The Phantom of the Opera Will Warfel Christine Daaé* Claire Hardek

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PHANTOM OF THE OPERA CAST LIST The Phantom of the Opera Will Warfel Christine Daaé* Claire Hardek Raoul, Vicomte de Chagny Jonah Sorscher Carlotta Giudicelli* Reilly Grace Monsieur André Sebastian Kong Monsieur Firmin John Kushman Madame Giry Rebecca Mactaggart Ubaldo Piangi* Alex Ericsson Meg Giry* Smilla Eihausen Monsieur Reyer* George Bell Don Attilio "Il Muto"* Marko Petrovic Hairdresser- FOP "Il Muto"* Conrad Bennett Jeweler- FOP "Il Muto"/Passarino* Josh Knehans Monsieur Lefévre/Attendant Michael Ragnone Joseph Buquet* Joseph Kayne Confidante "Il Muto"* Bella Carson Princess "Hannibal"*/Attendant Nina Overton Wardrobe Mistress* Faye Hardek Madame Firmin* Claudia Hollander Innkeeper's Wife*/Attendant Ella Orr Slave Master "Hannibal" w/Ballet Corps Peter Zhang Page "Don Juan Triumphant"*/Attendant Paige Falter Fire Chief*/Attendant Warren Zahn Fire Marshal Nick Koerting Marksman Jakob Roehrig Auctioneer* Hrishi Rawat Porter* Ashley Picou Ballet Corps of the Opéra Populaire Maya Anderson, Sarah Grace Brown, Smilla Eihausen, Kate McGrath, Greta Zender Masquerade Ensemble Sydney Frost, Samantha Grenda, Gigi Lewis, Matthew McClaren, Sierra Meckes, Nikhil Nayak, Sarika Singh, Nathan Strauss, Courtney Wenker, Kaia Woo, Jade Zarco Mrs. Croston, Mr. Damadeo, Mrs. Mendoza, Mrs. McCarthy, Mr. Millard, Mrs. Savage, Mrs. Shafer, Mr. Siebenaller, Mrs. Smith, Mrs. Wallbank *Denotes member of the Opera Corps Congratulations to all! First rehearsals begin next week. Check Canvas Calendar to see who is called and on what days. More info to come via e-mail! Thank you! .

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Teacher's Notes
PENGUIN READERS Teacher’s notes LEVEL 5 Teacher Support Programme The Phantom of the Opera Gaston Leroux underground house on the lake below the Opera. She believes he is the Angel of Music, who her father promised to send after he died. To her horror she discovers, when she sees him for the first time that she is in the grip of a terrible monster. Count Chagny’s brother Raoul, the viscount, is also in love with Christine but she cannot return his love for fear of what the monster will do if he finds them together. The monster and the viscount are jealous of each other, but the monster is far cleverer and Raoul ends up in Erik’s torture room with the Persian who is helping him find Christine. When it seems that there is no hope and that they will die in the torture room, the Persian reminds Erik that he once saved Erik’s About the author life. This saves the two men. When Christine touches the monster’s hand, mixes her tears with his, and allows the Gaston Leroux, born in Paris in 1868, was trained in monster to kiss her, he has his first and last taste of human law, but chose a career in writing. He wrote stories, plays, affection and love. How can he now allow Christine to poems, novels and screenplays. His own extensive travels go away with Raoul? We learn towards the end of the around the world and his knowledge of the layout of the story that Erik was born with no nose and yellow eyes.
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The Phantom of the Opera: a Case Study of Severe Major Depressive
essio epr n D an f d Tobia et al., J Depress Anxiety 2017, 6:4 o A l a n n x r DOI: 10.4172/2167-1044.1000282 i e u t y o J Journal of Depression and Anxiety ISSN: 2167-1044 Research Article Article Open Access The Phantom of the Opera: A Case Study of Severe Major Depressive Disorder with Psychotic Features Anthony Tobia*, Roseanne Dobkin, Shawen Ilaria, Rehan Aziz, Viwek Bisen and Adam Trenton Department of Psychiatry, Rutgers Robert Wood Johnson Medical School, USA Abstract Objective: Portrayals of psychiatry in the arts have been enjoyed by audiences for almost a century. Courses designed to teach psychopathology have used examples from the arts to emphasize major teaching points. This paper frames Elisabeth Kübler-Ross’s stage theory of grief within selected scenes of Andrew Lloyd Webber’s musical, The Phantom of the Opera, to achieve course objectives such as the etiology, course, and levels of severity of Major Depressive Disorder. Methods: Course content from our Psychopathology course was transformed into a dialogue between an examining psychiatrist and a Broadway performer who was in character. The performance was part of a special Grand Rounds reviewing the Mood Disorders. Results: Goals and objectives were readily achieved with over 450 faculties in attendance. Conclusions: Organizing a curriculum with performing arts is an innovative teaching method that allows for review of mental disorders such as those demonstrated in The Phantom of the Opera. Keywords: Media; Teaching methods; Depression; Psychopathology in character, responded in song. This paper reviews the major points from our event formulating the dialogue as a case of Major Depressive Introduction Disorder (MDD).
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Garwood Council Creates Parks and Recreation Committee Cranford
Happy Hanukkah 2019 Ad Populos, Non Aditus, Pervenimus Published Every Thursday Since September 3, 1890 (908) 232-4407 USPS 680020 Thursday, December 19, 2019 OUR 129th YEAR – ISSUE NO. 51-2019 Periodical – Postage Paid at Rahway, N.J. www.goleader.com [email protected] ONE DOLLAR Cranford School District to See Share of Birchwood PILOT By CHRISTINA M. HINKE would not see taxes from that resi- Under the PILOT agreement with Specially Written for The Westfield Leader dential development, had the town- Birchwood Developers, the township CRANFORD – The township com- ship committee not formed this shar- is to receive 11 percent of revenue in mittee passed an ordinance Tuesday ing agreement with the school dis- the first 15 years of the 30-year tax that formalizes an agreement with the trict. The township made an agree- abatement. Cranford school district to share a ment to provide the district 70 per- Superintendent of Schools Scott portion of the Annual Service Charge cent of the Annual Service Charge Rubin, Ed.D., said to the committee, from Birchwood Developers Urban received in the calendar year of the “On behalf of the board of Renewal Associates, LLC, commenc- Annual Service Charge start date; 70 education...we really appreciate the ing upon Birchwood’s substantial percent of the Annual Service Charge opportunity you afforded us to advo- completion of a residential develop- received in the first full calendar year cate on behalf of our students and ment along Birchwood Avenue. following the Annual Service Charge faculty.” The apartment complex is under start date; and 55 percent of the An- Two developments going up in the development currently.
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The Phantom of the Opera Music: Andrew Lloyd Webber Lyrics
The Phantom of the Opera Music: Andrew Lloyd Webber Lyrics: Charles Hart + Richard Stilgoe Book: Andrew Lloyd Webber + Richard Stilgoe Premiere: Thursday, October 9, 1986 THE STAGE OF THE PARIS OPERA, 1905 (The contents of the opera house is 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 My 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.
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Cast Biographies Chris Mann
CAST BIOGRAPHIES CHRIS MANN (The Phantom) rose to fame as Christina Aguilera’s finalist on NBC’s The Voice. Since then, his debut album, Roads, hit #1 on Billboard's Heatseekers Chart and he starred in his own PBS television special: A Mann For All Seasons. Chris has performed with the National Symphony for President Obama, at Christmas in Rockefeller Center and headlined his own symphony tour across the country. From Wichita, KS, Mann holds a Vocal Performance degree from Vanderbilt University and is honored to join this cast in his dream role. Love to the fam, friends and Laura. TV: Ellen, Today, Conan, Jay Leno, Glee. ChrisMannMusic.com. Twitter: @iamchrismann Facebook.com/ChrisMannMusic KATIE TRAVIS (Christine Daaé) is honored to be a member of this company in a role she has always dreamed of playing. Previous theater credits: The Most Happy Fella (Rosabella), Titanic (Kate McGowan), The Mikado (Yum- Yum), Jekyll and Hyde (Emma Carew), Wonderful Town (Eileen Sherwood). She recently performed the role of Cosette in Les Misérables at the St. Louis MUNY alongside Norm Lewis and Hugh Panero. Katie is a recent winner of the Lys Symonette award for her performance at the 2014 Lotte Lenya Competition. Thanks to her family, friends, The Mine and Tara Rubin Casting. katietravis.com STORM LINEBERGER (Raoul, Vicomte de Chagny) is honored to be joining this new spectacular production of The Phantom of the Opera. His favorite credits include: Lyric Theatre of Oklahoma: Disney’s The Little Mermaid (Prince Eric), Les Misérables (Feuilly). New London Barn Playhouse: Les Misérables (Enjolras), Singin’ in the Rain (Roscoe Dexter), The Music Man (Jacey Squires, Quartet), The Student Prince (Karl Franz u/s).
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ND Sept 2019.Pdf
usually last Sunday, 5pm. Mass Tuesday, Friday & Saturday, 9.30am. Canon David Burrows SSC , 01422 373184, rectorofel - [email protected] parish directory www.ellandoccasionals.blogspot.co.uk FOLKESTONE Kent , St Peter on the East Cliﬀ A Society BATH Bathwick Parishes , St.Mary’s (bottom of Bathwick Hill), Wednesday 9.30am, Holy Hour, 10am Mass Friday 9.30am, Sat - Parish under the episcopal care of the Bishop of Richborough . St.John's (opposite the fire station) Sunday - 9.00am Sung Mass at urday 9.30am Mass & Rosary. Fr.Richard Norman 0208 295 6411. Sunday: 8am Low Mass, 10.30am Solemn Mass. Evensong 6pm. St.John's, 10.30am at St.Mary's 6.00pm Evening Service - 1st, Parish website: www.stgeorgebickley.co.uk Weekdays - Low Mass: Tues 7pm, Thur 12 noon. 3rd &5th Sunday at St.Mary's and 2nd & 4th at St.John's. Con - http://stpetersfolk.church e-mail :[email protected] tact Fr.Peter Edwards 01225 460052 or www.bathwick - BURGH-LE-MARSH Ss Peter & Paul , (near Skegness) PE24 parishes.org.uk 5DY A resolution parish in the care of the Bishop of Richborough . GRIMSBY St Augustine , Legsby Avenue Lovely Grade II Sunday Services: 9.30am Sung Mass (& Junior Church in term Church by Sir Charles Nicholson. A Forward in Faith Parish under BEXHILL on SEA St Augustine’s , Cooden Drive, TN39 3AZ time) On 5th Sunday a Group Mass takes place in one of the 6 Bishop of Richborough . Sunday: Parish Mass 9.30am, Solemn Saturday: Mass at 6pm (first Mass of Sunday)Sunday: Mass at churches in the Benefice.
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Allusions and Historical Models in Gaston Leroux's the Phantom of the Opera
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2004 Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera Joy A. Mills Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the French and Francophone Literature Commons, Other Theatre and Performance Studies Commons, and the Translation Studies Commons Recommended Citation Mills, Joy A., "Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera" (2004). Honors Theses. 83. https://scholarlycommons.obu.edu/honors_theses/83 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Gaston Leroux's 1911 novel, The Phantom of the Opera, has a considerable number of allusions, some of which are accessible to modern American audiences, like references to Romeo and Juilet. Many of the references, however, are very specific to the operatic world or to other somewhat obscure fields. Knowledge of these allusions would greatly enhance the experience of readers of the novel, and would also contribute to their ability to interpret it. Thus my thesis aims to be helpful to those who read The Phantom of the Opera by providing a set of notes, as it were, to explain the allusions, with an emphasis on the extended allusion of the Palais Garnier and the historical models for the heroine, Christine Daae. Notes on Translations At the time of this writing, three English translations are commercially available of The Phantom of the Opera.
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“No One Ever Sees the Angel" : Adapting the Phantom of the Opera Mcmurtry, LG
“No one ever sees the Angel" : adapting The Phantom of the Opera McMurtry, LG Title “No one ever sees the Angel" : adapting The Phantom of the Opera Authors McMurtry, LG Type Book Section URL This version is available at: http://usir.salford.ac.uk/id/eprint/48439/ Published Date 2018 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. “No One Ever Sees the Angel”: Adapting The Phantom of the Opera Leslie McMurtry There are many ways that interpretations of The Phantom of the Opera (1910)i lend themselves to the Gothic mode. The plethora of adaptations over the past centuryii, with varying degrees of similarity to the source text, have taken on a life of their own. Criticism of POTO is still relatively underdeveloped; as Ann C. Hall notes, while the novel has been critiqued through its associations (mainly its links to Gothic fiction and its Freudian and Jungian interpretations), these readings tend to “diminish” author Gaston Leroux’s skill and readers’ enjoyment (Hall 2). This chapter will not focus on Freudian or Jungian readings, but instead I hope to explore an element of the Leroux novel and the adaptations that has been overlooked, and in so doing, give some suggestions as to what qualities have contributed to making this story so enduring.
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University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 07 | Autumn 2008
University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 07 | Autumn 2008 Title Palimpsest, Pasolini, Poe and Poetics, or the phantoms haunting Dario Argento’s Opera (1987) Author Keith Hennessey Brown Publication FORUM: University of Edinburgh Postgraduate Journal of Culture and the Arts Issue Number 07 Issue Date Autumn 2008 Publication Date 12/12/2008 Editors Jack Burton & Jana Funke FORUM claims non-exclusive rights to reproduce this article electronically (in full or in part) and to publish this work in any such media current or later developed. The author retains all rights, including the right to be identified as the author wherever and whenever this article is published, and the right to use all or part of the article and abstracts, with or without revision or modification in compilations or other publications. Any latter publication shall recognise FORUM as the original publisher. Palimpsest, Pasolini, Poe and Poetics, or the phantoms haunting Dario Argento’s Opera (1987) Keith Hennessey Brown University of Edinburgh Italian horror and thriller auteur Dario Argento’s films are replete with images and themes of haunting: the solidified residue of malign, murderous thoughts sensed by the medium at the parapsychology conference which opens Profondo Rosso (1975) or the literal haunted houses inhabited by the witches Mater Tenebrarum, Suspiriorum and Lachrymarum in the horror films Suspiria (1977) and Inferno (1980). Above all, Argento’s gialli – i.e. Italian-style thrillers – from The Bird with the Crystal Plumage (1970) onwards present a succession of protagonists who find themselves haunted by some vital fragment of sound or image that they cannot quite recall, going up against antagonists whose inability to overcome the haunting legacy of some incident in their past compels them to kill again and again.
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The Phantom of the Opera Chapter 2 Meanwhile, Christine Daae Uttered
The phantom of the opera Chapter 2 Meanwhile, Christine Daae uttered a deep sigh, which was answered by a groan. She turned her head, saw Raoul and started. She looked at the doctor, on whom she bestowed a smile, then at her maid, then at Raoul again. "Monsieur," she said, in a voice not much above a whisper, "who are you?" "Mademoiselle," replied the young man, kneeling on one knee and pressing a fervent kiss on the diva's hand, "I AM THE LITTLE BOY WHO WENT INTO THE SEA TO RESCUE YOUR SCARF." Christine again looked at the doctor and the maid; and all three began to laugh. Raoul turned very red and stood up. "Mademoiselle," he said, "since you are pleased not to recognize me, I should like to say something to you in private, something very important." "When I am better, do you mind?" And her voice shook. "You have been very good." "Yes, you must go," said the doctor, with his pleasantest smile. "Leave me to attend to mademoiselle." "I am not ill now," said Christine suddenly, with strange and unexpected energy. She rose and passed her hand over her eyelids. "Thank you, Doctor. I should like to be alone. Please go away, all of you. Leave me. I feel very restless this evening." The doctor tried to make a short protest, but, perceiving the girl's evident agitation, he thought the best remedy was not to thwart her. And he went away, saying to Raoul, outside: "She is not herself to-night. She is usually so gentle." Then he said good night and Raoul was left alone.
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THE MASK of ERIK by Rick Lai © 2007 Rick Lai [email protected] In
THE MASK OF ERIK by Rick Lai © 2007 Rick Lai [email protected] In The Phantom of the Opera (1910), Gaston Leroux (1868-1927) created a colorful past for the title character who was also known as Erik. Leroux pretended that his novel was not a work of fiction. He perpetrated the hoax that the Phantom’s story had been unearthed through interviews with actual people including former employees of the Paris Opera House. A careful reading of the novel indicates that its events transpired decades before its year of publication. The novel’s prologue indicated that the story took place “not more than thirty years ago.” At one point, Erik made the farcical prediction that a young girl, Meg Giry, would be an Empress in 1885. The novel happened sometime between 1880 and 1884. Of the years available, I favor 1881 (1). The Phantom was born in a French town not far from Rouen. His exact year of birth was unstated, but it was probably around 1830 (2). The Phantom’s skeletal visage was a defect from birth. The makeup of Lon Chaney Sr. in the famous 1925 silent movie faithfully followed Leroux’s description of the Phantom’s face. Since the silent film was made in black and white, Chaney could never duplicate the bizarre yellow eyes of the Phantom. Very little is known of the Phantom’s parents (3). His father was a stonemason. The Phantom’s mother was repelled by her son’s ugliness. She refused to ever let him kiss her. Furthermore, she insisted that he wear a mask at all times.
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Atlanta Symphony Orchestra Vasily Petrenko, Conductor Stewart Goodyear, Piano
KENNESAW STATE UNIVERSITY SCHOOL OF MUSIC Atlanta Symphony Orchestra Vasily Petrenko, Conductor Stewart Goodyear, Piano Friday, April 28, 2017 at 8 pm Dr. Bobbie Bailey & Family Performance Center, Morgan Hall One-hundred Thirty-second Concert of the 2016-17 Concert Season program RICHARD STRAUSS (1864-1949) Don Juan, Tone Poem after Nikolaus Lenau, opus 20 (1888-1889) FELIX MENDELSSOHN (1809-1847) Concerto for Piano and Orchestra No. 1 in G minor, opus 25 (1831) I. Molto Allegro con fuoco II. Andante III. Presto; Molto Allegro e vivace Stewart Goodyear, piano INTERMISSION ANTONÍN DVOŘÁK (1841-1904) Symphony No. 8 in G Major, opus 88 (1889) I. Allegro con brio II. Adagio III. Allegretto grazioso IV. Allegro, ma non troppo program notes Notes on the Program by Ken Meltzer Don Juan, Tone Poem after Nikolaus Lenau, opus 20 (1888-1889) ichard Strauss was born in Munich, Germany, on June 11, 1864, and died in Garmisch-Partenkirchen, Germany, on September 8, 1949. The Rfirst performance of Don Juan took place in Weimar, Germany, on November 11, 1889, with the composer conducting the Court Orchestra in the Grand Ducal Theater of Weimar. Don Juan is scored for piccolo, three flutes, two oboes, English horn, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, orchestra bells, triangle, cymbals, suspended cymbals, harp, and strings. The legend of Don Juan seems to have originated in the 16th century. The tale of the libertine nobleman who is damned for his numerous seductions and unwillingness to repent has found expression in numerous works. The Austrian poet and philosopher Nikolaus Lenau (1802-50) offered his own, slightly different perspective in his 1844 poem Don Juan: My Don Juan is no hot-blooded man eternally pursuing women.
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