DOCSLIB.ORG

Theatre Co.E-Newsletter Vol. 27.Pub

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Theatre Co.E-Newsletter Vol. 27.Pub THEATRE COMPANY ANNOUNCES AUDITIONS FOR ANDREW LLOYD WEBBER’S Auditions: Monday, May 19, 2014 @ 4 p.m. Tuesday, May 20, 2014 @ 4 p.m. Callbacks (by invitation only): Wednesday, May 21, 2014 @ 4 p.m. for men Thursday, May 22, 2014 @ 4 p.m. for ladies Location: TCOE Doe Ave. Complex 7000 Doe Avenue, Visalia Ca. 93291 Auditions will be held in the Sycamore and Valley Oak Rooms. Special Audition Workshop: Friday, May 9, 2014 @ 6 p.m. Sequoia Room If you are new to our program, come meet the directors of Phantom. Learn about our audition process, rehearsal schedule, and commitment to our program. For more information, email [email protected] or call (559)651-1482 Character Breakdown for The Phantom of the Opera The Phantom Character Age: 50s Vocal Range: High Baritone/ Tenor: Low A-Flat 3 - High A-Flat 5. Character: The Phantom is the deformed musical genius who falls in love with the young ingénue Christine. He gives her music lessons in her dressing room through a mirror and by tormenting the diva Carlotta, as well as the rest of the company, he helps Christine get promoted to a lead in the opera house’s productions. The Phantom is dynamic and mesmerizing, seductive but ghostly. Christine Daae Character Age: 20 Vocal Range: Soprano (Lyric ) Low G3 to High E6. Character: Christine is the young ingénue. She has an amazing voice but starts out as dancer in the opera ballet chorus. She is given the chance to sing, and becomes the star of the Paris Opera. She is the love interest of her childhood friend, Raoul and The Phantom. Christine is best friends with Meg. She is young, naïve and does not want to hurt her teacher, The Phantom. Raoul, Vicomte de Changy Character Age: 21 Vocal Range: High Baritone: A-Flat 3 to High A-Flat 5. Character: Raoul is the dashing, young lover. He knew Christine from her childhood and becomes smitten with her when they meet again. He is rich, brave and stubborn at times. He does his best to protect Christine, ending in a confrontation with the Phantom. Carlotta Giudicelli Character Age: 30s – 40s Vocal Range: Soprano (Coloratura): C4 to High E6. Character: Carlotta is the resident Opera Diva who had been in leading roles many seasons. Her job becomes in jeopardy because of Christine’s rising stardom. Being the true diva that she is, Carlotta quits the production of Hannibal after the Phantom nearly hits her with a backdrop. She comes back to hear the managers beg for her to do the production of Il Muto. Carlotta is a very dramatic diva who feels threatened by Christine’s youth, beauty and talent. Monsieur Andre Character Age: 30s – late 40s Vocal Range: Baritone: low A3 to A5. Character: Andre is one of two new managers of the Paris Opera. He can be sarcastic and is focused on produc- ing operas. The Phantom, to him, is just a nuisance and he is bothered by all of the drama that surrounds with Carlotta, Raoul, Christine, and everyone else at the opera house. Monsieur Firmin Character Age: 30s – late 40s Vocal Range: Baritone: low A3 to F5. Character: Firmin is the other new opera manager. He is more serious than his counterpart, Andre, and is very concerned about the financial success of the opera house. He sees the Phantom and all the drama that surrounds the opera house as publicity. Madame Giry Character Age: 40s – early 50s Vocal Range: Mezzo Soprano: B- Flat 3 to high B-flat 5. Character: Madame Giry is the ballet mistress for the opera house. Mme. Giry is very strict, and can be mysterious since she is the only one in contact with the Phantom. Giry is wise and knows the ins and outs of the opera and its residents. Ubaldo Piangi Character Age: 30s – 40s Vocal Range: Tenor: D4 to high C6. Character: When one thinks of Piangi one should get the image of the great opera tenor, Luciano Pavarotti. Piangi is a very dramatic classical opera singer with a very thick Italian accent. He is Carlotta’s counterpart and a diva in his own right. Meg Giry Character Age: 20s Vocal Range: Mezzo Soprano: B- flat 3 to F5. Character: Meg is the young lead dancer in the corps de ballet. She is Christine’s best friend and it is she who volunteers Christine to sing when Carlotta quits the production. She is Madame Giry’s daughter. Phantom Characters continued Monsieur Reyer Character Age: 40s – Late 50s Vocal Range: Baritone: C4 – F5. Character: M. Reyer is the repetiteur of the opera company. His main job is the run the rehearsals despite all divas. He is sarcastic and sort of a tyrant. Monsieur Lefevre Character Age: Late 40s- 50s Vocal Range: Speaking only. Character: M. Lefevre is the retiring manager of the opera house. The Phantom has scared him enough to cause him to retire, but he is very certain not to mention it to the new managers. Joseph Buquet Character Age: 40s – 50s Vocal Range: Tenor: D4 to E5. Character: Buquet is an old, loud stage hand. Others think he is crazy because he claims to have seen the Phantom. He sings a song describing how the Phantom looks to the ballet girls and is eventually killed by the Phantom. Don Attilio Character Age: 30s – 40s Vocal Range: Bass: F2 to C4. Character: Don Attilio is the Countess’s husband during the Il Muto performance. Confidante Character Age: late 30s – 40s. Vocal Range: Mezzo Soprano: E4 to G5. Character: The Confidante is one of the three who enter in the beginning of Il Muto who gossip about the Countess. Jeweler Vocal Range: Tenor: B-flat 3 to F4. Character: The Jeweler is the other Epicine man during the Il Muto scene. He is accompanied by Meg. The Ballet Chorus of the Opera : This is a group of ballet dancers who train under Madame Giry. Christine and Meg are included in this group. These dancers perform several classical ballet pieces throughout the various operas in the show, and are hopefully going to dance en pointe. Ensemble: The ensemble includes many other people who perform and work at the Paris Opera House including dressers, stage hands, dancers, guards etc. The ensemble performs in several of the operas in the show including the opening opera, Hannibal, and Masquerade. All ensemble members must be strong singers who have some experience reading sheet music. Aud # Height: Theatre Company Audition Form Who may audition: Any Tulare County Student, currently in grades 4 – 11 Date & Time: May 19 or 20, 2014 (choose one) at 4:00 p.m. Callbacks (by invitation only) May 21 & 22, 4:00 p.m. Location: TCOE, 7000 Doe Avenue, Visalia (Doe & Shirk). Sequoia Room This show is a large-scale production of the full-length, Broadway musical by Andrew Lloyd-Weber which will be presented with full vocals and sign language interpreted by the actors. It is directed and choreographed by Nicole Zweifel, vocal direction by Charlotte Garcia DaRosa, with sign- choreography and interpretation by Heather Lemon. Email your questions to [email protected]. IMPORTANT OPPORTUNITY: to understand our program better and/or be extra prepared for auditions, come to an audition preparation workshop on Friday, May 9, at 6:00 p.m. in the Sequoia Room, (TCOE, 7000 Doe Avenue, Visalia. You will be able to meet the directors, ask questions and become acquainted with our audition process. Parents and students are encouraged to attend. This is a very valuable meeting. It is not mandatory but it will really help you! Female Audition Male Audition Vocal: Imagine me trying too hard to put you from my mind. Think of Vocal: Sing once again with me our strange duet. My power over you me; please say you’ll think of me whatever else you choose to do. grows stronger yet. And though you turn from me to glance behind, the There will never be a day when I won’t think of you! (top note is high Phantom of the Opera is there inside your mind. ( top note high G4) G5 ) Spoken: May I draw your attention to the next and final item up for Spoken: May I draw your attention to the next and final item up for auction this evening. A chandelier in pieces. Some of you may recall the auction this evening. A chandelier in pieces. Some of you may recall the strange affair of the Phantom of the Opera. A mystery never fully strange affair of the Phantom of the Opera. A mystery never fully explained. explained. Bring this form to auditions filled out neatly and completely. Have the vocal and speaking auditions memorized. Name_________________________________________Age______Grade____________________ Address_________________________________________City___________________Zip________ Student Cell__________________ Student Email_________________________________________ Parents Names and Cell Phones:______________________________________________________ Parent Email (REQUIRED): __________________________________________________________ Do you have experience dancing on pointe shoes?: ___________________________________________________ Questions or Comments: ____________________________________________________________ Parent initial Student initials I have read the schedule on the reverse and agree to it __________ __________ th I will attend the cast and parent meeting on June 9 at 6:00pm __________ __________ I understand that school conflicts are due by August 28th __________ __________ If you will be going on vacation in the fall we need to know those dates now, please list: _____________________________ _______________________________________ ____________________________________ Student Signature Parent Signature Phantom of the Opera Rehearsal Schedule Guideline Cast members will receive materials at the MANDATORY CAST AND PARENTS MEETING MONDAY, JUNE 9TH AT 6:00 P.M. IN THE ELDERWOOD ROOM and are expected to memorize their songs and dialogue over the summer so that we can make great use of our limited rehearsal time.
Load more

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]
  • Master Reference
    Master Phantoms of the Source Text : Retranslation and the English Translations of Gaston Leroux's Le Fantôme de l'Opéra HEWITT, Rachel Abstract The retranslation hypothesis as it is understood today states that later translations of a given text tend to be closer to the source text both in terms of language and cultural impact than earlier translations. This hypothesis stems from an essay written by Antoine Berman in 1990. However, it has since been challenged by a number of theorists. This paper discusses the retranslation hypothesis and the criticism it has received. Through a critical analysis of Gaston Leroux's novel, Le Fantôme de l'Opéra, and its six English translations that span more than a century, this paper challenges the theories put forward by Berman in his essay and analyses various textual elements of Leroux's work and the choices made my those who translated it. Reference HEWITT, Rachel. Phantoms of the Source Text : Retranslation and the English Translations of Gaston Leroux's Le Fantôme de l'Opéra. Master : Univ. Genève, 2016 Available at: http://archive-ouverte.unige.ch/unige:92538 Disclaimer: layout of this document may differ from the published version. 1 / 1 Rachel Hewitt Phantoms of the Source Text: Retranslation and the English Translations of Gaston Leroux’s Le Fantôme de l’Opéra Directrice : Ashley Riggs Juré : James Tarpley Mémoire présenté à la Faculté de traduction et d’interprétation pour l’obtention de la Maîtrise universitaire en traduction, mention traduction spécialisée Université de Genève 2016 Hewitt !2 Déclaration attestant le caractère original du travail effectué J’affirme avoir pris connaissance des documents d’information et de prévention du plagiat émis par l’Université de Genève et la Faculté de traduction et d’interprétation (notamment la Directive en matière de plagiat des étudiant-e-s, le Règlement d’études de la Faculté de traduction et d’interprétation ainsi que l’Aide-mémoire à l’intention des étudiants préparant un mémoire de Ma en traduction).
    [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 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.
    [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]
  • Phantom of the Opera? More Like Phantom of the SLOPERA
    Phantom of the Opera? More like Phantom of the SLOPERA A review by Laura Kay, Theatre Critic I must admit, my review is greatly colored by a tragic accident that occurred right after Ben Crawford (who, I learned today from long time Phantom Company Manager and trusted source Steve Greer, is actually the great-Grandson of the original Phantom, Michael Crawford, who originated the role in 1787 on Broadway) sang “Music of the Night.” I was so inspired by Crawford’s seemingly non-functional hands that I reached over to my companion to caress her face in the same manner he had just caressed Christine. And through a series of unfortunate events, my finger slipped right up her nostril. Fits of muffled laughter ensued, that were only amplified when we turned our attention back to the stage just in time to witness Crawford on his belly, slithering like a snake across the stage. I think I blacked out for a full twenty minutes. My eyes saw nothing but the tears from my laughter. When I came to, somewhere around the end of Prima Donna, many questions came flooding into my mind: what is up with the Phantom’s vowels? Why is Raul so tall? Why were some of the lights out in the house during preshow? Intermission allowed me to regain some much needed composure and move past Nostrilgate 2020 (as the event is now being called by theatre staff and world news outlets) to really focus on the essence of the show and its message. Is The Phantom the original incel? The original “nice guy in a fedora” who does all those nice things for Christine only to be left in the end? Yes.
    [Show full text]