but as time has gone on, I just couldn't resist NOT doing it, I just had to show it's brilliance to those that hadn't seen it, and for those who have, they can take the journey as we say,
*Down once more* :-)
I thought maybe if I explain what the Phantom means to me, people will understand why it's a passion of mine. Not that I care how crazy anyone thinks I am :-)...
Now where do I start... the beginning would be a good place
I first bought the tape of the *Phantom Of The Opera*, think it was about a year after it had officialy opened. I'd heard some things about the show and also heard some songs on the radio, that was it, I wanted the music to listen to all the time. I played the tape over and over, and fell in love with the Music and Michael Crawford. Finally 18 months later ( think the tickets had been booked for 12 months ) I arrived at Princess Theatre in Melb. From the beginning of the overture ( my god, when that chanderlier rose to the ceiling )till the final curtain, I sat there spellbound ( I actually had to sit on a childs cushion, but thats another story :-) All Phantom phans will understand being able to finally put the music and words to an actual picture was, was, ummm words just escape me.
( mind blowing maybe ? :-)
Can still see me sitting there like a child, wide eyed and my gaze not moving from the stage. Christine had just finished singing *Think of Me* and it was onto the dressing room scene. To finally see Christine and Meg sing, was the start of all the songs I'd heard, at last coming together, like the missing pieces of a puzzle, fitting into place, to finally form the big picture and letting me see the real story. To hear a song is one thing, but knowing what part of the musical and how it fits into the story is another. The next was one of my favourite scenes. At last the Phantom appeared in the mirror to Christine, and as they sang *Angel of Music* and she dissapeared through the mirror, well to say I was past the point of no return is an understatement! there was no turning back, I was caught up in the power of the music !!! and just when you thought you'd witnessed something so spectacular, the next song begins, none other than the *Phantom Of The Opera*. My God, not just the music, but the illusions on the stage, were just unbelievable, as the Phantom sang to Christine, you really thought they were gliding along on misty waters, and the way the candles rose from the mist, left me in awe, and this was just the beginning !!!
I could go on about every scene, those that have seen the it, will know what I mean, those that haven't, well all I can say is you haven't experienced life, until you've seen this Musical !!! and of course you would have to be dead if this story didn't touch your heart in some way .Who would not have fallen in love with Erik ( The Phantom for people that didn't know that was his name :-) He had the most tender heart and the love he showed Christine, really touched my soul. "Yes" after that night he became MY fantasy, and when the last note was played and the final words were spoken, I was left sitting there with tears running down my cheeks ( I did peek around and was glad to see I wasn't the only one, that was sitting there crying :-) To say this Muscial had now taken over my every thought was to say the least.
*The Story !! *The Songs !! *The Music !! *The Illusions !! as I have said before it was the most romantic, sensual even erotic musical I've ever seen. NOTHING to me will ever compare, or even come close to it's brillance.
Of course I've seen it several times, and would still be booking tickets, but sadly it isn't playing in Aussie anymore, sighhhhh.... but I say a prayer each night for My Phantom to return :-)
So for those of you who haven't been bored by my thoughts of the show, and didn't get the chance to see this spectacular masterpiece, or have the music and would like to know the words to the songs and want to put a picture to every scene (although this will never replace the experience of the live play ), take a stroll down this page and live the *Phantasy*
I've also added a slide show of pictures that tell the story. There are some beautiful pics to look at, and once again you can relive the story of
*The Phantom of the Opera*
To view this show just go to ...*Let The Audience In* Page
"I have brought you
To the seat of sweet music's throne
To this kingdom where all must
pay homage to music..."
*He's Here... *The Phantom of the Opera*
...............
...........................................................................................................
PART ONE
PROLOGUE
( The contents of the opera house are being auctioned off. An AUCTIONEER, PORTERS, BIDDERS, and RAOUL, seventy now, but still bright of eye. The action commences with a blow from the AUCTlONEER's gavel )
AUCTIONEER
Sold. Your number, sir? Thank you.
Lot 663, then, ladies and gentlemen: a poster for
this house's production of "Hannibal" by Chalumeau.
PORTER
Showing here.
AUCTIONEER
Do I have ten francs? Five then. Five I am bid.
Six, seven. Against you, sir, seven. Eight.
Eight once. Selling twice. Sold, to Raoul,
Vicomte de Chagny.
Lot 664: a wooden pistol and three human skulls
from the 1831 production of
"Robert le Diable" by Meyerbeer.
Ten francs for this.
Ten, thank you. Ten francs still.
Fifteen, thank you sir,
Fifteen I am bid. Going at fifteen.
Your number, sir?
..................................................................................
665, ladies and gentlemen: a papier-mache musical box,
in the shape of a barrel-organ.
Attached, the figure of a monkey in Persian
robes playing the cymbals. This item,
discovered in the vaults of the theatre,
still in working order.
PORTER ( holding it up )
Showing here. ( He sets it in motion )
AUCTIONEER
May I start at twenty francs? Fifteen, then? Fifteen I am bid.
( the bidding continues. RAOUL. eventually buys the box for thirty francs )
Sold, for thirty francs to the Vicomte de Chagny. Thank you, sir.
( The box is handed across to RAOUL. He studies it,
as attention focuses on him for a moment )
RAOUL ( quietly, half to himself, half to the box )
A collector's piece indeed . . .
every detail exactly as she said. . .
She often spoke of you, my friend...
Your velvet lining, and your figurine of lead...
Will you still play,
when all the rest of us are dead?
.................................................................
( Attention returns to the AUCTIONEER,
as he resumes )
Lot 666, then: a chandelier in pieces. Some of
you may recall the strange affair of the
Phantom of the Opera: a mystery never fully
explained. We are told ladies and gentlemen,
that this is the very chandelier which figures in
the famous disaster. Our workshops have
restored it and fitted up parts of it with wiring
for the new electric light, so that we may get a
hint of what it may look like when re-assembled.
Perhaps we may frighten away the ghost
of so many years ago with a little
illumination, gentlemen?
*The AUCTIONEER switches on the chandelier
There is an enormous flash, and the OVERTURE
begins. During the overture the opera house is
restored to its earlier grandeur. The chandelier
immense and glittering, rises magically from
the stage, finally hovering high above the stalls*
..............................................................
......
~~ Paris 1881 ~~ THE DRESS REHEARSAL OF "HANNIBAL"( We have reached the great choral scene in which HANNIBAL and his army return to save Carthage from the Roman invasion under Scipio. HANNIBAL is UBALDO PIANGI; ELISSA, Queen of Carthage ( his mistress ) is CARLOTTA GUIDICELLI. The two leading SLAVE GIRLS are played by MEG GIRY and CHRISTINE DAAE. MME. GIRY is the ballet mistress. M. REYER, the repetiteur, is in charge.
We join the opera towards the end of ELISSA's ( CARLOTTA's ) great aria. She is alone, holding a present from the approaching HANNIBAL, a bleeding severed head )
...................................................................................
CARLOTTA ( at the climax of an extravagant cade )
This trophy from our saviours, from the
enslaving force of Rome!
( A STAGE HAND carries a ladder across the
stage. OTHERS are seen still constructing
parts of the scenery )
GIRLS' CHORUS
With feasting and dancing and song,
tonight in celebration
we greet the victorious throng,
returned to bring salvation!
MEN'S CHORUS
Hear, Romans, now and tremble!
Hark to our step on the ground!
ALL
Hear the drums - Hannibal comes!
( PIANGI enters, as HANNIBAL )
PIANGI ( HANNIBAL )
Sad to return to find the land we love threatened
once more by Roma's far-reaching grasp.
REYER ( interrupting him )
Signor. . . if you please: "Rome". We say
"Rome' not "Roma"
PIANGI
Si, si, Rome, not Roma. Is very hard for me.
( practising ) Rome. . . Rome. . .
..........................................................................
( Enter LEFEVRE, the retiring manager of the
Opera, with M. FIRMIN and M. ANDRE, to
whom he has just sold it )
REYER (to PIANGI)
Once again, then, if you please, Signor: "Sad to return". . .
LEFEVRE ( to ANDRE and FIRMIN )
This way, gentlemen, this way. Rehearsals, as
you see, are under way, for a new production of
Chalumeau's "Hannibal".
( seeing a hiatus in the rehearsal, LEFEVRE attempts to attract attention. )
LEFEVRE
Ladies and gentlemen, some of you may already,
perhaps, have met M. Andre and M. Firmin...
( the new managers are politely bowing, when REYER interrupts )
REYER
I'm sorry, M. Lefevre, we are rehearsing.
If you wouldn't mind waiting a moment?
LEFEVRE
My apologies, M. Reyer. Proceed, proceed ...
...................................................................................
REYER
Thank you, monsieur ( turning back to PIANGI )
"Sad to return..." Signor...
LEFEVRE ( sotto voce to ANDRE and FIRMIN )
M. Reyer, our chief repetiteur. Rather a tyrant, I'm afraid.
( the rehearsal continues )
PIANGI ( HANNIBAL )
Sad to return to find the land we love
threatened once more by
Rome's far-reaching grasp.
Tomorrow we shall break
the chains of Rome.
Tonight, rejoice - your army has come home.
.................................................................
( BALLET GIRLS begin their dance.
LEFEVRE, ANDRE and FIRMIN
stand centre-stage watching the ballet.
They are in the way.
The ballet continues under the
following dialogue. )
LEFEVRE ( indicating PIANGI )
Signor Piangi, our principal tenor.
He does play so well opposite La Carlotta.
GIRY( exasperated by their
presence, bangs her cane angrily on the stage )
Gentlemen, please! If you would
kindly move to one side?
.............................................................................
LEFEVRE
My apologies, Mme. Giry.
( leading ANDRE and FIRMIN aside )
Mme. Giry, our ballet mistress.
I don't mind confessing, M.Firmin,
I shan't be sorry to be rid
of the whole blessed business.
FIRMIN
I keep asking you, monsieur,
why exactly are you retiring?
LEFEVRE ( ignoring this, calls
his attention to the continuing ballet )
We take a particular pride here in
the excellence of our ballets.
( MEG becomes prominent among the dancers )
....................................
<...........................................
ANDRE
Who's that girl, Lefevre?
LEFEVRE
Her? Meg Giry, Madame Giry's daughter.
Promising dancer, M.Andre, most promising.
( CHRISTINE becomes prominent. She has absent-
mindedly fallen out-of-step )
GIRY ( spotting her, bangs her cane again )
You! Christine Daae! Concentrate, girl!
MEG ( quietly, to CHRISTINE )
Christine. . . What's the matter?
FIRMIN ( to LEFEVRE )
Daae? Curious name.
LEFEVRE
Swedish.
ANDRE
Any relation to the violinist?
LEFEVRE
His daughter, I believe. Always has
her head in the clouds, I'm afraid.
..............................................................................
( The ballet continues to its climax and ends. The CHORUS resumes )
CHORUS
Bid welcome to Hannibal's guests -
the elephants of Carthage!
As guides on our conquering quests,
Dido sends Hannibal's friends!
( the ELEPHANT, a life-sized mechanical replica,enters.
PIANGI is lifted, in triumph, onto its back )
CARLOTTA ( ELISSA )
Once more to my
welcoming arms
my love returns
in splendour!
..............................................................................
PIANGI ( HANNIBAL )
Once more to those
sweetest of charms
my heart and soul surrender!
CHORUS
The trumpeting elephants sound
hear, Romans, now and tremble!
Hark to their step on the ground hear the drums! Hannibal comes!
( At the end of the chorus LEFEVRE claps his
hands for silence. The elephant is led off.
Two stage-hands are revealed operating it from within )
..............................................................................
LEFEVRE
Ladies and gentlemen - Madame Giry, thank
you - may I have your attention, please?
As you know, for some weeks there have
been rumours of my imminent retirement. I can
now tell you that these were all true and
it is my pleasure to introduce to you the
two gentlemen who now own the Opera
Populaire, M. Richard Firmin and M.Gilles Andre.
( Polite applause. Some bowing.
CARLOTTA makes her presence felt )
.................................................................
Gentlemen, Signora Carlotta Giudicelli, our
leading soprano for five seasons now.
ANDRE
Of course, of course. I have experienced all
your greatest roles, Signora.
LEFEVRE
And Signor Ubaldo Piangi.
FIRMIN
An honour, Signor.
ANDRE
If I remember rightly, Elissa has a rather
fine aria in Act Three of "Hannibal". I
wonder, Signora, if, as a personal favour,
you would oblige us with a private rendition?
( Somewhat acerbic ). Unless, of course, M. Reyer objects . . .
CARLOTTA
My manager commands . . . M.Reyer?
REYER
My diva commands. Will two bars
be sufficient introduction?
FIRMIN
Two bars will be quite sufficient
REYER
( ensuring that CARLOTTA is ready )
Signora?
CARLOTTA
Maestro.
( The introduction is played on the piano )
....................................................................
CARLOTTA
Think of me,
think of me fondly,
when we've said
goodbye.
Remember me
once in a while -
please promise me
you'll try.
When you find
that, once
again, you long
to take your heart. . .
( As CARLOTTA is singing a backdrop crashes to the
floor cutting her off from half the cast )
MEG/BALLET GIRLS/CHORUS
He's here:
the Phantom of the Opera . . .
He is with us. . .
It's the ghost. . .
PIANGI ( looking up, furiously ) You idiots!
.................................................................
( He rushes over to CARLOTTA )
Cara! Cara! Are you hurt?
LEFEVRE
Signora! Are you all right? Buquet!
Where is Buquet ?
PIANGI
Is no one concerned for our prima donna?
LEFEVRE
Get that man down here !
( to ANDRE and FIRMIN )
Chief of the flies. He's responsible for this.
( The drop is raised high enough to reveal upstage an old stagehand,
JOSEPH BUQUET, holding a length of rope,
which looks almost like a noose )
LEFEVRE
Buquet! For God's sake, man, what's going on up there?
BUQUET
Please monsieur
as God's my witness,
I was not at my post.
Please monsieur
there's no one there:
and if there is, well
then, it must be a ghost. . .
MEG ( looking up )
He's there: the Phantom of the Opera...
ANDRE
Good heavens!
Will you show a little courtesy?
FIRMIN ( to MEG and the OTHERS )
Mademoiselle, please!
ANDRE ( to CARLOTTA )
These things do happen.
CARLOTTA
Si! These things do happen! Well, until you stop these
things happening, this thing does not happen!
Ubaldo! Andiamo!
( PIANGI dutifully fetches her furs from the wings )
PIANGI
Amateurs !
LEFEVRE
I don't think there's much more to assist you,
gentlemen. Good luck. If you need me,
I shall be in Frankfurt .
( He leaves. The COMPANY looks anxiously at the NEW MANAGERS )
ANDRE
La Carlotta will be back.
GIRY
You think so, messieurs? I have a message, sir,
from the Opera Ghost.
( The GIRLS twitter and twirl in fear )
FIRMIN
God in Heaven, you're all obsessed!
GIRY
He merely welcomes you to his opera house and
commands you to continue to leave Box Five empty for
his use and reminds you that his salary is due.
FIRMIN
His salary?
GIRY
Monsieur Lefevre paid him twenty thousand francs a
month. Perhaps you can afford more, with the
Vicomte de Chagny as your patron.
( Reaction to this from the BALLET GIRLS.
CHRISTINE takes hold of MEG nervously )
.................................................................
ANDRE ( to GIRY )
Madame, I had hoped to have made that
announcement myself.
GIRY ( to FIRMIN )
Will the Vicomte be at the performance tonight, monsieur
FIRMIN
In our box.
ANDRE
Madame, who is the understudy for this role?
REYER
There is no understudy, monsieur - the
production is new.
MEG
Christine Daae could sing it, sir.
FlRMIN
The chorus girl ?
MEG ( to FIRMIN )
She's been taking lessons from a great teacher
ANDRE
From whom ?
CHRISTINE ( uneasily )
I don't know, sir. . .
FIRMIN
Oh, not you as well!
(turning to ANDRE)
Can you believe it? A full house-and we have to cancel !
GIRY
Let her sing for you, monsieur. She has been well taught.
REYER ( after a pause )
From the beginning of the aria then, mam'selle.
Think Of Me...................................................
CHRISTINE
Think of me
think of me fondly,
when we've said goodbye.
Remember me
once in a while -
please promise me
you'll try.
FIRMIN
Andre, this is doing nothing for my nerves.
ANDRE
Don't fret, Firmin.
CHRISTINE
When you find
that, once
again, you long
to take your heart back
and be free -
if you ever find
a moment,
spare a thought
for me
( Transformation to the Gala. CHRISTINE is
revealed in full costume )
....................................................................
We never said
our love
was evergreen,
or as unchanging
as the sea -
but if
you can still
remember,
stop and think
of me . . .
Think of all the things
we've shared and seen -
don't think about the things
which might have been...
Think of me,
think of me waking,
silent and
resigned.
Imagine me,
trying too hard
to put you
from my mind.
Recall those days
look back
on all those times,
think of the things
we'll never do -
there will
never be
a day, when
I won't think
of you. . .
( Applause, bravos. Prominent among the bravos, those
of the young RAOUL in the MANAGERS' box )
RAOUL
Can it be?
Can it be Christine?
Bravo!
....................................................................
( he raises his opera-glasses )
What a change!
You're really
not a bit
the gawkish girl
that once you were...
( lowering his opera glasses )
She may
not remember
me, but
I remember
her...
CHRISTINE
We never said
our love
was evergreen,
or as unchanging
as the sea -
but please
promise me,
that sometimes,
you will think
of me!
...................................................
AFTER THE GALA....................................................
( The curtain closes upstage. BALLET GIRLS, from the
wings gush around CHRISTINE who hands each a flower
from her bouquet. REYER stiffly gives his approval )
GIRY ( to CHRISTINE )
Yes, you did well. He will be pleased.
(to the DANCERS
And you! You were a disgrace tonight! Such ronds de jambe!
Such temps de cuisse!
Here- we rehearse. Now!
( She emphasizes this with her cane.
The BALLET GIRLS settle into rehearsal upstage, GlRY
keeping time with her stick. Variations on this
continue throughout the scene )
..................................................................................
( CHRISTINE moves slowly, downstage, away from the
DANCERS as her dressing room becomes visible.
Unseen by her, MEG also moves away and follows her.
As CHRISTINE is about to open the dressing room door,
she hears the PHANTOM's voice out of nowhere )
PHANTOM'S VOICE
Brava, brava, bravissima. . .
( CHRISTINE is bewildered by the voice. MEG,
following, has not heard it. CHRISTINE turns in
surprise, and is relieved to see her )
Angel Of MusicMEG
Where in the world
have you been hiding?
Really, you were
perfect!
I only wish
I knew your secret!
Who is this new
tutor?
..........................................................
CHRISTINE( abstracted, entering the dressing room )
Father once spoke
of an angel. . .
I used to dream he'd
appear. . .
Now as I sing,
I can sense him. . .
And I know
he's here. . .
( trance-like )
Here in this room
he calls me softly. . .
somewhere inside. . .
hiding. . .
Somehow I know
he's always with me. . .
he - the unseen
genius. . .
MEG ( uneasily )
Christine you must have
been dreaming...
stories like this can't
come true...
Christine you're talking
in riddles...
and it's not
like you...
...........................................
CHRISTINE ( not hearing her, ecstatic )
Angel of Music!
Guide
and guardian!
Grant to me your
glory!
MEG ( to her self )
Who is this angel?
This. . .
BOTH
Angel of Music!
Hide no longer!
Secret and strange
angel. . .
CHRISTINE ( darkly )
He's with me, even now. . .
MEG ( bewildered )
Your hands are cold. . .
CHRISTINE
All around me. . .
MEG
Your face, Christine,
it's white. . .
CHRISTINE
It frightens me. . .
MEG
Don't be frightened. . .
...............................................................
( THEY look at each other
The moment is broken by the arrival of GIRY )
GIRY
Meg Giry. Are you a dancer? Then come and practice.
( MEG leaves and joins the DANCERS )
My dear, I was asked to give you this.
( She hands CHRlSTlNE a note, and exits.
CHRISTINE opens it and reads )
CHRISTINE
A red scarf. . . the attic. . . Little Lotte. . .
CHRISTINE'S DRESSING ROOM( Meanwhile RAOUL ANDRE, FIRMIN, and
MME.FIRMIN are seen making their way towards the
dressing room, the MANAGERS in high spirits,
bearing champagne )
ANDRE
A tour de force! No other way to describe it!
FIRMIN
What a relief ! Not a single refund!
MME. FIRMIN
Greedy.
ANDRE
Richard, I think we've made quite a
discovery in Miss Daae!
FIRMIN ( to RAOUL, indicating
CHRISTINE 'S dressing room )
Here we are, Monsieur le Vicomte.
RAOUL
Gentlemen if you wouldn't mind. This is one
visit I should prefer to make unaccompanied.
( He takes the champagne from FIRMIN )
ANDRE
As you wish, monsieur.
( They bow and move off )
FIRMIN
They appear to have met before. . .
( RAOUL knocks at the door and enters )
RAOUL
Christine Daae, where is your scarf?
CHRISTINE
Monsieur?
RAOUL You can't have lost it. After all the trouble I took. I was
just fourteen and soaked to the skin. . .
CHRISTINE
Because you had run into the sea to fetch my scarf.
Oh, Raoul. So it is you!
RAOUL
Christine.
( They embrace and laugh. She moves away and sits at her dressing table )
RAOUL
"Little Lotte let her mind wander. . ."
CHRISTINE
You remember that, too. . .
..............................................................................
RAOUL ( continuing )
". . .Little Lotte thought: Am I fonder of dolls. . ."
BOTH ( CHRISTINE joining in )
". . .or of goblins, of shoes. . ."
CHRISTINE
". . .or of riddles, of frocks. . ."
RAOUL
Those picnics in the attic. . .
". . .or of chocolates. . ."
CHRISTINE
Father playing the violin. . .
RAOUL
As we read to each other
dark stories of the North. . .
CHRISTINE
"No what I love best, Lotte said,
is when I'm asleep in my bed,and the
Angel of Music sings songs in my head!"
BOTH
". . .the Angel of Music sings song in my head!"
..............................................................................
CHRISTINE ( turning in her chair to look at him )
Father said, "When I'm in heaven, child, I will send
the Angel of Music to you". Well, father is
dead, Raoul, and I have been visited by the Angel of Music.
RAOUL
No doubt of it. And now we'll go to supper!
CHRISTINE
No, Raoul, the Angel of Music is very strict.
RAOUL
I shan't keep you up late!
CHRISTINE
No, Raoul. . .
RAOUL
You must change. I must get my hat. Two minutes Little Lotte.
.......................................................................
( He hurries out )
CHRISTINE ( calling after him )
Raoul!
( quietly picking up her hand mirror )
Things have changed, Raoul.
Angel OF Music( The Mirror )( Tremulous music. CHRISTINE hears the PHANTOM'S voice,
seemingly from behind her dressing room mirror )
PHANTOM'S VOICE
Insolent boy!
This slave
of fashion
basking in your
glory!
..........................................................
Ignorant fool!
This brave
young suitor,
sharing in my
triumph!
CHRISTINE ( spell-bound )
Angel! I hear you!
Speak -
I listen. . .
stay by my side,
guide me!
Angel, my soul was weak -
forgive me. . .
enter at last, Master!
...........................................
PHANTOM'S VOICE
Flattering child,
you shall know me,
see why in shadow
I hide!
Look at your face
in the mirror -
I am there
inside!
( The figure of the PHANTOM becomes discernible behind the mirror )
..................................................................................
CHRISTINE ( ecstatic )
Angel of Music!
Guide and guardian!
Grant to me your
glory!
Angel of Music!
Hide no longer!
Come to me, strange
angel...
PHANTOM"S VOICE
I am your Angel...
Come to me: Angel of Music...
( CHRISTINE walks towards the glowing,
shimmering glass. Meanwhile, RAOUL has returned.
He hears the voices and is puzzled.
He tries the door. It is locked )
RAOUL
Whose is that voice. . .?
Who is that in there. . .?
( Inside the room the mirror opens. Behind it, in an
inferno of white light, stands the PHANTOM. He reaches
forward and takes CHRISTINE firmly, but not fiercely,
by the wrist. His touch is cold, and CHRISTINE gasps )
PHANTOM
I am your Angel of Music. . .
Come to me: Angel of Music. . .
.................................................
( CHRISTINE disappears through the mirror,
which closes behind her The door of the dressing
room suddenly unlocks and swings open, and
RAOUL enters to find the room empty )
RAOUL
Christine! Angel!
THE LABYRINTH UNDERGROUND.......................................................................
( The PHANTOM and CHRISTINE take their strange
journey to the PHANTOM'S lair. Candles rise
from the stage. We see CHRISTINE and the PHANTOM
in a boat which moves slowly across
the misty waters of the underground lake )
............................
Phantom Of The OperaCHRISTINE
In sleep
he sang to me,
in dreams
he came. . .
that voice
which calls to me
and speaks
my name. . .
And do
I dream again?
For now
I find
the Phantom of the Opera
is there -
inside my mind. . .
..................................
PHANTOM
Sing once
again with me
our strange
duet. . .
My power
over you
grows stronger
yet. . .
And though
you turn from me,
to glance
behind,
the Phantom of the Opera
is there -
inside your mind. . .
CHRISTINE
Those who
have seen your face
draw back
in fear. . .
I am
the mask you wear. . .
PHANTOM
It's me
they hear. . .
.......................................................................
BOTH
Your/my spirit
and your/my voice,
in one
combined:
the Phantom of the Opera
is there
inside your/my mind. . .
OFFSTAGE VOICES
He's there,
the Phantom of the Opera. . .
Beware
the Phantom of the Opera. . .
PHANTOM
In all
your fantasies,
you always
knew
that man
and mystery. . .
CHRISTINE
. . .were both in you. . .
BOTH
And in
this labyrinth,
where night
is blind,
the Phantom of the Opera
is there/here
inside your/my mind. . .
Sing, my Angel of Music!
CHRISTINE
He's there,
the Phantom of the Opera. . .
.......................................................................
( She begins to vocalise strangely, her song
becoming more and more extravagant. )
BEYOND THE LAKE( Finally they arrive in the PHANTOM'S lair.
Downstage the candles in the lake lift up revealing
giant candelabrums outlining the space.
The boat turns into a bed. There is a huge pipe organ.
The PHANTOM sits at the organ and takes
over the accompaniment )
Music Of The NightPHANTOM
I have brought you
to the seat of sweet
music's throne. . .
to this kingdom
where all must pay
homage to music. . .
music. . .
............................................................
You have come here,
for one purpose,
and one alone. . .
Since the moment
I first heard you sing,
I have needed
you with me,
to serve me, to sing,
for my music. . .
my music. . .
(changing mood)
Night-time sharpens,
heightens each sensation. . .
Darkness stirs and
wakes imagination. . .
Silently the senses
abandon their defences. . .
.......................................................................
Slowly, gently
night unfurls its splendour. . .
Grasp it, sense it -
tremulous and tender. . .
Turn your face away
from the garish light of day,
turn your thoughts away
from cold, unfeeling light -
and listen to
the music of the night. . .
......................................................
Close your eyes
and surrender to your
darkest dreams!
Purge your thoughts
of the life
you knew before!
Close your eyes,
let your spirit
start to soar!
And you'll live
as you've never
lived before. . .
............................................
Softly, deftly,
music shall caress you. . .
Feel it, hear it,
secretly possess you. . .
Open up your mind,
let your fantasies unwind,
in this darkness which
you know you cannot fight -
the darkness of
the music of the night. . .
............
.............................................................................................................
Let your mind
start a journey through a
strange new world!
Leave all thoughts
of the world
you knew before!
Let your soul
Take you where you
long to be !
Only then
can you belong
to me. . .
........................
..............................
Floating, falling,
sweet intoxication!
Touch me, trust me
savour each sensation!
Let the dream begin,
let your darker side give in
to the power of the music that I write -
the power of the music of the night. . .
.......................................
( During all this, the PHANTOM has conditioned
CHRISTINE to the coldness of his touch and her fingers
are brave enough to stray to his mask and caress it, with
no hint of removing it. The PHANTOM leads her to a
large mirror from which he removes a dust cover and in
which we see the image of CHRISTINE, a perfect wax-
face impression, wearing a wedding gown. CHRISTINE
moves slowly towards it when suddenly the image thrusts
its hands through the mirror towards her She faints. The
PHANTOM catches her and carries her to the bed,
where he lays her down. )
PHANTOM
You alone can make my song take flight -
help me make the music of the night . . .
.................................................
THE NEXT MORNING...................................
( As the light brightens, we see the PHANTOM seated
at the organ playing with furious concentration.
He breaks off occasionally to write the music down. There
is a musical box in the shape of a barrel organ beside the bed.
Mysteriously, it plays as CHRISTINE wakes up.
The music keeps her in a half-trance )
CHRISTINE
I remember
there was mist. . .
swirling mist
upon a vast, glassy lake. . .
There were candles
all around,
and on the lake there
was a boat,
and in the boat,
there was a man. . .
......................................
( She rises and approaches the PHANTOM who does not
see her As she reaches for his mask, he turns, almost
catching her. This happens several times )
Who was that shape
in the shadows?
Whose is the face
in the mask?
( She finally succeeds in tearing the mask from his face.
The PHANTOM springs up and rounds on her furiously.
She clearly sees his face. The audience does not, as he is
standing in profile and in shadow )
PHANTOM
Damn you!
You little prying
Pandora!
You little demon -
is this what you wanted to see?
Curse you!
You little lying
Delilah!
You little viper!
now you cannot ever be free!
Damn you. . .
Curse you. . .
( a pause )
Stranger
than you dreamt it -
can you even
dare to look
or bear to
think of me:
this loathsome
gargoyle, who burns in hell, but secretly
yearns for heaven,
secretly. . .
secretly. . .
But, Christine. . .
Fear can
Turn to love - you'll
learn to see, to
find the man
behind the
monster: this. . .
repulsive
carcass, who
seems a beast, but secretly
dreams of beauty,
secretly. . .
secretly. . .
Oh, Christine. . .
( He holds out his hand for the mask, which she gives to him.
He puts it on, turning towards the audience as he sings ):
.......................................................................
Come we must return -
those two fools
who run my theatre
will be missing you.
( The lair sinks into the floor as the PHANTOM and CHRISTINE leave )
Act One Part TwoMost of these lyrics I copied from The Complete Phantom of the Opera by George Perry,which is published by Henry Holt and Company. The lyrics and images are copyright of The Really Useful Company.
P.O.T.O. ~ Act One ~ Part 2
P.O.T.O. ~ Act Two ~ Part 1
P.O.T.O. ~ Act Two ~ Part 2
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