Compare/Contrast: Phantom of the Opera Novel Vs. Musical The

Total Page:16

File Type:pdf, Size:1020Kb

Compare/Contrast: Phantom of the Opera Novel Vs. Musical The Compare/Contrast: Phantom of the Opera novel vs. musical The original story of the Phantom begins in a novel by author Gaston Leroux. Read this summary of his novel: When Leroux began his research in Paris for his novel, Phantom of the Opera, he said he went through the archives of the National Academy of Music to investigate the story of a kidnapping. A great singer, Christine Daae had been kidnapped, her rescuer, Vicomte de Chagney, had disappeared, and the Vicomte’s brother, Count Philippe, had died. Leroux interviewed a “witness” to all this. This “witness” was known as “the Persian.” The man told Leroux he had spoken with a ghost who lived in the Paris Opera House. The Persian also claimed to have found a skeleton in the cellars of the Opera House which he claimed belonged to a mysterious phantom that lived and roamed around the opera house. Based on his research and interviews, Leroux decided to write a novel about the “phantom” and the mysterious “Persian” and the kidnapping and disappearances possibly linked to the phantom Chapter 1: The book begins with the ballet girls at the opera house discussing the rumors about a ghost. Ballet dancer Meg Giry tells how the ghost sits in Box 5 in the opera house for every performance and watches from the shadows. Meg’s mother, Madame Giry is in charge of the auditorium for the opera house. Madame Giry tells the girls how, Buquet, a stage-hand and scene-changer for the performances, was recently found hanged beneath the stage. Chapters 2 – end of novel: The lead singer at the opera house is Christine. She is loved and admired by Vicomte Raoul and his brother Philippe, the Comte de Chagney. The other lead singer, La Carlotta, became ill, and Christine had to perform in her place. Raoul is deeply smitten by Christine although he is 20 years younger than her. After the performance, Raoul goes to see Christine & reminds her that he first met her when he was a little boy and he rescued her scarf after she dropped it into the sea. She tells him she doesn’t feel well & ends their conversation. The new managers of the Opera House, Mr. Richard and Mr. Moncharmin, find out that the opera ghost has been 20,000 francs a month and always has Box 5 reserved for him at the performances. They also think Buquet’s death was somehow caused by the ghost. They begin to get letters from the Opera Ghost (O.G.) demanding that Christine keep singing as the lead singer. The managers decide to sell the ticket for Box 5 at the next performance, and when the performance occurs the audience hears some crazy laughter in the auditorium. The managers consult Madame Giry about what she knows about the ghost but she refuses to tell anything. The managers fire her. Christine, confused, decides to go visit her father’s grave in a city close to Paris. Raoul dashes after her. He sees her in the graveyard, in a trance, moving toward her father’s grave while strange music can be heard. Raoul is attacked by some kind of ghost wearing a skeleton mask. He wakes up the next day in a hotel. The opera ghost sends more letters to the managers with more demands. He says if his demands are not met there will be a curse on the opera house. Then the managers discover that their prize horse, Cesar, is missing. They believe the “phantom” has stolen it. Raoul gets a message from Christine asking him to meet her secretly at the Opera’s masked ball. After the ball, Raoul hides in Christine’s dressing room. He hears her talking to someone and then sees her disappear through a mirror in her dressing room. The next day Christine meets with Raoul on the roof of the opera house to talk. She tells him she can’t see him anymore. She explains that she has been meeting with a man named Erik, her Angel of Music, who has been giving her singing lessons. She says he has taken her to the cellars of the opera house where he lives. Meanwhile, the Phantom has been hiding behind a statue & listening to everything they say. When Christine & Raoul leave, the Persian is standing at the foot of the stairs and tells them to go a different way. At the next performance, Carlotta loses her voices and begins to sound like a frog croaking. The audience laughed. Then they heard laughter coming from the ceiling. The Phantom caused the chandelier to break and it came crashing onto the stage below. The newspapers reported that hundreds were wounded and one person was killed. The woman who was killed was the woman hired to replace Madame Giry. Raoul meets with Christine and proposes marriage to her which she accepts. But Raoul’s brother, Philippe, tells Raoul NOT to marry Christine. Philippe believes that Christine has gone crazy or is mentally disturbed because of all the ghost stories she tells. During the next performance, Christine mysteriously vanishes on stage before the audience. The managers discover that money is being stolen out of their office. The police arrive to investigate the stolen money & the disappearance of Christine. The Persian appears and tells them that Christine is with Erik, somewhere in the opera house. He suggests they all get pistols and follow him. The Persian leads them to the dressing room where he shows them how the mirror is a door that leads to secret inner passageways in the opera house. They all go down to the cellars. They encounter a man whose head appears to be on fire. He is the rat-catcher who uses fire to draw the rats away from people and toward himself so he can lead away. But Raoul and the Persian are swarmed by thousands of rats who begin to crawl up their legs. The rat-catcher finally lights sticks on fire to draw the rats toward him and tells them, “don’t come after me! Let me pass with my rats.” Later, thinking they have reached the Phantom’s lair, Raoul and the Persian get caught in a torture chamber and can’t find their way out. They hearing voices next door and discover Christine is trapped in the Phantom’s quarters next door. They talk to her through the wall. The Phantom turns up the heat in the torture chamber and the men almost die, but the Persian finds a secret way out of the room. Then they discover they are in a room with barrels of gunpowder. Then the Phantom floods the room and the men almost drown. Christine begs him to let them go. The next day the Persian and Raoul are found in their homes but they don’t know how they got there. Philippe is found drowned in the opera house lake. The Phantom meets with the Persian and tells him that Christine is now his wife. He also says that he is dying. He says Christine convinced him to release Raoul and she has now disappeared. Erik agreed to give the Persian all the papers and belongings of Christine since he is about to die. Three weeks later the Phantom’s death is announced in the papers. Summary of Andrew Lloyd Webber’s musical: Prologue: In the Paris Opera House, an auction is being held to sell some things that belonged to the opera house. The opera house is closed and no longer has performances. Raoul and Madame Giry are old now and they attend the auction. The chandelier is about to be auctioned and it turns on, comes back to life, and the opera house goes back in time. Act I: The ballerinas and opera singers are now rehearsing for a new opera performance. The new managers, Mr. Andre and Mr. Firmin, are introduced to the opera cast by the retiring opera manager. While La Carlotta is singing, a backdrop crashes to the floor and the ballerinas scream, claiming it was the “opera ghost.” On the night of the performance, Carlotta becomes ill and Madame Giry, the ballet mistress, suggests that Christine Daae take her place. Christine is a ballerina and a shy girl who does not believe in her talent. But Madame Giry knows that Christine has been taking singing lessons from the mysterious “Angel of Music,” a.k.a the Phantom. After the performance, Raoul shows up at Christine’s dressing room to tell her he saw the performance. He reminds Christine that he knew her when they were younger and he rescued her scarf when it was blown into the sea. Raoul asks her to go to dinner with him but she refuses. She tells him her “Angel of Music” is very strict and she has a lesson with him. The Phantom becomes angry at Raoul’s advances toward Christine, so he appears in her dressing room behind a mirror and takes her to his labyrinth below the opera house. The Phantom sings to her and seduces her with his strange organ music and song. He sings her a haunting love song and Christine faints at the sight of a wax figure of herself in his lair. The next morning she wakes up and is very frightened. She tries to remember how she got to this place and then notices the Phantom. She pulls off the Phantom’s mask & sees his horribly disfigured face. He becomes angry at this and takes her back up to the opera house theater.
Recommended publications
  • 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.
    [Show full text]
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • “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.
    [Show full text]
  • The Characterization of Phantom in Gaston Leroux's the Phantom of the Opera by Shu-Ling Cheng (鄭淑玲) Adviser: Professor L
    The Characterization of Phantom in Gaston Leroux’s The Phantom of the Opera BY Shu-Ling Cheng (鄭淑玲) Adviser: Professor Li-Li Lin (林莉莉) Department of Applied English Yuanpei University of Technology January 2010 Hsinchu, Taiwan, R.O.C. The article written by Shu-Ling Cheng has been accepted in its present form by Department of Applied English of Yuanpei University of Technology as satisfying the project requirement for the degree of Bachelor of Arts. Advisor ___________________________ Chairman of the Department ___________________________ January 2010 Acknowledgements I wish to thank my advisor, Professor Li-Li Lin, for her guidance and her being extraordinarily generous in helping me finish this paper. To my former partner, Naima, I wish to thank her for helping me find reference last semester and giving me some ideas. ii Abstract Based on the dark side of his personality, most critics assume that Phantom is a frenzied and violent person (JOYCE Y CHIOU, 2006; Pei Zhong Yang, 2006). This study aims at exploring the reason why he gives the reader such an impression and why we find that he is not so inhuman. We will put our emphasis on the weak side of his personality, on which he is full of sense of inferiority and hatred. Our conclusion is that Phantom is characterized as a human instead of a demon. iii TABLE OF CONTENTS Acknowledgements….………………………….…...................ii Abstract…………………………………….……………….....iii Introduction……………………………….…………………….1 Summary………………………………….…………………….1 Review of Literature……………………………………...…….1 Conclusion…………………………….…..……………………5 Work Cited…………………………………………………..….5 i Introduction The Phantom of the Opera is a French novel written by Gaston Leroux (1910). The novel was sold very poorly.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • The Phantom on Film: Guest Editor’S Introduction
    The Phantom on Film: Guest Editor’s Introduction [accepted for publication in The Opera Quarterly, Oxford University Press] © Cormac Newark 2018 What has the Phantom got to do with opera? Music(al) theater sectarians of all denominations might dismiss the very question, but for the opera studies community, at least, it is possible to imagine interesting potential answers. Some are historical, some technical, and some to do with medium and genre. Others are economic, invoking different commercial models and even (in Europe at least) complex arguments surrounding public subsidy. Still others raise, in their turn, further questions about the historical and contemporary identities of theatrical institutions and the productions they mount, even the extent to which particular works and productions may become institutions themselves. All, I suggest, are in one way or another related to opera reception at a particular time in the late nineteenth century: of one work in particular, Gounod’s Faust, but even more to the development of a set of popular ideas about opera and opera-going. Gaston Leroux’s serialized novel Le Fantôme de l’Opéra, set in and around the Palais Garnier, apparently in 1881, certainly explores those ideas in a uniquely productive way.1 As many (but perhaps not all) readers will recall, it tells the story of the debut in a principal role of Christine Daaé, a young Swedish soprano who is promoted when the Spanish prima donna, Carlotta, is indisposed.2 In the course of a gala performance in honor of the outgoing Directors of the Opéra, she is a great success in extracts of works 1 The novel was serialized in Le Gaulois (23 September 1909–8 January 1910) and then published in volume-form: Le Fantôme de l’Opéra (Paris: Lafitte, 1910).
    [Show full text]
  • The Phantom of the Opera | October 24 – November 4, 2018 TPAC’S Jackson Hall
    ’ ’ The Phantom of the Opera | October 24 – November 4, 2018 TPAC’s Jackson Hall WHAT’S NEXT? – TPAC.ORG • 615-782-4040 Irving Berlin’s The Hip Hop Peter Pan and Tinker Bell: On Your Feet! White Christmas Nutcracker A Pirate’s Christmas JAN 15-20 NOV 13-18 NOV 24 DEC 13-23 Hand-Crafted Cocktails Fine Dining World Class Magicians “Best Ambiance” “Most Romantic” “Best Vibrant Bar Scene” “Most Booked” “Best for Special Occasions” For more information visit HOCNashville.com or call 615.730.8326 Hand-Crafted Cocktails Fine Dining World Class Magicians “Best Ambiance” “Most Romantic” “Best Vibrant Bar Scene” “Most Booked” “Best for Special Occasions” For more information visit HOCNashville.com or call 615.730.8326 SY19-NashvilleMG-7.25x11.125-V1.pdf 1 8/27/2018 3:30:40 PM DISCOVER PROFOUND WISDOM & DIVINE BEAUTY C M “A Must See!” Y — Broadway World CM MY CY CMY K “Inspired…These “There is a massive power “This is the highest “I was uplifted, I was beautiful, gifted people in this that can embrace the and the best of filled with hope... The are expressing something world. It brings great hope… what humans can world is a better place that’s both pure and good.” It is truly a touch of heaven.” produce.” because of Shen Yun.” — Philadelphia Weekly — Daniel Herman, Former Minister of — Olevia Brown-Klahn, singer — Richard Swett, former U.S. Culture of the Czech Republic and musician Congressman JANUARY 22 – 23, 2019 Tickets: 615-721-2999 Tennessee Performing Arts Center ShenYun.com/Nashville ENTIRELY NEW 2019 PRODUCTION • WITH LIVE ORCHESTRA SY19-NashvilleMG-7.25x11.125-V1.pdf 1 8/27/2018 3:30:40 PM DISCOVER PROFOUND WISDOM & DIVINE BEAUTY C M “A Must See!” Y — Broadway World CM MY CY CMY K “Inspired…These “There is a massive power “This is the highest “I was uplifted, I was beautiful, gifted people in this that can embrace the and the best of filled with hope..
    [Show full text]
  • Read Ebook {PDF EPUB} Into the Light a Phantom of the Opera Story by Debra P. Whitehead Into the Light: a Phantom of the Opera Story by Debra P
    Read Ebook {PDF EPUB} Into the Light A Phantom of the Opera Story by Debra P. Whitehead Into the Light: A Phantom of the Opera Story by Debra P. Whitehead. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 660859611d062bc6 • Your IP : 116.202.236.252 • Performance & security by Cloudflare. Into the Light: A Phantom of the Opera Story by Debra P. Whitehead. Published Mar 20, 2008 448 Pages Genre: HUMOR / General. Looking for Kindle/Audio editions? Browse Amazon for all formats. Searching for the Nook edition? Browse Barnes & Noble. Book Details. What Do You Do When a Dead Man Moves to Town? Millie would not be intimidated, not by the likes of him. As if he read her thoughts, his mouth curled at one corner in a crude caricature of a smile. A wave of foreboding clawed its way up her spine. She was going to regret selling him the house. Hanover, Tennessee is a community of honest family values and simple pleasures, a place comfortably wrapped in generations of sameness.
    [Show full text]