?showid=6624
2 hours 40 minutes
http://www.kennedy-center.org/calendar/index.cfm?fuseaction=showevent&event=thtsh


Genre

musical/drama/romance
http://www.rumela.com/movie/hollywood/hw04_thphanofthopra.htm

Playwright's BIO

"Andrew Lloyd Webber, Baron Lloyd-Webber (born 22 March 1948) is an English composer of musical theatre, the elder son of organist William Lloyd Webber and brother of the cellist Julian Lloyd Webber. Lloyd Webber started composing at the age of six, and published his first piece at the age of nine.
Lord Lloyd Webber has achieved great popular success, with several musicals that have run for more than a decade both in the West End and on Broadway. He has composed 13 musicals, a song cycle, a set of variations, two film scores, and a Latin Requiem Mass. He has also gained a number of honours, including a knighthood in 1992, followed by a peerage from the British Government for services to Music, seven Tony Awards, three Grammy Awards, an Academy Award, seven Olivier Awards, a Golden Globe, and the Kennedy Center Honors in 2006. Several of his songs, notably "The Music of the Night" from The Phantom of the Opera, "I Don't Know How to Love Him" from Jesus Christ Superstar, "Don't Cry for Me, Argentina" from Evita, and "Memory" from Cats have been widely recorded and were hits outside of their parent musicals. His company, the Really Useful Group, is one of the largest theatre operators in London.
Producers in several parts of the UK have staged productions, including national tours, of Lloyd Webber's musicals under licence from the Really Useful Group. According to britishhitsongwriters.com he is the ninety-eighth most successful songwriter in U.K. singles chart history based on weeks that his compositions have spent on the chart."
http://en.wikipedia.org/wiki/Andrew_Lloyd_Webber

Rights
rights are not available at this time because it's still being performed in New York

Definitions of Dramaturgy

"NOUN: The art of the theater, especially the writing of plays"
http://www.geocities.com/amylynnhess76/whatsadramaturg.html

"noun - the craft or the techniques of dramatic composition."
http://dictionary.reference.com/browse/dramaturgy

"Dramaturgy is the art of dramatic composition and the representation of the main elements of drama on the stage."
http://en.wikipedia.org/wiki/Dramaturgy