When is phantom of the opera set

The statue offers his hand and Don Juan, fearless to the last, takes it. The statue takes Juan's hand in an unbreakable grip. A fiery pit opens and the statue drags Don Juan down into Hell, with no time to repent.

The third act of the Shaw play, frequently presented alone as "Don Juan in Hell" is the Shavian notion of what the main characters, Juan, Ana, and the Commander might discuss with the Devil. Source: "Legend of Don Juan". No, he isn't. During "Down Once More"; he sings, "This face that condemns me to wallow in blood has also denied me the joys of the flesh.

It means the Phantom is still alive and still loves Christine. There are many differences. For example, in the musical, the story occurs in , while the movie takes place in In the movie, the ages are all shifted to be much younger than in the book or on stage.

On stage and in the novel, Christine and Raoul are in their 20's, The Phantom with no official age. Giry was never Christine's caretaker in the stage musical, and her relationship to the Phantom is never fully explained.

In the musical, he is given a back-story albeit briefly much closer to that in the book, of a man who has traveled widely for much of his life and who helped to actually build the opera house. In the musical's "Think of Me", the backdrop falls, but it doesn't actually hit Carlotta as it does in the film, it just frightens her.

Many of the costumes are different, and given more detail in the movie. In the stage show, the Phantom always wears a "white tie", i. In the musical, there is no horse in the scene where the Phantom leads Christine to his underground lair.

In the ballet scene of "Il Muto", the stage version has the Phantom's shadow behind the backdrop, scaring the dancers. The movie doesn't have this. Many of the Phantom's actions in the stage show are not explained, giving him a more ghostly persona. In the movie, we are shown the Phantom swapping Carlotta's throat spray in order to achieve this effect. The chandelier drops after "All I Ask of You" at the end of Act 1 on stage, directly after the lyric "all that the Phantom asked of you!

This also prompts a lyric change in Masquerade from " On stage, the chandelier's drop narrowly misses the "curtain call" of the cast of "Il Muto" as they jump out of the way. However, the only damage done is to the chandelier whereas, in the movie, the chandelier sets fire to the Opera Populaire.

In "Masquerade", the costumes are very bright and colorful in the stage versions, with people dressed as animals, clowns, and other creatures, including a costume very similar to the monkey on the music box complete with symbols. In the musical, the costumes are simplified, more ballgowns than costumes, and primarily black, white, and gold, giving it a more orderly and elegant effect.

Managers Andre and Firmin dress in skeletal costumes on stage but dress in different costumes in the movie. The Red Death costume on stage has a full skull mask with moving jaw, a big red fedora with a plume, and is generally a much more ornate and theatrical costume than seen in the film version, complete with cloaks and a staff. This mirrored room was put in the movie as a reference to the Phantom's torture room in the Leroux novel.

The original reprise of "Notes" was combined with "Why So silent? The movie version is set in a set which looks like Hades and has a Latin feel. The Phantom is far more deformed in the stage version than in the movie. In the movie he has bumpy, discolored skin and thinning hair.

In the stage version, he has giant cracks in his skull, wispy hair, one of his eyes is whited out, giant swollen lips, burns, cuts and generally more deformation. Instead of smashing a mirror and leaving through a secret passage after Christine and Raoul leave, the Phantom sits in his throne, and covers himself with his cape.

Meg is the first to arrive in the lair, and lifts the cape from the throne, to reveal that the Phantom has disappeared, leaving only the mask. After "Masquarade" in the stage version, the actual Phantom runs off stage in a flash of darkness as a double appears at the top of the staircase and runs up the stairs to give the illusion that the Phantom apparrated. In the movie, he drops through a hole in the floor and Raoul follows him with a sword.

However, the hole leads to a circle of mirrors planted by the Phantom and Raoul does not land a blow. There is no such confrontation in the stage version. In the film version, he is unseen but heard from within her father's tomb, while a red light grows from within it. In the stage version, Raoul presents his plan to trap the Phantom during his opera in front of all of the main characters, causing a scene in which Carlotta accuses Christine of plotting the whole Phantom hoax for her personal gain and Christine refuses to go along with the plan.

This scene is following by the rehearsal in which the Phantom "possesses" the piano. Pieces of this scene are used in different spots in the movie, but some of it is cut out. Several characters from the book are changed or completely excluded in the Webber version.

Later in life, Karina worked in other aspects of the arts, directing films of her own, recording several albums, and writing novels. Kay Ryan was born. Her poems are generally short and introspective, and she is praised for her sly wit and sense of humor. Meyer, Nicholas. A Week To Remember ,. Phantom of the Opera ,. Safer at Home. More posts by Keith. The original Australian production opened in and played in Melbourne for three years before transferring to Sydney.

And in April this year, the upcoming Sydney season smashed Sydney Opera House single-day box office records when tickets went on sale. And why do audiences continue to flock to it? Leroux himself had a life worthy of a novel: a shipping heir, he blew through his inheritance and became an intrepid journalist.

He filed stories from Russia, Africa and across Asia, but it was his own backyard that inspired him most. He was not, as was long believed, a creature of the imagination of the artists, the superstition of the managers… No, he existed in flesh and blood, though he assumed all the outward characteristics of a real phantom, that is to say, of a shade. To this day, this is still contentious. In any case, the Phantom still has a box seat reserved expressly for him at the Opera Garnier, in Box 5, as per the original tale.

The Phantom's loge at the Paris Opera. In the lair, Christine is compelled to don the doll's wedding dress. He tells Christine he will free Raoul if she agrees to stay with him forever; if she refuses, Raoul will die. The Phantom, having experienced kindness and compassion for the first time, sets them both free. Christine returns the ring he gave her, and listens in pity as he tells her he loves her. She then forces herself to turn away, and leaves with Raoul.

The Phantom, weeping, sings a brief reprise of "The Music of the Night" before sitting on his throne and covering himself with his cape. The mob storms the lair, and Meg pulls away the cape, but the Phantom has vanished; only his mask remains. A pre-recorded track, employing organ, synthesizers, synthesized drums, electric guitars, and bass guitar, supplements the live orchestra during the Overture, and during the title song, to prevent the noisy motorized props operating in the Journey to the Lair sequence from being amplified by the actors' microphones.

The conductor and drummer listen to a click track on headphones to keep the live musicians synchronized with the track. Most of the Phantom's off-stage voiceovers are prerecorded, as is Christine's final note of the title song.

To reduce touring expenses, a downscaled orchestral arrangement was developed that included a third keyboard in lieu of the brass section, reduction of the woodwind section to three instruments, and a smaller string section.

It has since gone both gold and platinum in Britain and the U. While never released to the general public, there is a video recording of an early performance of the musical with Michael Crawford, which is only available to certain people involved with the show. Whether or not it will ever be released is unknown.

It is titled Love Never Dies and is loosely adapted from the novel The Phantom of Manhattan , published in and written by Frederick Forsyth, who had collaborated with Lloyd Webber on the sequel years before. It is the first time a musical sequel has been staged in the West End. The opening was delayed from its original date of 26 October Love Never Dies was originally scheduled to open on Broadway on 11 November but Lloyd Webber has had some post operative problems from prostate cancer and has been unable to do any long-haul flight, so the show has been postponed until Spring The Australian production will still open as scheduled in The musical is set in ,[28] a decade after the end of Phantom.

Note: According to the official announcement, the events occur approximately a decade after the events of The Phantom of the Opera. In reality, however, Lloyd Webber's original show was set in , meaning that the time period between the two stories amounts to 26 years. Christine is invited to perform at Phantasma, a new attraction in Coney Island, by an anonymous impresario and, with her husband Raoul and son Gustave in tow, journeys to Brooklyn, unaware that it is the Phantom who has arranged her appearance in the popular beach resort.

The musical received mixed reviews. In the heirs of Giacomo Puccini claimed in a lawsuit that the climactic phrase in Phantom's "Music of the Night" closely resembled a similar phrase in the sequence "Quello che tacete" from Puccini's opera Girl of the Golden West. The litigation was settled out of court for an undisclosed amount. In a Baltimore songwriter named Ray Repp filed a lawsuit alleging that the title song from Phantom was based on a song he wrote in called "Till You. Roger Waters has repeatedly claimed in interviews that the signature descending chord progression from Phantom's title song was plagiarized from a track on the Pink Floyd album Meddle called "Echoes.

Phantom has been translated into several languages and produced in over twenty countries on six continents.