Act I
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PROLOGUE
THE STAGE OF THE PARIS OPÉRA, 1905
(The contents of the opera house are being auctioned off. An AUCTIONEER, PORTERS, BIDDERS, and RAOUL, seventy now, but still bright of eye. The action commences with a blow from the AUCTIONEER’s gavel)
AUCTIONEER
Sold. Your number, sir? Thank you.
Lot 663, then, ladies and gentleman: 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?
Lot 665, ladies and gentleman: a papier-maché 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
May I start the bidding 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 over to RAOUL. He studies it, as attention focuses on him for a moment)
RAOUL(quietly, half to himself, half to the box) A collector’s
piece indeed. . .
every detail
exactly as she said. . .
She often
spoke of you, my friend. . .
your velvet lining
and your figurine of lead. . .
Will you still play, when
all the rest of us are dead. . .?
(Attention returns to the AUCTIONEER, as he resumes)
AUCTIONEER
Lot 666, then: a chandelier in pieces. Some of you may recall the strange affair of the Phantom of the Opera: a mystery never fully explained. We are told, ladies and gentleman, that this is the very chandelier which figures in the famous disaster. Our workshops have restored it and fitted up parts of it with wiring for the new electric light, so that we may get a hint of what it may look like when re-assembled. Perhaps we may frighten away the ghost of so many years ago with a little illumination, gentleman?
(The AUCTIONEER switches on the chandelier. There is an enormous flash, and the OVERTURE begins. During the overture the opera house is restored to its earlier grandeur. The chandelier, immense and glittering, rises magically from the stage, finally hovering high above the stalls)
ACT ONE
Scene 1 REHEARSALS FOR “HANNIBAL” BY CHALUMEAU
(We have reached the great choral scene in which HANNIBAL and his army return to save Carthage from the Roman invasion under Scipio. HANNIBAL is UBALDO PIANGI; ELISSA, Queen of Carthage (his mistress) is CARLOTTA GIUDICELLI. The two leading SLAVE GIRLS are played by MEG GIRY and CHRISTINE DAAÉ. MME. GIRY is the ballet mistress. M. REYER, the répétiteur, is in charge.
We join the opera towards the end of ELISSA’s (CARLOTTA’s) great aria. She is alone, holding a present from the approaching HANNIBAL, a bleeding severed head)
CARLOTTA(at the climax of an extravagant cadenza) This trophy from our saviors,
from the enslaving force
of Rome!
(A STAGE HAND carries a ladder across the stage. OTHERS are seen still constructing parts of the scenery.)
GIRLS’ CHORUS
With feasting and dancing and song,
tonight in celebration,
we greet the victorious throng,
returned to bring salvation!
MEN’S CHORUS
The trumpers of Carthage resound!
Hear, Romans, now and tremble!
Hark to our step on the ground!
ALL
Hear the drums-
Hannibal comes!
(PIANGI enters, as HANNIBAL)
PIANGI (HANNIBAL)
Sad to return to find the land we love threatened once more by Roma’s far-reaching grasp.
REYER(interrupting him)
Signor. . . if you please: “Rome.” We say “Rome,” not “Roma.”
PIANGI
Si, si, Rome, not Roma. Is very hard for me. (practising) Rome. . . Rome. . .
(Enter LEFÈVRE, the retiring mananger of the Opera, with M. FIRMIN and M. ANDRE, to whom he had just sold it)
REYER(to PIANGI)
Once again, then, if you please, Signor: “Sad to return. . .”
LEFÈVRE(to ANDRÉ and FIRMIN)
This way, gentlemen, this way. Rehearsals, as you see, are under way, for a new production of Chalumeaus’ “Hannibal”.
(Sensing a hiatus in the rehearsal, LEFÈVRE attempts to attract attention)
LEFÈVRE
Ladies and gentleman, some of you may already, perhaps, have met M. André and M. Firmin . . .
(The new managers are politely bowing, when REYER interrupts)
REYER
I’m sorry, M. Lefèvre, we are rehearsing. If you wouldn’t mind waiting a moment?
LEFÈVRE
My apologies, M. Reyer. Proceed, proceed . . .
REYER
Thank you, monsieur. (turning back to PIANGI)
“Sad to return . . .”, Signor . . .
LEFÈVRE(sotto voce to ANDRÉ and FIRMIN)
M. Reyer, our chief répétiteur. Rather a tyrant, I’m afraid.
(The rehearsal continues)
PIANGI (HANNIBAL)
Sad to return to find the land we love
threatened once more by Rome’s far-reaching grasp.
Tomorrow we shall break the chains of Rome.
Tonight, rejoice- your army has come home.
(The BALLET GIRLS begin their dance. LEFÈVRE, ANDRÉ, AND FIRMIN stand centre-stage watching the ballet. They are in the way. The ballet continues under the following dialogue)LEFÈVRE(indicating PIANGI)
Signor Piangi, our principal tenor. He does play so well opposite La Carlotta.
GIRY(exasperated by their presence, bangs her cane angrily on the stage)
Gentleman, please! If you would kindly move to one side?
LEFÈVRE
My apologies, Mme. Giry.
(leading ANDRÉ AND FIRMIN aside)
Madame Giry, our ballet mistress. I don’t mind confessing , M. Firmin, but I shan’t be sorry to be rid of the whole blessed business.
FIRMIN
I keep asking you, monsieur, why exactly are you retiring?
LEFÈVRE(ignoring this, calls attention to the continuing ballet)
We take particular pride here in the excellence of our ballets.
(MEG becomes prominent among the dancers)
ANDRÉ
Who’s that girl there, Lefèvre?
LEFÈVRE
Her? Meg Giry, Madame Giry’s daughter. Promising dancer, M. Andrè, most promising.
(CHRISTINE becomes prominent. She has absent-mindedly fallen out-of-step)
MEG(quietly, to CHRISTINE)
Christine . . . What’s the matter?
FIRMIN(to LEFÈVRE)
Daaé? Curious name.
LEFÈVRE
Swedish.
ANDRÉ
Any relation to the violinist?
LEFÈVRE
His daughter, I believe. Always has her head in the clouds, I’m afraid.
(The ballet continues to its climax and ends. The CHORUS resumes)
CHORUS
Bid welcome to Hannibal’s guests—
The elephants of Carthage!
As guides on our conquering quests,
Dido sends
Hannibal’s friends!
(The ELEPHANT, a life-size mechanical replica, enters, PIANGI is lifted, in triumph, onto it’s back)
CARLOTTA (ELISSA)
Once more to my
welcoming arms
my love returns
in splendour!
PIANGI (HANNIBAL)
Once more tothose
sweetest of charms
my heart and soul
surrender!
CHORUS
The trumpeting elephants sound—
hear, Romans, now and tremble!
Hark to their step on the ground—
hear the drums!
Hannibal comes!
(At the end of the chorus LEFÈVRE claps his hands for silence. The elephant is led off. Two stage-hands are revealed operating it from within)
LEFÈVRE
Ladies and gentleman—Madame Giry, thank you—may I have your attention, please? As you know, for some weeks there have been rumours of my imminent retirement. I can now tell you that these were all true, and it is my pleasure to introduce to you the two gentleman who now own the Opéra Populaire, M. Richard Firmin and M. Giles André.
(Polite applause. Some bowing. CARLOTTA makes her presence felt)
Gentleman, Signora Carlotta Giudicelli our leading soprano for five seasons now.
ANDRÉ
Of course, of course. I have experienced al your greatest roles, Signora.
LEFÈVRE
And Signor Ubaldo Piangi.
FIRMIN
An honour, Signor.
ANDRÉ
If I remember rightly, Elissa has a rather fine aria in Act Three of “Hannibal.” I wonder, Signora, if, as a personal favour, you would oblige us with a private rendition? (Somewhat acerbic). Unless, of course, M. Reyer objects . . .
CARLOTTA
My manager commands . . . M. Reyer?
REYER
My diva commands. Will two bars be sufficient introduction?
FIRMIN
Two bars will be quite sufficient.
REYER(ensuring that CARLOTTA is ready)
Signora?
CARLOTTA
Maestro.
(The introduction is played on the piano)
CARLOTTA
Think of me,
think of me fondly,
when we’ve said
goodbye.
Remember me
once in a while—
please promise me
you’ll try.
When you find
that, once
again, you long
to take your heart . . .
(As CARLOTTA is singing, a backdrop crashes to the floor, cutting her off from half the cast)
MEG/BALLET GIRLS/CHORUS
He’s here:
the Phantom of the Opera . . .
He is with us . . .
It’s the ghost . . .
PIANGI(looking up, furiously)
You idiots!
(He rushes over to CARLOTTA)
Cara! Cara! Are you hurt?
LEFÈVRE
Signora! Are you all right? Buquet! Where is Buquet?
PIANGI
Is no one concerned for our prima donna?
LEFÈVRE
Get that man down her! (to ANDRÉ and FIRMIN)
Chief of the flies. He’s responsible for this.
(The drop is raised high enough to reveal upstage an old stagehand, JOSEPH BUQUET, holding a length of rope, which looks almost like a noose)
LEFÈVRE
Buquet! For God’s sake, man, what’s going on up there?
BUQUET
Please, monsieur,
don’t look at me:
as God’s my witness,
I was not at my post.
Please, monsieur,
there’s no one there:
and if there is, well
then, it must be a ghost . . .
MEG(looking up) He’s there: the Phantom of the
Opera . . .
ANDRÉ
Good heavens!
Will you show a little courtesy?
FIMIN(to MEG and the OTHERS)
Mademoiselle, please!
ANDRÉ(to CARLOTTA)
These things do happen.
CARLOTTA
Si! These things do happen! Well, until you stop these things happening, this thing does not happen! Ubaldo! Andiamo!
(PIANGI dutifully fetches her furs from the wings)
PIANGI
Amateurs!
LEFÈVRE
I don’t think there’s much more to assist you, gentleman. Good luck. If you need me, I shall be in Frankfurt.
(He leaves, the COMPANY looks anxiously at the NEW MANAGERS)
ANDRÉ
La Carlotta will be back.
GIRY
You think so, messieurs? I have a message, sir, from the Opera Ghost.
(The GIRLS twitter and twirl in fear)
FIRMIN
God in Heaven, you’re all obsessed!
GIRY
He merely welcomes you to his opera house and commands you to continue to leave Box Five empty for his use and reminds you that his salary is due.
FIRMIN
His salary?
GIRY
Monsieur Lefèvre paid him twenty thousand francs a month. Perhaps you can afford more, with the Vicomte de Chagny as your patron.
(Reaction to this from the BALLET GIRLS. CHRISTINE takes hold of MEG nervously)
ANDRÉ(to GIRY)
Madame, I had hoped to have made that announcement myself.
GIRY(to FIRMIN)
Will the Vicomte be at the performance tonight, monsieur?
FIRMIN
In our box.
ANDRÉ
Madame, who is the understudy for this rôle?
REYER
There is no understudy, monsieur—the production is new.
MEG
Christine Daaé could sing it, sir.
FIRMIN
The chorus girl?
MEG(to FIRMIN)M
She’s been taking lessons from a great teacher.
ANDRÉ
From whom?
CHRISTINE(uneasily)
I don’t know, sir . . .
FIRMIN
Oh, not you as well!
(turning to ANDRÉ)
Can you believe it? A full house—and we have to cancel!
GIRY
Let her sing for you, monsieur. She has been well taught.
REYER(after a pause)
From the beginning of the aria then, mam’selle.
CHRISTINE
Think of me,
think of me fondly,
when we’ve said
goodbye.
Remember me
once in a while—
please promise me
you’ll try.
FIRMIN
André, this is doing nothing for my nerves.
ANDRÉ
Don’t fret, Firmin.
CHRISTINE
When you find
that, once
again, you long
to take your heart back
and be free—
if you
ever find
a moment
spare a thought
for me . . .
(Transformation to the Gala. CHRISTINE is revealed in full costume.)
We never said
our love
was evergreen,
or as unchanging
as the sea—
but if
you can still
remember,
stop and think
of me . . .
Think of all the things
we’ve shared and seen—
don’t think about the things
which might have been . . .
Think of me,
think of me waking,
silent and
resigned.
Imagine me,
trying too hard
to put you
from my mind.
Recall those days,
look back
on all those times,
think of the things
we’ll never do—
there will
never be
a day, when
I won’t think
of you . . .
(Applause, bravos. Prominent among the bravos, those of the young RAOUL in the MANAGERS’ box)
RAOUL
Can it be?
Can it be Christine?
Bravo!
(He raises his opera-glasses)
What a change!
You’re really
not a bit
the gawkish girl
that once you were . . .
(lowering his opera-glasses)
She may
not remember
me, but
I remember
her . . .
CHRISTINE
We never said
our love
was evergreen,
or as unchanging
as the sea—
but please
promise me,
that sometimes,
you will think
of me!
Scene 2 AFTER THE GALA
(The curtain closes upstage. BALLET GIRLS, from the wings, gush around CHRISTINE who hands each a flower from her bouquet. REYER swiftly giver his approval)
GIRY(to CHRISTINE)
Yes, you did well. He will be pleased.
(to the DANCERS)
And you! You were a disgrace tonight! Such ronds de jambe! Such temps de cuisse! Here—we rehearse. Now!
(She emphasizes this with her cane. The BALLET GIRLS settle into rehearsal upstage, GIRY keeping time with her stick. Variations of this continue throughout the scene.)
(CHRISTINE moves slowly, downstage, away from the DANCERS, as her dressing room becomes visible. Unseen by her, MEG also moves away and follows her. As CHRISTINE is about to open the dressing room door, she hears the PHANTOM’s voice out of nowhere)
PHANTOM’S VOICE Bravi, bravi, bravissimi…
(CHRISTINE is bewildered by the voice. MEG, following, has not heard it. CHRISTINE turns in surprise, and is relieved to see her)
MEG
Where in the world
have you been hiding?
Really, you were
perfect!
I only wish
I knew your secret!
Who is this new
tutor?
CHRISTINE(abstracted, entering the dressing room) Father once spoke
of and angel…
I used to dream he’d
appear…
Now as I sing,
I can sense him…
And I know
he’s here…
(trance-like)
Here in this room
he calls me softly…
somewhere inside…
hiding…
Somehow I know
he’s always with me…
he—the unsee
genius…
MEG(uneasily) Christine, you must have
been dreaming…
stories like this can’t
come true…
Christine, you’re talking
in riddles…
and it’s not
like you…
CHRISTINE(not hearing her, ecstatic) Angel of Music!
Guide
and guardian!
Grant to me your
glory!
MEG(to herself) Who is this angel?
This…
BOTH
Angel of Music!
Hide
no longer!
Secret and strange
angel…
CHRISTINE(darkly) He’s with me,
even now…
MEG(bewildered) Your hands are cold…
CHRISTINE
All around me…
MEG
Your face, Christine,
it’s white…
CHRISTINE
It frightens me…
MEG
Don’t be frightened…
(THEY look at each other. The moment is broken by the arrival of GIRY)
GIRY
Meg Giry. Are you a dancer? Then come and practice.
(MEG leaves and joins the DANCERS)
My dear, I was asked to give you this.
(She hands CHRISTINE a note, and exits. CHRISTINE opens it and reads)
CHRISTINE
A red scarf… the attic… Little Lotte…
Scene 3 CHRISTINE’S DRESSING ROOM
(Meanwhile, RAOUL, ANDRÉ, FIRMIN , and MME. FIRMIN are seen making their way towards the dressing room, the MANAGERS in high spirits, bearing champagne)
ANDRÉ
A tour de force! No other way to describe it!
FIRMIN
What a relief! Not a single refund!
MME. FIRMIN
Greedy.
ANDRÉ
Richard, I think we’ve made quite a discovery in miss Daaé!
FIRMIN(to RAOUL, indicating CHRISTINE’s dressing room)
Here we are, Monsieur le Vicomte.
RAOUL
Gentleman, if you wouldn’t mind. This is one visit I should prefer to make unaccompanied.
(He takes the champagne from FIRMIN)
ANDRÉ
As you wish, monsieur.
(They bow and move off)
FIRMIN
They appear to have met before…
(RAOUL knocks at the door and enters)
RAOUL
Christine Daaé, where is your scarf?
CHRISTINE
Monsieur?
RAOUL
You can’t have lost it. After all the trouble I took. I was just fourteen and soaked to the skin…
CHRISTINEM
Because you had to run into the sea to fetch my scarf. Oh, Raoul. So it is you!
RAOUL
Christine.
(They embrace and laugh. She moves away and sits at her dressing table)
RAOUL
“Little Lotte let her mind wander…”
CHRISTINE
You remember that, too…
RAOUL(continuing) “…Little Lotte thought: Am I fonder
of dolls…”
BOTH(CHRISTINE joining in) “… or of goblins,
of shoes…”
CHRISTINE
“… or of riddles.
Of frocks…”
RAOUL
Those picnics in the attic…
“… or of chocolates…”
CHRISTINE
Father playing the violin…
RAOUL
As we read to each other dark stories of the North…
CHRISTINE
“No—what I love best, Lotte said,
is when I’m asleep in my bed,
and the Angel of Music sings songs in my head!”
BOTH
“…and the Angel of Music sings songs in my head!”
CHRISTINE(turning in her chair to look at him)
Father said, “When I’m in heaven, child, I will send the Angel of Music to you.” Well, father is dead, Raoul and I have been visited by the Angel of Music.
RAOUL
No doubt of it—And now we’ll go to supper!
CHRISTINE
No, Raoul, the Angel of Music is very strict.
RAOUL
I shan’t keep you up late!
CHRISTINE
No, Raoul…
RAOUL You must change. I must get my hat. Two minutes—Little Lotte.
(He hurries out)
CHRISTINE(calling after him)
Raoul!
(quietly picking up her hand mirror)
Things have changed, Raoul.
(Tremulous music. CHRISTINE hears the PHANTOM’s voice, seemingly from behind her dressing room mirror)
PHANTOM’S VOICE
Insolent boy!
This slave
of fashion,
basking in your
glory!
Ignorant fool!
This brave
young suitor,
sharing in my
triumph!
CHRISTINE(spell-bound) Angel! I hear you!
Speak—
I listen…
stay by my side,
guide me!
Angel, my soul was
weak—
forgive me…
enter at last,
Master!
PHANTOM’S VOICE
Flattering child,
you shall know me,
see why in shadow I hide!
Look at your face
in the mirror—
I am there
inside!
(The figure of the PHANTOM becomes discernable behind the mirror)
CHRISTINE(ecstatic) Angel of Music!
Guide
and guardian!
Grant to me your
glory!
Angel of Music!
Hide
no longer!
Come to me, strange
angel…
PHANTOM’S VOICE
I am your Angel…
Come to me: Angel of Music…
(CHRISTINE walks towards the glowing, shimmering glass. Meanwhile, RAOUL has returned. He hears the voices and is puzzled. He tried the door. It is locked)
RAOUL
Whose is that voice…?
Who is that in there…?
(Inside the room the mirror opens. Behind it, in an inferno of white light, stands the PHANTOM. He reaches forward and takes CHRISTINE firmly, but not fiercely, by the wrists. His touch is cold, and CHRISTINE gasps)
PHANTOM
I am your Angel of Music…
Come to me: Angel of Music…
(CHRISTINE disappears through the mirror, which closes behind her. The door of the dressing room suddenly unlocks and swings open, and RAOUL enters to find the room empty)
