.
SCENES 1 THRU 7
SCENE 1
REHERSALS 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 DAAE. MME
GIRY is the ballet mistress. M.REYER, the
repetiteur, 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
saviours, 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 trumpets 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 LEFEVRE, the
retiring manager of the Opera, with M. FIRMIN and
M. ANDRE to whom he has just sold it)
REYER (to
PIANGI)
Once again, then if you
please, Signor: 'Sad to return...'
LEFEVRE (to
ANDRE and FIRMIN)
This way, gentlemen,
this way. Rehearsals, as you see, are under way,
for a new production of Chalumeau's 'Hannibal'.
(Sensing a hiatus
in the rehearsal, LEFEVRE attempts to attract
attention)
LEFEVRE
Ladies and gentlemen,
some of you may already, perhaps, have met M.
Andre and M. Firmin...
(The new managers
are politely bowing, when REYER interrupts)
REYER
I'm sorry, M. Lefevre,
we are rehearsing. If you wouldn't mind waiting a
moment?
LEFEVRE
My apologies, M. Reyer,
Proceed, proceed...
REYER
Thank you, monsieur. (turning
back to PIANGI).
'Sad to return...',
Signor.....
LEFEVRE (sotto
voice to ANDRE and FIRMIN)
M. Reyer, our chief
repetiteur, 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. LEFEVRE, ANDRE and FIRMIN
stand center-stqge watching the ballet. They are
in the way. The ballet continues under the
following dialogue)
LEFEVRE (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)
Gentlemen, please! If
you would kindly move to one side?
LEFEVRE
My apologies, Mme.
Giry. (leading ANDRE and
FIRMIN aside)
Madame Giry, our ballet
mistress. I don't mind confessing, M.Firmin, I
shan't be sorry to be rid of the whole blessed
business.
FIRMIN
I keep asking you,
monsieur, why exactly are you retiring?
LEFEVRE (ignoring
this, calls his attention to the continuing
ballet)
We take a particular
pride here in the excellence of our ballets.
(MEG becomes
prominent among the dancers)
ANDRE
Who's that girl,
Lefevre?
LEFEVRE
Her? Meg Giry, Madame
Giry's daughter. Promising dancer. M. Andre, most
promising.
(CHRISTINE becomes
prominent. She has absentmindedly fallen out of
step)
GIRY (spotting
her, bangs her cane again)
You! Christine Daae!
Concentrate, girl!
MEG (quietly,
to CHRISTINE)
Christine....What's the
matter?
FIRMIN(to
LEFEVRE)
Daae? Curious name.
LEFEVRE
Swedish
ANDRE
Any relation to the
violinist?
LEFEVRE
His daughter, I
believe. Always has her head in the clouds, I'm
afraid.
(The ballet
contnues 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 its back)
CARLOTTA
(ELISSA)
Once more to my
welcoming arms my love returns in splendour!
PIANGI (HANNIBAL)
Once more to those
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 LEFEVRE claps his hands for silence. The
elephant is led off. Two stage-hands are revealed
operating it from within)
LEFEVRE
Ladies and gentlemen -
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 gentlemen who now own the Opera
Populaire, M. Richard Firmin and M. Gilles Andre.
(Polite applause.
Some bowing. CARLOTTA makes her presence felt)
Gentlemen, Signora
Carlotta Guidicelli, our leading soprano for five
seasons now.
ANDRE
Of course, of course. I
have experienced all your greatest roles,
Signora.
LEFEVRE
And Signor Ubaldo
Piangi.
FIRMIN
An honour, Signor.
ANDRE
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?
LEFEVRE
Signora! Are you all
right? Buquet! Where is Buquet?
PIANGI
Is no one concerned for
our prima donna?
LEFEVRE
Get that man down here!
(to ANDRE 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)
LEFEVRE
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...
ANDRE
Good heavens! Will you
show a little courtesy?
FIRMIN (to
MEG and the OTHERS)
Mademoiselle, please!
ANDRE (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!
LEFEVRE
I don't think there's
much more to assist you, gentlemen, good luck. If
you need me, I shall be in Frankfurt.
(He leaves. The
COMPANY looks anxiously at the NEW MANAGERS)
ANDRE
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 obessed!
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
Monsieure Lefevre 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)
ANDRE
(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.
ANDRE
Madame, who is the
understudy for this role?
REYER
There is no understudy,
monsieur - the production is new.
MEG
Christine Daae could
sing it, sir.
FIRMIN
The chorus girl?
MEG (to
FIRMIN)
She's been taking
lessons from a great teacher.
ANDRE
From whom?
CHRISTINE (uneasily)
I don't know, sir...
FIRMIN
Oh, not you as well!
(turning to ANDRE)
Can you belive 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, mamselle.
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
Andre, this is doing
nothing for my nerves.
ANDRE
Don't fret, Firmin.
CHRISTNE
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 youg
RAOUL in the MANAGERS' box)
RAOUL
Can it be? Can it be
Christine?
(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 stiffly gives 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 thoughout 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 nowwhere)
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 an
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 unseen 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 the 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,
ANDRE, FIRMIN, and MME. FIRMIN are seen making
their way towards the dressing room, the MANAGERS
in high spirits, bearing champagne)
ANDRE
A tour de force! No
other way to describe it!
FIRMIN
What a relief! Not a
single refund!
MME. FIRMIN
Greedy.
ANDRE
Richard, I think we've
made quite a discovery in Miss Daae!
FIRMIN (to
RAOUL, indicating CHRISTINE'S dressing room)
Here we are, Monsieur
le Vicomte.
RAOUL
Gentlemen, if you
wouldn't mind. This is one visit I should prefer
to make unaccompanied. (He
takes the champagne from FIRMIN)
ANDRE
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 Daae, 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...
CHRISTINE
Because you had run
into the sea to fetch my scarf. Oh, Raoul, so it
is you!
RAOUL
Christine.
(The 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
'...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
'...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 dressng 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 discernible 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 tries 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 CHRISTNE firmly, but not
fiercely, by the wrist. 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 closed
behind her. The door of the dressng room suddenly
unlocks and swings open, and RAOUL enters to find
the room empty)
RAOUL
Christine! Angel!
SCENE
4
THE LABYRINTH
UNDERGROUND
(The PHANTOM and
CHRISTINE take their strange journey to the
PHANTOM'S lair. Candles rise from the stage. We
see CHRISTINE and the PHANTOM in a boat which
moves slowly across the misty waters of the
underground lake)
CHRISTINE
In sleep he sang to me,
in dreams he came... that voice which calls to me
and speaks my name... And do I dream again? For
now I find the Phantom of the Opera is
there-inside my mind...
PHANTOM
Sing once again with me
our strange duet...My power over you grows
stronger yet...And though you turn from me, to
glance behind, the Phantom of the Opera is
there-inside your mind...
CHRISTINE
Those who have seen
your face draw back in fear...I am the mask you
wear...
PHANTOM
It's me they hear...
BOTH
Your/my spirit and
your/my voice in one combined: the Phantom of the
Opera is there-inside your/my mind...
OFFSTAGE VOICES
He's there, the Phantom
of the Opera...Beware the Phantom of the
Opera....
PHANTOM
In all your fantasies,
you always knew that man and mystery...
CHRISTINE
...were both in you...
BOTH
And in this labyrinth
where night is blind, the Phantom of the Opera is
there/here -inside your/my mind...
PHANTOM
Sing, my Angel of
Music!
CHRISTINE
He's there the Phantom
of the Opera....
(She begins to
vocalize strangely, her song becoming more and
more extravagant.)
SCENE
5
BEYOND THE LAKE,
THE NEXT MORNING
(Finally they
arrive in the PHANTOM'S lair. Downstage, the
candles in the lake lift up revealing giant
candelabra outlining the space. The boat turns
into a bed, there is a huge pipe organ. The
PHANTOM sits at the organ and takes over the
accompaniment)
PHANTOM
I have brought you to
the seat of sweet music's throne...to this
kingdom where all must pay homage to
music...music..
You have come here, for
one purpose, and one alone...Since the moment I
first heard you sing, I have needed you with me,
to serve me, to sing, for my music... my music...
Night-time sharpens,
heightens each sensation...Darkness stirs and
wakes imagination...Silently the senses abandon
their defences...
Slowly, gently night
unfurls its splendour...Grasp it sense
it-tremulous and tender...Turn your face away
from the garish light of day, turn your thoughts
away from cold, unfeeling light-and listen to the
music of the night...
Close your eyes and
surrender to your darkest dreams! Purge your
thoughts of the life you knew before! Close your
eyes, let your spirit start to soar! And you'll
live as you've never lived before...
Softly, deftly, music
shall surround you...Feel it, hear it, closing in
around you...Open up your mind, let your
fantasies unwind, in this darkness which you know
you cannot fight-the darkness of the music of the
night.
Let your mind start a
journey through a strange, new world! Leave all
thoughts of the world you knew before! Let your
soul take you where you long to be! Only then can
you belong to me...
Floating, falling,
sweet intoxication! Touch me, trust me, savour
each sensation! Let the dream begin, let your
darker side give in to the power of the music
that I write-the power of the music of the
night...
(During all this,
the PHANTOM has conditioned CHRISTINE to the
coldness of his touch and her fingers are brave
enough to stray to his mask and caress it, with
no hint of removing it. The PHANTOM leads her to
a large mirror from which he removes a dustcover
and in which we see the image of CHRISTINE, a
perfect wax-face impression, wearing a wedding
gown. CHRISTINE moves slowly towards it, when
suddenly the image thrusts its hands through the
mirror towards her. She faints. The PHANTOM
catches her and carries her to the bed, where he
lays her down)
PHANTOM
You alone can make my
song take flight-help me make the music of the
night...
SCENE
6
THE NEXT MORNING
(As the light
brightens, we see the PHANTOM seated at the
organ, playing with furious concentration. He
breaks off occasionally to write the music down.
There is a musical box, in the shape of a barrel
organ beside the bed. Mysteriously, it plays as
CHRISTINE wakes up. The music keeps her in a
half-trance)
CHRISTINE
I remember there was
mist...swirling mist upon a vast, glassy lake...
There were candles all
around, and on the lake there was a boat, and in
the boat there was a man...
(She rises and
approaches the PHANTOM, who does not see her. As
she reaches for his mask, he turns, almost
catching her. This happens several times)
Who was that shape in
the shadows? Whose is the face in the mask?
(She finally
succeeds in tearing the mask from his face. The
PHANTOM springs up and rounds on her furiously.
She clearly sees his face. The audience does not,
as he is standing in profile and in shadow)
PHANTOM
Damn you! You little
prying Pandora! You little demon-is this what you
wanted to see?
Curse you! You little
lying Delilah! You little viper- now you cannot
ever be free!
Damn you... Curse
you...
(a pause)
Stranger than you
dreamt it-can you even dare to look or bear to
think of me: this loathsome gargoyle, who burns
in hell, but secretly yearns for heaven,
secretly...secretly....
But, Christine...
Fear can turn to
love-you'll learn to see, to find the man behind
the monster: this...repulsive carcass, who seems
a beast, but secretly dreams of beauty,
secretly...secretly.. Oh, Christine....
(He holds out his
hand for the mask, which she gives to him. he
puts it on, turning towards the audience as he
sings):
Come we must
return-those two fools who run my theatre will be
missing you.
(The lair sinks
into the floor as the PHANTOM and CHRISTINE
leave)
SCENE
7
BACKSTAGE
(BUQUET
mysteriously appears, a length of fabric serving
as a cloak, and a piece of rope as the Punjab
Lasso. He is showing off to the BALLET GIRLS)
BUQUET
Like yellow parchment
is his skin... a great black hole served as the
nose that never grew...
(Demonstrating his
method of self-defence against the Punjab Lasso,
he inserts his hand between his neck and the
noose, and then pulls the rope taut. With a
mixture of horror and delight, the BALLET GIRLS
applaud this demonstration)
(explaining to
them)
You must be always on
your guard, or he will catch you with his magical
lasso!
(A trap opens up
centre stage, casting a shadow of the Phantom as
he emerges. The GIRLS, linking hands, run off
terrified. The PHANTOM, leading CHRISTINE, fixes
his stare on BUQUET. Sweeping his cape around
CHRISTINE, he exits with her. But before they go,
GIRY has entered, observing. She turns on BUQUET)
GIRY
Those who speak of what
they know find, too late, that prudent silence is
wise.
Joseph Buquet, hold
your tongue- he will burn you with the heat of
his eyes...
TO SCENES 8 THRU 10
PHANTOM HOME
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