Lebanese University

Faculty of Fine Arts – Second Branch

Theatre Department
T3 – visual and auditory effects

Prepared by: Ghida Hkayem

Presented to: Dr. Hagop Derghagoussian

The Phantom of The Opera - FULL SHOW - YouTube 27:32 -40:40

Title: The Phantom of the Opera

Introduction/ Generic:

Andrew Lloyd Webber (ALW): Composer - ALW is a renowned British composer and impresario,
known for his contributions to musical theater. He composed the music for "The Phantom of the
Opera."
Charles Hart: Lyricist - Charles Hart collaborated with ALW as the lyricist for the musical. He
contributed the lyrics that complemented Webber's compositions.
Richard Stilgoe: Lyricist - Richard Stilgoe also worked as a lyricist alongside ALW, helping to craft the
lyrics for the songs in the musical.
Harold Prince: Director - Harold Prince was the director of the original production. He played a
crucial role in shaping the overall vision and direction of the musical.
Maria Björnson: Scenic and Costume Designer - Maria Björnson was responsible for the stunning set
and costume designs that brought the grandeur of the Paris Opera House to life on stage.
Gaston Leroux: Author (Original Novel) - Though not directly involved in the musical's creation,
Gaston Leroux's novel "Le Fantôme de l'Opéra" served as the source material for the adaptation.
Michael Crawford: Original Phantom - Michael Crawford originated the role of the Phantom in the
West End production, earning critical acclaim for his performance.
Sarah Brightman: Original Christine - Sarah Brightman originated the role of Christine Daaé in the
West End production. She is also known for her collaboration with ALW and her contribution to the
development of the musical.
These individuals played crucial roles in bringing "The Phantom of the Opera" to life and contributing
to its immense success in the world of musical theater.

"The Phantom of the Opera" is a musical drama that combines elements of romance, mystery, and
horror. It originated from the French novel "Le Fantôme de l'Opéra" by Gaston Leroux, first
published in 1909. The story has been adapted into various forms, with Andrew Lloyd Webber's
musical being one of the most iconic versions.

Gaston Leroux, born on May 6, 1868, in Paris, France, was a prolific French author and journalist.
Besides "The Phantom of the Opera," he wrote numerous detective novels and stories. Leroux was
fascinated by the Paris Opera House, which inspired him to set his famous novel in that location. His
work laid the foundation for subsequent adaptations, including the renowned musical.

"The Phantom of the Opera" musical, composed by Andrew Lloyd Webber, premiered in London's
West End in 1986. Andrew Lloyd Webber, born on March 22, 1948, is a highly successful British
composer and impresario. He has created numerous hit musicals, including "Cats," "Evita," and "The
Phantom of the Opera," making him one of the most influential figures in musical theater.

The musical follows the story of Christine Daaé, a young and talented soprano, who becomes the
object of obsession for a mysterious masked man known as the Phantom. Set in the Paris Opera
House, the Phantom coaches Christine to stardom while maintaining his dark presence in the
shadows. A love triangle ensues as Raoul, a handsome young nobleman, also vies for Christine's
affection. The narrative explores themes of love, beauty, and the consequences of unchecked desire.

The scenography of "The Phantom of the Opera" is crucial to its success. The grandeur of the Paris
Opera House is brought to life through opulent sets, lavish costumes, and innovative use of special
effects. The iconic chandelier, masquerade ball, and the Phantom's lair are visually stunning and play
a significant role in immersing the audience in the mysterious atmosphere of the story. The
scenography enhances the theatrical experience, contributing to the emotional impact of key
moments.

This iconic scene is when Christine enters for the first time the lair of the Phantom, it is also the first
time he reveals himself to her as the Angel of Music. The problematic nature of this scene lies in the
complex emotions and moral dilemmas faced by the characters. Christine must grapple with her
feelings for the disfigured Phantom and her growing affection for Raoul. The Phantom, in turn,
confronts the harsh reality of his appearance and the societal rejection he faces. The scene delves
into themes of acceptance, compassion, and the transformative power of love, adding depth to the
characters and propelling the narrative toward its dramatic climax. This moment pushed the
audience further into knowing what lies behind the mask, and how much damage is set to his face.
Therefore, the question unfolds as to what will happen next, leading the audience to empathize with
the Phantom.

The plot of this scene is also very important and dramatic, as it advances the story and introduces
the main conflict and challenge of the musical. The scene begins with the Phantom kidnapping
Christine from the stage after she sings the aria “Think of Me”. He takes her to his lair, where he
sings to her “The Music of the Night”, which is his attempt to seduce her and make her his muse. He
then shows her his face, which is disfigured, and she faints in his arms. He then sings “I
Remember/Stranger Than You Dreamt It”, which is his confession of his love and his pain. The scene
ends with him covering her with his cloak, and saying “Now, let it be war upon you both”. The plot of
this scene supports my thesis statement, as it shows how the Phantom and Christine have a turning
point in their relationship, and how they face a major obstacle and a dangerous enemy.

Internal Analysis:

The play is set on stage, a black box or “boite noire”. The background is divided into three parts, the
first one, close to the floor, is a screen that opens in the middle and changes its background, higher
up the chorus and live orchestra are playing. Directly upside them, a stage construction working as a
tool/ material for the performance “An Underworld Passage”. Above lays a huge chandelier on the
ceiling and another screen sometimes transforming into a red curtain. It is a re-engineered
chandelier capable of reassembling in midair during the overture while the entire interior of the
venue (not merely the stage) returns to its 1880s halcyon days. The set design is the inside of the
Opera House, mainly based on one area and the use of two side stairs, and the change of items
refers to a different place in the Opera house, for example, the office room, the stage of
performance, the room of Christine and the one that depicts our interests is the lair the Phantom.
The background typically depicts the Phantom's secret lair, located beneath the opera house. This
could include rocky walls, archways, or a cave-like structure to convey the hidden nature of the
Phantom's domain. The scene is lit with dim, moody lighting to enhance the mysterious atmosphere.
Candlelight and subtle illumination might be used, contributing to the Gothic and romantic feel of
the setting. An atmospheric effect fog or mist adds an ethereal quality to the underground
environment. This enhances the sense of mystery and fantasy. It is important to note, that before
Christine enters the lair of the Phantom of the Opera she is sitting in her room behind her desk in her
hand the photo of her father, she then enters the mirror into the hands of the phantom whom he
takes her through the passageway to his lair underground. Once they enter the stage on the small
boat, the background screen opens up, and the chandeliers illuminate the space, soon after they
reach a stopping point the screen opens again revealing the whole open space of the lair, making his
area bigger and more chandelier appear from behind. A wheeled platform could be controlled by
cables at stage level to pull it up and down the stage. The top section of the boat in which the actors
sit, could rotate on the platform to enable changes of direction. Or the actors could self-propel the
boat around the stage, as long as there are safety guards to stop it from falling off into the orchestra
pit.

As for the materials used, we can state some of them such as stone and brick, this texture helps to
evoke a sense of an ancient and hidden underground chamber. Candles and lanterns, soft
candlelight and lanterns to illuminate the lair. It also creates the atmosphere of a haunting lair. The
use of mist and fog adds a layer of mystery also the feel of water as they come to the lair by a small
boat. Rich fabrics like velvet are adorned, they give away a luxurious style and aesthetic. At minute,
31:40, the screen gives 3-dimension chandeliers that illuminate the scene. On the side of the stage,
huge chandeliers and sculptures with the faces of demons, gargoyles, and skulls are placed they
surround an orgue look alike, where the Phantom composes his music.

Not to forget that before Christine enters the lair of the Phantom of the Opera, in front of Christine,
on her desk lays a lantern a red flower given by Raoul and her crown which she wore in her previous
performance, and the picture of her father which she puts it in her drawer.

In addition, the phantom’s mask adds a new layer of mystical appearance and it gives the reveal of
his face a much more important enigmatic nature.

The overall involvement of details, trap doors, hidden passages, mirror doors, and even adaptable
set pieces add a theatrical flair to the character’s movement, and development and an appealing
visual and fantastical feel.

Moving on, to the lighting of the Phantom of the Opera, designing for the Royal Albert Hall,
Andrew Bridge worked with Patrick Woodroffe to create the production. There were a lot more
lights in the air; a lot more follow spots; and lots of key lighting. A lighting rig made up of some 200
ETC Source Four luminaires – controlled by ETC SmartPack dimmers – plus over 150 moving lights,
the difficulty for Bridge was to keep the old-fashioned feel. There was a careful placing of lighting,
achieving both exhilarating and refreshing production. The Royal Albert Hall became part of the
show and was designed into the story. Although the chandelier couldn’t drop so dramatically, as it
would in the West End, they put a lot more pyrotechnics into it. The theatrical fixed focus units were
all on a rail which was easily accessible, mainly for dressing the proscenium arch, to enhance its
warmth. The majority of the key lighting was from 10 follow spots, which we had color corrected, as
well as lots of moving lights. Andrew Bridge’s stunning lighting design remains timeless. Bridge
paints Björnson's sets with a rich and suggestive palette of colors, layer upon layer of light, angle,
and gobo illustrating the story with classic effects such as mirror reveals and dissolves, strong up-
lighting through floorboards, and powerful side-lighting

Battery-powered flicker candles are used, along with more efficient LED versions, some of which are
rechargeable. The battery-powered ones can be wired to a switch, which could be activated by the
stage lighting system.

To give a gaslight feel they used very flat front lighting from the circle rail and foot lighting - all in a
rather flesh/green color. This was deliberately contrasted with the moment backstage into the
Phantom’s world where they emphasized the heightened drama with lots of beams, back, and cross-
lighting - Chiaroscuro style (dark and light). “Darkness is their friend”. If one light is out of position,
too bright, or too dusty it gives the game away. For example, the little vignette where the Phantom’s
image materializes in the mirror of Christine’s dressing room could not work unless every light is
focused and shuttered precisely.

There are numerous Patt 23s and Cantata profiles on the front balconies lighting the swags of grey
dustsheets of the opening scene in the derelict Paris opera. But the overheads are minimal and most
lighting seems to come from the FOH, sides, perches, and booms. The then-new Strand Galaxy
console to cope with the large number of circuits and more specifically the cue structure of the
show. Then the unique playback facilities of the galaxy were exactly what Bridge required to create
the subtle transitional cue structure that transposes the characters and action from one
environment to the other.

scene, what’s noticeable in this particular scene is the dominance of blue, the fog, and the mist
giving an era of mysteriousness, shadows, and night. Initially, the lighting featured warm and
romantic tones to convey the emotional connection first between Christine and her father, second
between Christine and Raoul whom she had feelings for. This warmth gradually turns into a colder
tone with shades of blue. The lighting design emphasizes Christine and the Phantom as the central
figures. Soft spotlights or a subtle wash are used to highlight their faces and expressions, allowing
the audience to connect with their emotions. The lighting starts relatively subdued, reflecting the
clandestine nature of the lair. As Christine becomes more aware of her surroundings and the
Phantom's presence, the lighting might evolve to symbolize her journey into the unknown.

The use of shadows and contrasts is employed to enhance the mysterious and dramatic aspects of
the scene. The Phantom's lair has areas of darkness and pockets of light, creating visually striking
compositions.

Furthermore, in "The Phantom of the Opera at the Royal Albert Hall," the production used various
visual elements, including projections and videos, to enhance the theatrical experience. The
proscenium subtly bleeds into the first few blacked-out boxes of the auditorium, and indiscernibly
fades into the main space. The action opens in the evocative, dusty, gothic setting of the closed-
down Paris Opera House as it auctions off chattels of former productions. As the characters
reminisce, the old clothes fly out and the audience is transported back to a time when opera was still
performed in the old theatre, the Paris Opera is revealed in all its former glory and there is a
rehearsal going on onstage: a love story between a young singer - Christine - and the mysterious
Phantom, it takes us on an atmospheric journey from the Paris stage across underground lakes to
the Phantom’s Lair. Because the grid is packed so tightly with scenic elements there was no room
left to light from overhead in the traditional manner. This made lighting the show a complex
challenge. All clothes were ultimately lit from the side. It was a solid scenery with changeable
projection, from a red curtain, into a mirror, into the lair, and so on. First, it enlarged the space and
second, it gave away a dimension feeling of the space, making it also much more precise.
Particularly, in the scene chosen, the lair is depicted as a dimly lit, candle-filled space, creating a
sense of intimacy and secrecy. The warm glow of candles casts flickering shadows on the walls,
contributing to the mysterious atmosphere. Stone walls or arches could be used to give the
impression of a hidden and secluded space. Stone walls or arches are projected to give the
impression of a hidden and secluded space. Projections include dramatic backdrops that enhance
the Phantom's lair, such as vast underground chambers. Also, mirrors or reflective surfaces are
projected to represent the Phantom's inner turmoil and duality and even to represent the
confrontation of Christine with her Angel of Music. Deep purples, blues, and even green when the
projection screen opens up are commonly associated with the Phantom's lair scenes, intensifying the
theatrical and otherworldly ambiance.
As for the costumes and makeup, when it comes to wardrobe, The Phantom of the Opera is
generally considered the most aesthetically elaborate and lush production on Broadway. With over
230 costumes, designer Maria Björnson (who also designed the set) created the look for the musical
theatre telling of the Phantom, his obsession with opera ingénue Christine Daaé, a sweeping
romance, and one of the most passionate tales told on stage.

Phantom is staged in a shiny black enamel box in which choice props are revealed. A mask that
bisected his face from forehead to chin, because it would free half of his face to express everything
he was feeling. It was molded of clear thermoplastic. For each performance, the false deformity
beneath the mask would be applied to his face, along with a bald pate. All of this would be discarded
after each performance and replaced. One huge sequence with a staircase representing the lobby of
the Garnier; there are some canvas drops rendered in the style of nineteenth-century scenery; and
there is the roof of the Paris Opera. There’s the travelator who delivers the Phantom and Christine
to his underground lair. Otherwise, there is a small dressing room, a desk, a table, and no
doors, but many beautifully designed hand-painted drapes that were by a family that Björnson had
located in France. All of the drapes, like some of the scenery, are delivered from the floor rather
than the flies.

Christine's costumes are designed to reflect her transition from a young and innocent ballet dancer
to the lead soprano of the opera. Her attire includes elegant dresses with intricate detailing,
especially during performances. In the lair scene, she wears a flowing white gown underneath a
corset, and her hair is half up all curled up.

Raoul appears in the first minutes of the scene, he is wearing a well-tailored black-greyish suit
reflecting his noble background.

In The Phantom of the Opera," makeup plays a crucial role, particularly in transforming the
character of the Phantom. The makeup design for the Phantom typically emphasizes the
disfigurement of one side of his face, creating a dramatic and haunting appearance. The makeup
focuses on creating the illusion of a severe disfigurement on one side of the Phantom's face. This
involves the use of prosthetics, special effects makeup, or detailed painting to simulate scars, burns,
or deformities. The phantom has a pale or ghostly complexion, highlighting the otherworldly and
mysterious aspects of his character with dark eyes and intense expression.

Christine Daaé's makeup is soft and glowy, making her feel pure and angelic almost.

The audio, in this particular play, had an immense importance in the overall performance; to create
this magic inside the auditorium Andrew Lloyd Webber insisted that audio be as discreet as possible,
both visually and aurally. Sound designer Martin Levan was adventurous in his product usage.
Original sound hires company Theatre Projects (now Blitz Sound), had to make heavy investments to
realize Levan’s sound design. Richard Rogers, director of Blitz discusses: that Phantom was one of
the first shows to use Sennheiser radio microphones. One of the holy grails in particular that show,
was to ensure it sounded as if the voices were coming directly from the performers as opposed to
from loudspeakers - to achieve this we tested a lot of new ground. A few special effects were used
including the Phantom’s reverb when talking the Christine through the mirror, it put him right into
the walls of the theatre, giving a real sense of the Phantom’s omnipresence.

The music of this scene is composed of two main themes: the Phantom’s theme and Christine’s
theme. The Phantom’s theme is a dark and mysterious melody that plays whenever he speaks or
sings. It reflects his mysterious and sinister nature, as well as his obsession with Christine. Christine’s
theme is a light and angelic melody that plays whenever she sings or expresses her emotions. It
reflects her innocence and beauty, as well as her curiosity and fascination with the Phantom. The
music also creates contrast and tension between the two characters, as they often sing in different
keys and tempos. For instance, when the Phantom sings “The Phantom of the Opera is there, inside
your mind”, he sings in a low and menacing tone, while Christine sings in a high and fearful tone.
This shows how the Phantom is trying to manipulate and control Christine, while she is trying to
resist and escape his influence. The music of this scene supports my thesis statement, as it shows
how the Phantom and Christine have a complicated and conflicting relationship, and how they are
drawn to each other despite their differences.

The cinematography of this scene is very impressive and creative, as it uses various camera angles,
movements, and effects to create a sense of movement, depth, and perspective. For instance, when
the Phantom and Christine are on the boat, the camera follows them from behind, creating a sense
of speed and direction. When they arrive at the Phantom’s lair, the camera pans around the room,
showing the candles, the organ, and the mirror, creating a sense of space and detail. When the
Phantom reveals his face to Christine, the camera zooms in on his mask, creating a sense of suspense
and anticipation. The cinematography of this scene supports my thesis statement, as it shows how
the Phantom and Christine enter a different and mysterious world, and how they discover new and
surprising aspects of each other.

The acting in this scene is also very expressive and convincing, as the actors use their facial
expressions, body language, and vocal delivery to portray their characters. Ramin Karimloo, who
plays the Phantom, uses a mask to cover half of his face, which adds to his mysterious and
intimidating appearance. He also uses his eyes and his voice to convey his emotions, such as anger,
sadness, and passion. For example, when he sings “In all your fantasies, you always knew, that man
and mystery, were both in you”, he looks at Christine with a mix of longing and resentment, and
sings with a powerful and passionate voice. This shows how he loves Christine, but also blames her
for his loneliness and suffering. Sierra Boggess, who plays Christine, uses her facial expressions and
body language to show her emotions, such as fear, confusion, and wonder. For example, when she
sees the Phantom’s lair for the first time, she looks around with a mix of awe and terror and moves
cautiously and nervously. This shows how she is amazed by the Phantom’s world but also scared of
what he might do to her.

External analysis:

Comparing the West End/Broadway production to the 2011 production of the same play.
The original West End/Broadway production of "The Phantom of the Opera," which premiered in
1986 at Her Majesty's Theatre in London and later in 1988 at the Majestic Theatre on Broadway,
stands as a monumental achievement in the realm of musical theatre. Directed by the legendary
Harold Prince and featuring the dynamic creative duo of Andrew Lloyd Webber (music) and Charles
Hart (lyrics), with additional input from Richard Stilgoe on the book, the production introduced
audiences to a mesmerizing adaptation of Gaston Leroux's classic novel. The artistic vision was
brought to life through the groundbreaking set designs of Maria Björnson, whose detailed and
opulent creations transported theatergoers to the grandeur of the Paris Opera House.

At the heart of the original production were the iconic performances of Michael Crawford as the
enigmatic Phantom and Sarah Brightman as the innocent yet captivating Christine Daaé. Crawford's
portrayal of the tortured and mysterious figure became a defining interpretation of the character,
and Brightman's soprano voice and emotional depth added a layer of authenticity to the role of
Christine. The chemistry between the two leads contributed significantly to the emotional impact of
the story and played a pivotal role in the show's immense success.

The production's visual and technical elements, spearheaded by Maria Björnson's costume designs,
were a testament to the attention to detail and craftsmanship dedicated to bringing the story to life.
The Phantom's disfigured half-mask, the elaborate period costumes, and the intricate stage sets all
contributed to the immersive experience, solidifying "The Phantom of the Opera" as a theatrical
spectacle of unparalleled grandeur.

Fast forward to 2011, and "The Phantom of the Opera" spectacularly celebrated its 25th anniversary
with a special performance at the Royal Albert Hall in London. This grand event showcased the
enduring legacy of Andrew Lloyd Webber's masterpiece and featured a cast and orchestra
numbering over 200 individuals, making it a monumental tribute to the musical's impact over the
years.

Directed by Laurence Connor and featuring Ramin Karimloo as the Phantom and Sierra Boggess as
Christine, the Royal Albert Hall production aimed to capture the essence of the original while adding
its unique touches. The expansive venue allowed for an even more immersive experience, with
advanced visual elements such as projections and enhanced set designs contributing to the overall
grandiosity of the spectacle. The production, recorded for posterity and released on DVD and Blu-
ray, allowed a wider audience to partake in the celebration of this theatrical milestone.

While the original production set the gold standard for success, the Royal Albert Hall performance
added a new chapter to the legacy of "The Phantom of the Opera." Both productions, each in its
way, highlighted the timelessness and enduring appeal of this beloved musical, showcasing how a
classic story can be reimagined and celebrated across generations.

Updating "The Phantom of the Opera" to a modern-day setting while preserving the original text
and essence of the story involves a thoughtful reimagining of various elements. Here's a conceptual
overview of how certain aspects, including set design, lighting, costumes, and acting, could be
adapted for a contemporary setting. In a modern-day rendition of "The Phantom of the Opera," a
thoughtful reimagining would seamlessly blend the timeless narrative with contemporary elements.
The opera house transforms into a sleek, state-of-the-art performing arts venue, incorporating
digital displays and cutting-edge architecture. The Phantom's lair, hidden within the venue, could be
an abandoned backstage space or an underground passage, emphasizing the mystery within the
context of a bustling modern city.
Advanced LED lighting technology becomes integral, creating dynamic effects and responding to
characters' emotions. Digital projections enhance scene transitions, providing immersive backdrops
that capture the energy of a modern metropolis. Costumes evolve to reflect contemporary formal
wear, with a touch of futuristic flair and may incorporate wearable technology for a visually striking
effect.

Acting emphasizes the psychological depth of characters, retaining their emotional complexities
while integrating modern communication methods like smartphones and social media. The dynamics
between characters reflect shifts in societal norms, offering a fresh perspective while remaining true
to the original character arcs.

The musical score maintains its classical roots but features updated arrangements and electronic
elements, infusing a modern sound into the timeless melodies. This reinterpretation seeks to strike a
delicate balance between innovation and reverence for the source material, ensuring a captivating
and relevant experience for today's audiences. In this contemporary iteration, "The Phantom of the
Opera" emerges as a thrilling exploration of love, mystery, and passion set against the backdrop of
the 21st century.

Conclusion:

In conclusion, the scene where the Phantom takes Christine to his lair for the first time for me was a
crucial and the most captivating scene in the musical The Phantom of the Opera. It demonstrates
how the music, the acting, the cinematography, and the plot create a sense of mystery, romance,
and danger in this scene. This scene is the turning point of the musical, as it establishes the complex
relationship between the Phantom and Christine, and sets the stage for the conflict and drama that
will follow. This scene also reflects the themes and messages of the musical, such as the power of
music, the beauty of the soul, and the tragedy of love. This scene is a masterpiece of musical theatre
and a memorable and moving experience for the audience. I watched over 5 times and with each
time I noticed an extra detail, I unveiled a layer I wasn’t aware of and it made me think how subtle
and simple the actions are but how enormous. At some point, almost at 38:00 minutes, Christine is
standing, only facing the great angle, the Phantom of the Opera while he plays his music, seducing
her and even hypnotizing her. She didn’t budge or move but everything was translated into the
audience. It made me think of how powerful this play is, and how big the production yet they were
able to cast every man for his job. The whole play hypnotized me and made me fall in love with it,
raising questions about theatre, art, passion, and love. I fell into the play that I crave to one day be
able to do it, direct it, or even work on it.