C A M E R O N M A C K I N TO S H ’S

S P E C TA C U L A R N E W P R O D U C T I O N
OF

A N DR E W L LO Y D W E BBE R ’S

A digital tool kit for integrating

theater arts into standards-based
curriculum, featuring:
• Historical Background
• Production Notes
• Artists’ Insights
• Suggested Lessons
• Student Activities
• Links to Rich Media
• Resource Directory
 IN ASSOCIATION WITH THE REALLY USEFUL GROUP

CAMERON MACKINTOSH’s
NEW PRODUCTION
OF

ANDREW LLOYD WEBBER’S

IN ASSOCIATION WITH THE REALLY USEFUL GROUP
IN ASSOCIATION WITH THE REALLY USEFUL GROUP
CAMERON MACKINTOSH’s
CAMERON MACKINTOSH’s
NEW PRODUCTION
NEW PRODUCTION
OF

ANDREW LLOYD WEBBER’S OF

ANDREW LLOYD WEBBER’S

Starring

MARK CAMPBELL
JULIA UDINE BEN JACOBY
and

EDWARD STAUDENMAYER CRAIG BENNETT JACQUELYNNE FONTAINE

LINDA BALGORD FRANK VIVEROS HANNAH FLORENCE
At certain performances
GRACE MORGAN
Starring
plays the role of Christine

MARK CAMPBELL
Starring

Music
JULIA UDINE LLOYD
by ANDREW
MARK CAMPBELL WEBBER
BEN JACOBY
LyricsUDINE
JULIA by CHARLES
and
BENHART
JACOBY
EDWARD STAUDENMAYER CRAIG and BENNETT JACQUELYNNE FONTAINE
EDWARDLINDA BALGORD
STAUDENMAYER FRANK
Additional Lyrics
CRAIGbyVIVEROS
BENNETT HANNAH
RICHARD STILGOE FLORENCE
JACQUELYNNE FONTAINE
LINDA BALGORD FRANK VIVEROS HANNAH FLORENCE
Book by RICHARD STILGOE At certain
&performances
ANDREW LLOYD WEBBER
GRACE MORGAN
At certain performances
Based on the novel “Le Fantôme
plays thede
GRACE role l’Opéra”
of Christine by GASTON LEROUX
MORGAN
plays the role of Christine
Orchestrations by DAVID CULLEN & ANDREW LLOYD WEBBER
MusicMusical
by ANDREW LLOYD WEBBER
Supervisor JOHN RIGBY
MusicLyrics
by ANDREW LLOYD
by CHARLES WEBBER
HART
LyricsDesign
Video & Projection by CHARLES
by NINA DUNN HART for Knifedge
Sound Design
Additional MICK POTTER
Lyrics by RICHARD STILGOE
Book by RICHARD Lighting
Additional by PAULE
Lyrics
STILGOE by & CONSTABLE
RICHARD
ANDREW STILGOE
LLOYD WEBBER
Costume Design by MARIA BJÖRNSON
Based on the novel “Le Fantôme de l’Opéra” byLLOYD
Book by RICHARD STILGOE & ANDREW GASTON WEBBER
LEROUX
Set Design by PAUL BROWN
Based on the novel “Le Fantôme de l’Opéra” by GASTON LEROUX
Orchestrations by DAVID CULLEN &
Choreography by SCOTT AMBLERANDREW LLOYD WEBBER
Orchestrations by DAVIDbySupervisor
Musical
Directed CULLEN
LAURENCE &JOHN
ANDREWRIGBY
CONNOR LLOYD WEBBER
Musical Supervisor JOHN RIGBY
Video & Projection Design by NINA DUNN for Knifedge
Video &ForProjection
Sound
THE Design
Design
PHANTOM byMICK
OFby
THENINA DUNN
OPERAPOTTER for Knifedge
National Tour
Sound Design
Lighting by PAULEby MICK POTTER
CONSTABLE
Lighting
Costume
Costume Coordinator
by PAULE
Design CONSTABLE
by MARIA BJÖRNSON Casting by
for the late MARIACostumeSet Design by PAUL
BJÖRNSON MARIA BJÖRNSON
BROWNTARA RUBIN CASTING
CHRISTINE ROWLAND Set Design by PAUL BROWN MERRI SUGARMAN, CSA
Choreography by SCOTT AMBLER
Associate Choreographer Choreography
Directed
US Musical Supervisor by SCOTTMusical
by LAURENCE AMBLER
CONNOR Director Associate Director
NINA GOLDMAN Directed
JIM LOWE by LAURENCE CONNOR
RICHARD CARSEY SETH SKLAR-HEYN

For THE PHANTOM OF THE OPERA National Tour

Production overseen by MATTHEW BOURNE & CAMERON MACKINTOSH
For THE PHANTOM OF THE OPERA National Tour
A CAMERON MACKINTOSH and NETWORKS Presentation
Costume Coordinator Casting by
Original Productionforstill
theCostume
late MARIA BJÖRNSON
Majestic Theater, New York CityTARA
runningCoordinator
at the RUBIN
Casting
and Her CASTING
by
Majesty’s Theatre, London, UK
CHRISTINE ROWLAND
for the late MARIA BJÖRNSON MERRI SUGARMAN,
TARA RUBIN CASTINGCSA
Musical
CHRISTINE Staging and Choreography by GILLIAN
ROWLAND MERRI LYNNE
SUGARMAN, CSA
Associate Choreographer Directed
US Musical by HAROLD PRINCE
Supervisor Musical Director Associate Director
NINA GOLDMAN
Associate Choreographer JIM LOWE
US Musical Supervisor RICHARD CARSEY
Musical Director SETH SKLAR-HEYN
Associate Director
NINA GOLDMAN JIM LOWE RICHARD CARSEY SETH SKLAR-HEYN
Production overseen by MATTHEW BOURNE & CAMERON MACKINTOSH
TheAPhantom
CAMERON
Production overseen MACKINTOSH
of the Opera
by is a registered
MATTHEW and NETWORKS
trademark
BOURNE of the ReallyPresentation
& CAMERON Useful Group Ltd.
MACKINTOSH
A CAMERON MACKINTOSH and NETWORKS Presentation
Original Production still running at the Majestic Theater, New York City and Her Majesty’s Theatre, London, UK
Original Production still running at the
Musical Majestic
Staging and Theater, New York
Choreography City and Her
by GILLIAN Majesty’s Theatre, London, UK
LYNNE

TA B L E O F C O N T E N T S
Musical Staging and Choreography
Directed by HAROLD by GILLIAN LYNNE
PRINCE
Directed by HAROLD PRINCE

Le Fantome de l’Opera . . . . . . . . . . . . . . . . 2-3 Production Collage. . . . . . . . . . . . . . . . 9-10

by Gaston Leroux Music Study & Set Activities . . . . . . . 11-12
The Paris Opera House. . . . . . . . . . . . . . . . 4 Staging The Phantom of the Opera . . 13-14
Julia Udine & A New Chandelier. . . . . . . . . . . . . . . . . . 5-6 Activities
Cooper Grodin.
The Phantom of the Opera Authors. . . . . . 7 Production Aspects & Activities. . . . 15-16
Synopsis and Musical Numbers. . . . . . . . . 8 Resource Center . . . . . . . . . . . . . . . . . . . . 17
Matthew Murphy

1
 GASTON LEROUX THE MAN BEHIND THE MASK

G
aston Leroux, author of The Phantom of the Opera, was “This I presented to the Director of Prisons, and he allowed me
a big bold, audacious man who loved good living, heavy free access. I had no trouble finding the man I wanted to see, and
drinking and dressing colorfully to hide a large, round he was only too delighted to tell me what had really occurred.
belly. He tried to portray himself as bigger than life, and many of I got my paper to publish a full report, which completely
his novels and stories echoed his own adventures. exonerated the prisoner – and as a result the Prefect of Police was
disgraced, and the Prison Director was sent packing!”
A BORN WRITER
Born in 1868, Leroux was a highly The story catapulted Leroux to stardom: He became one of
intelligent child and early on began France’s leading journalists, a reporter who could combine
to develop a great passion for detailed facts with a sense of adventure and urgency. Soon he was
literature and the theater. At a young working for the international daily Le Matin.
age he was writing short stories and
plays, and throughout college he Leroux took full advantage of the new technology of telephone
was, in his words, “tormented by the and telegraph that was revolutionizing journalism. He
demon of literature.” crisscrossed the world, cabling
his stories from Africa, Egypt,
Still, like many boys of upper-class Morocco, and Russia. He moved
families, Leroux was forced to study easily from backroom intrigues to
law. He passed the bar in 1889 and small wars, from border skirmishes
was miserable. During his studies, to full-blown revolutions. He
Gaston Leroux gained a reputation for staying
he kept writing stories and poems,
finally publishing a group of sonnets (typical of the pleasure- ahead of disaster and for escaping
loving Leroux, written in honor of a leading actress of the day!) the bullet, the spear, or the arrow
in the newspaper L’Echo de Paris. He received only a few pennies just in time to cable the story to
for this work, but the die was cast. He could no longer deny that Paris. He became a master of masks
writing was in his blood! and disguises, traveling in Morocco
as an Arab to witness the troubles,
THE ETERNAL REPORTER in Fez and in Moscow as a Russian
Leroux’s father died the same year he earned his law degree, to behold the first glimmers of the
leaving him a million francs, which Leroux promptly spent in a Revolution. He was known as “The
happy half year of indulgence. Nearly penniless, he applied for Eternal Reporter.”
and received a job at L’Echo de Paris as a court reporter, for which
Literary historian Stanley Kunitz Cover of the first French
he was able to use his knowledge of the law.
wrote, “He tramped up and down edition of Le Fantôme
de l’Opéra
In 1892, his audacity drove him to the the world, his daring spirit carrying
next step in his career. He was convinced him into faraway corners and into
that an accused man was innocent and and out of a dozen scrapes.”
was being kept in solitary because of
official mistakes and incompetence. He MASKS, MYSTERIES, AND THE
explained in a 1925 interview how he YELLOW ROOM
learned the truth: In 1907, wealthy and secure, he decided to give up his world
traveling and return to his first love: literature. He would use his
“I managed to get hold of a sheet of skills as a reporter and his sense of adventure and the unknown to
official paper and wrote on it that I was become a novelist.
M. Arnaud, an anthropologist charged
with visiting local prisons.
2
His first four novels were fairly standard adventure stories, had fallen into the audience, killing a concierge named Madame
received with appreciation by a public who already knew and Chomette. His reporter’s instincts aroused, Leroux studied the
loved Leroux. But his fifth novel, The Mystery of the Yellow Opera House, exploring it from the slimy underground caverns
Room (1907), was not only a major success, it was also a to the dizzying pinnacles of its rooftops.
groundbreaking novel of the mystery genre, the first of the
“locked room” mysteries, where an impossible murder is Leroux saw in the Opera House a mirror of the Belle Époque
committed in a sealed room. society that passed through its halls: beautiful, stately, and refined
on the outside, but just below the surface, a dark undercurrent of
A great admirer of Edgar Allen Poe and Sir Arthur Conan Doyle, secrecy and horror. In a feverish three months, often bounding
the creator of Sherlock Holmes, Leroux later said, “I knew that I out of bed in the middle of the night to scribble down an image
must do better than Poe and Conan from his nightmares, he completed what
Doyle, so I decided to have a murder would be his most memorable work. The
committed in a room that was Phantom of the Opera was born.
hermetically sealed, as closed as a safe, in
fact.” In his 1942 treatise on the mystery Although The Phantom of the Opera was not
genre, Murder for Pleasure, Howard a popular success as a novel, its eerie horror
Haycraft noted, “The Mystery of the Yellow and romance has attracted many artists
Room is generally recognized, on strength to adapt it to other forms. Over the years,
of its central puzzle, as one of the classic many films of the story were produced. The
examples of the genre.” most famous version was the first, in 1925,
due mainly to the powerful performance
The hero of The Mystery of the Yellow of a young actor named Lon Chaney as the
Room is a young star reporter named tortured Phantom.
Joseph Rouletabille, mocked and
shunned for his fierce independence and Chaney had gained the nickname “The
his unusually large head. In Rouletabille, Man of a Thousand Faces” from his
we can hear a whisper of the despair detailed and often horrible disguises,
and detachment that would eventually from Quasimodo in The Hunchback
coalesce in his greatest creation, Erik, of Notre Dame to Fagin in one of the
the malformed Phantom of the Opera, Lon Chaney in The Phantom of the
first film treatments of Oliver Twist.
as well as, perhaps, a glimpse of Leroux Opera (1925) The Phantom proved to be his greatest
himself. Like the Phantom, Rouletabille’s triumph. British film critic Milton
ugly appearance is a mask that hides a brilliant, lonely mind. Shulman wrote in 1975: “My most horrific moment in the
cinema came when I first saw Lon Chaney spinning around from
Leroux’s career as a novelist flourished. He wrote six more his playing the organ at the Paris Opera to display his fanged,
Rouletabille novels and sixty other novels of adventure, romance, corroded, skull-like visage to Mary Philbin, who, as Christine,
and horror. had dared unmask him. That tingling, hair-on-end experience has
lived with me for over fifty years.”
AT LAST, THE PHANTOM
In 1911, during one of his frequent visits to the Paris Opera It was the success of the 1925 film, and Chaney’s performance,
House, Leroux began to hear rumors of a ghost that haunted the that brought attention back to the original story and allowed
old building. Several unexplainable deaths had been attributed Leroux a last moment of popularity before his death in 1927.
to this spectre, and backstage gossip only fueled the story. The It seemed for years that the Chaney version would remain
Opera House had already had its share of mysterious accidents: throughout history as the definitive Phantom – that is, until
On May 20, 1896, a counterweight of the seven ton chandelier 1985, when the creation of the musical version began.

3
THE PARIS OPERA HOUSE
WHERE THE PHANTOM WAS BORN

I
n 1858, the Emperor Napoleon III of France gave an order that
a new building dedicated to the art of opera would be built in
Paris.The new Opera House would be the envy of the world.
It would be not only a building for performances of opera, but a
center for upper-class society, a place where the rich and well-to-
do could congregate and preen.

Matthew Murphy
Charles Garnier, a relatively unknown young man, was chosen
among 700 architects competing to create the new theater.
Taking on the project with youthful audacity, Garnier proposed
to create a monumental building that would be a true temple to
the Renaissance, built using modern construction techniques. The Corps de Ballet in “Hannibal” - Choreography by
Scott Ambler.
Construction of the new building began immediately. The 3-acre Construction of the Opera House was interrupted in 1870 by the
space in which the Opera House would stand, called the Place outbreak of the Franco-Prussian War, which saw the defeat of the
de l’Opera, was cleared with seven great thoroughfares radiating French Army and the end of Napoleon III’s reign. As the Prussian
from it like the spokes of a giant wheel. During construction, a Army surrounded Paris through a bitter 19-week winter, the
deep bed of water was discovered in what were to be the cavernous working classes rose up and declared a new government: the Paris
basements. This water had to be drained, at great expense, by Commune. The Opera House performed the role of storehouse,
eight huge steam pumps working nonstop for eight months! arsenal, and, later, military prison. When the Communards were
Finally, a strong foundation was laid, and the water was allowed eventually broken by government troops, ghastly legends of bodies
to seep back, creating an eerie underground lake that exists to this left in the catacombs of the Opera House became a grisly legacy of
day. the Commune.

The great basements of the Opera House were needed for the It was not until 1875 that the Opera House finally opened. France’s
raising and lowering of giant sets, some of which could reach 50 Third Republic had been declared and the people of Paris were
feet high and weigh as much as 11,000 tons! eager to put bloody times behind them. An era of culture, excess,
and the arts called La Belle Époque had begun.
The Opera House would eventually have 17 floors, 80 dressing A RT W O R K A N D T I T L E T R E ATM E N T

rooms, and a total of 2,500 doors. Along with the lake, water It was this time of refinement and pleasure, and the dark
from which was often used to power the hydraulic engines needed emotions that often lay just underneath, that proved an
to move the scenery, there was a permanent stable with enough inspiration to a young and adventurous reporter named
room to accommodate 6 coaches and 50 horses! Gaston Leroux.
MODEL OF THE PARIS OPERA HOUSE
e x a m p l e o f L A N D S C A P E a rt w o r k

(MUSÉE D’ORSAY OFFICIAL WEBSITE)

THE PHANTOM OF THE OPERA
NORTH AMERICAN TOUR ARTWORK

- The mask needs to be positioned within the roundel on the background -

paying attention to the crop of the angels above the mask, and the chandelier underneath.

- The title treatment sits above the mask, or to the right hand side.
TICKETS NOW ON SALE
The background is darkened accordingly, to ensure strong legibility.
BY ARRANGEMENT WITH THE REALLY USEFUL GROUP

The title treatment should not cover the angels.

e x a m p l e o f p o rt r a i t a rt w o r k

Collection of “X,” from the American Theatre

Architecture Archive. Theatre Historical
Society of America 4
A NEW CHANDELIER
BY CAMERON MACKINTOSH

I
t’s almost 30 years since my first
acquaintance with the Phantom.
One cold February morning in
1984 while I was soaking myself
in a long hot bath, Andrew Lloyd
Webber telephoned me for a gossip.
He dropped into the conversation
the idea of making a musical out of
The Phantom of the Opera. Even in
my prune-like condition, I recognised
Andrew had come up with another
great idea.

Matthew Murphy
We screened copies of the 1925 Lon
Chaney silent movie and the later
wartime version with Claude Rains as
the Phantom. Though very enjoyable,
neither one made us shout “Eureka!”
So we managed to find a copy of the a staged first draft of the first act of Phantom. Richard Stilgoe,
novel by Gaston Leroux, which was out of print, and decided that Andrew’s lyrical collaborator on Starlight Express, agreed to
we preferred that original storyline. Early in the summer of 1984, write the lyrics and Maria Björnson, our designer, miraculously
we went on an outing to the Theatre Royal, Stratford East, with created a design for it in a 100-seater church on Andrew’s front
our other halves, Sarah Brightman and Michael Le Poer Trench, to lawn. She even managed the dropping of the chandelier! Greatly
see Ken Hill’s highly entertaining stage version. We even thought encouraged by Phantom’s initial reception, we decided to pursue
for a short time about joining forces with him, but eventually the project in earnest. Apart from Sarah playing Christine, most
resolved to press on and do our own version based on the novel. of this first cast was drawn from the upcoming new musical, Les
Misérables, which was just about to go into rehearsal.
To my surprise, Andrew’s initial idea for the score was to use
famous classical works and write only the incidental music While we prepared the Sydmonton try-out, Andrew happened
himself. Thanks to the encouragement of the first director we to bump into Hal Prince, the distinguished director of many
met with to discuss the project, Jim Sharman (original director outstanding Broadway musical productions, at the Tony Awards®
of Jesus Christ Superstar and The Rocky Horror Show) – in Kyoto, in New York and he told Hal what he was working on. Hal
Japan of all places – Andrew later decided to write an entirely responded enthusiastically, saying that he had also been looking
original score that was undoubtably also inspired by his wife for a romantic musical subject himself.
Sarah’s extraordinary vocal range. However, a superlative score
was not Andrew’s only major contribution to the success of Despite the success of the Sydmonton staging, over the next few
Phantom; his instinct to make the emotional centre of the story months it became apparent that the project was going to require
a love triangle between the Phantom, Christine and Raoul is the another collaborator who would be more of a lyrical dramatist,
crucial difference between our musical, the original novel, and extending Richard and Andrew’s original book. Andrew and
other versions of the story. I met with Alan Jay Lerner, an old friend and master book
and lyric writer, to invite him to join our team, which he was
seriously considering. But over the space of several meetings, in
EXHILARATING MAYHEM
which some major constructive decisions were taken, we noticed
For many years Andrew has regularly staged a music festival at
that Alan was not well. His condition worsened and the day he
his home in Sydmonton. In the summer of 1985 we presented
was due to start work on the lyrics he rang to say that he must

5
bow out as he needed treatment for his illness. Sadly, he was Andrew agreed with my proposal, that it was time to give
suffering with cancer and he never recovered. Phantom a fresh look, so in 2008 I approached theatre and
opera designer Paul Brown to see if he was interested in taking
Our professional problem now was to find a replacement for an over the baton from Maria to bring his own style and vision
irreplaceable talent. Our discussions led us to Charles Hart, a to our notion. It turned out that Maria had a special place in
talented young lyricist I had observed at the Vivian Ellis Musical Paul’s life as at the beginning of his career he had been a young
Writers Competition. Though he had not won the competition, assistant to her at the Royal Opera House. The result of Paul’s
all the judges had commended him highly as a lyricist. Without long-developed ideas for this project – which took a hiatus while
telling him who had composed the music, we sent him a melody Andrew produced Love Never Dies – is a new version of Phantom
– “Think of Me” – to set and the result convinced Andrew that, that uses a more visceral dramatic approach to create a visual
if he wasn’t able to work with one of the world’s greatest lyricists, feast, giving audiences the chance to see their favourite musical
he’d like to work with one of the youngest and most promising. all over again through new eyes.

PHENOMENAL SUCCESS Putting together the rest of the new creative team for this
The original production went into rehearsal in London on 18 Phantom, following in the footsteps of Hal Prince and Gillian
August 1986. Director Hal Prince and choreographer Gillian Lynne, was a daunting but invigorating task. Joining Paul Brown,
Lynne assembled a wonderful cast and after several weeks of my choice of director was always going to be Laurence Connor
exhilarating mayhem Phantom opened at Her Majesty’s Theatre who I first met when he became the Associate Director on the
on 9 October and immediately proceeded to become one of London production of Phantom. Since then he has directed
London’s greatest ever musical hits. acclaimed versions of Miss Saigon and Oliver!, and co-directed
the hugely successful new production of Les Misérables. He also
recently staged the triumphant
DURING ITS ALMOST 30 YEARS, PHANTOM HAS 25th Anniversary production
of Phantom at the Royal Albert
BECOME THE MOST PHENOMENAL SUCCESS OF ALL Hall. As Choreographer, we
both wanted to work with
TIME, BREAKING BOX OFFICE RECORDS WORLDWIDE Matthew Bourne’s talented
protégé, Scott Ambler, who I
IN COUNTLESS SELL-OUT PRODUCTIONS. had first worked with on My
Fair Lady a few years ago. To
light the show we are lucky
Eighteen months later our trio of original stars – Michael enough to have one of the world’s greatest lighting designers,
Crawford, Sarah Brightman and Steve Barton – opened to Paule Constable, and to create the sound the incomparable Mick
rapturous applause on Broadway where the show is still running Potter. Maria still remains at the heart of the new Phantom with
triumphantly at the Majestic Theatre making it the longest- her glorious costumes, some of which are designs found in her
running musical in Broadway’s history. archive that she created for the original and were never used.

During its almost 30 years, Phantom has become the most This new version of Phantom premiered in the UK in 2012
phenomenal success of all time, breaking box office records and was immediately embraced by both audiences and critics
worldwide in countless sell-out productions. Since 1986, only alike, breaking records throughout its sellout British tour. It has
the original version has been presented around the world (with proved a worthy complement to the soaring achievement of Hal
the exception of Poland and Hungary which were non-replica Prince and Gillian Lynne’s brilliant original, and at the same time
productions) and its brilliant design by Maria Björnson has showing afresh how masterful and durable the music and libretto
become synonymous with Andrew’s sensational score. Just of Andrew Lloyd Webber and Charles Hart’s legendary creation
before Maria died at a tragically early age she and I had started is. For the American production we have been able to build on
discussing a different set design, one that would do more to our British success and fine-tune some of the staging, including
contrast the Phantom’s darker backstage world with that of the making the famous chandelier even more spectacular. We all
traditional opera world onstage. It would also need to allow the believe that you will fall in love with the music of the night all
show to move quickly to play in theatres unable to accommodate over again, as the Phantom is reborn for the 21st Century.
the lengthy set up period needed for the original production.

6
4
 CREATING THE MUSICAL
THE FACE BEHIND THE MASK

ANDREW LLOYD WEBBER of Wales, Gielgud, Queen’s, Wyndham’s Noel Coward, Novello and
Prince Edward, all of which have undergone spectacular refurbishment.
COMPOSER Cameron is also the co-owner of Music Theatre International, the
World’s largest owner of secondary rights of the greatest musicals. In
Andrew Lloyd Webber is the composer
of The Likes of Us, Joseph and the Amazing 1995 his Company received the Queen’s Award for Export Achievement,
Technicolor Dreamcoat, Jesus Christ Superstar, and he was knighted in the 1996 New Year’s Honours for his services to
By Jeeves, Evita, Variations and Tell Me on a the British Theatre and he has recently been the first British producer
Sunday later combined as Song & Dance, Cats, elected to the Theatre Hall of Fame on Broadway.
Starlight Express, The Phantom of the Opera,
Aspects of Love, Sunset Boulevard, Whistle Down CHARLES HART
the Wind, The Beautiful Game (now called
The Boys in the Photograph), The Woman in
White, and Love Never Dies. He composed
LYRICS
Charles Hart was born in London and
the film scores of Gumshoe and The Odessa File, and a setting of the Latin educated in Maidenhead and Cambridge. He
Requiem mass. As well as many of his own shows his producer credits has written words for musicals (The Phantom
include Daisy Pulls It Off, Lend Me a Tenor, Shirley Valentine, La Bête, the of the Opera, Aspects of Love, The Kissing-Dance,
ground-breaking Bollywood musical A. R. Rahman’s Bombay Dreams, his The Dreaming), opera (The Vampyr, BBC TV),
smash hit productions of The Sound of Music and The Wizard of Oz at
and miscellaneous songs, as well as both words
the London Palladium, and the films of The Phantom of the Opera and
and music for television (Watching, Split Ends,
the acclaimed Australian production of Love Never Dies. He pioneered
Granada TV) and radio (Love Songs, BBC
television casting for musical theater with the Emmy Award–winning
Radio). His Two Studies for String Quartet were
BBC series How Do You Solve a Problem Like Maria? His awards include
performed by the Sacconi Quartet in February
seven Tonys, three Grammys including Best Contemporary Classical
Composition for Requiem, seven Oliviers, a Golden Globe, an Oscar, two 2005 at London’s Purcell Room.Charles Hart’s photographs have
International Emmys, the Praemium Imperiale, the Richard Rodgers Award appeared on posters and in playbills, as well as in publications ranging
for Excellence in Musical Theatre, and the Kennedy Center Honor. He from Attitude to the Daily Telegraph, and in 2003 he was one of three
currently owns six London theatres, including the Theatre Royal, Drury photographers to feature in an exhibition organised by UNICEF to
Lane, and the London Palladium. He was knighted in 1992 and was created celebrate the UN Convention on the Rights of the Child. He lives and
an honorary life peer in 1997. works in London.

CAMERON MACKINTOSH RICHARD STILGOE

PRODUCER BOOK &
For over 45 years Cameron Mackintosh has
been producing more musicals than anyone
else in history, including the three longest-
ADDITIONAL LYRICS
Richard Stilgoe has spent 50 years as a
running musicals of all time, Les Miserables, performer and writer in all forms of the
Michael Le Poer Trench

The Phantom of the Opera and Cats, which performing arts. On television he appeared
are still running extraordinarily successfully on Nationwide, That’s Life, and several
across the world. Les Miserables at the Queen’s series of his own. On stage he toured for
Theatre in London continues to sell out in its
many years with his one-man show and
29th year. His new production of Miss Saigon
subsequently his two-man show with Peter
in London has recently opened at the Prince
Skellern. He wrote lyrics for Cats, Starlight
Edward Theatre in London where advance
Express, and The Phantom of the Opera and
ticket sales are already breaking box office records. Mary Poppins, co-
music and lyrics for Bodywork, Brilliant the
produced with Disney, continues to disperse her magic globally with
numerous productions. His new productions of Les Miserables, Oliver! Dinosaur, and a new work Orpheus – the
and The Phantom of the Opera are all now opening around the world Mythical. His broadcasting work has earned him the New York
as if they were new shows. Other international successes include Little Radio Festival Gold Award, three Monaco Festival Prizes, and
Shop of Horrors, Side by Side by Sondheim, Follies, Martin Guerre, and the Prix Italia. Richard sits on various boards involved in music
The Witches of Eastwick and his revivals of My Fair Lady, Oklahoma! and education and is Chairman of Youth Music. In 1997 he founded
Carousel. Cameron’s hugely successful film version of Les Miserables, the Orpheus Centre in Surrey, where young disabled people prepare
produced in conjunction with Working Title and Universal, brought this for independent living through a series of performing arts courses.
great musical to a whole audience and won Oscars, Gold Globes and He was High Sheriff of Surrey in 1998, during which year he was
BAFTAs. Cameron owns seven theatres in London’s West End: Prince awarded the OBE.

7
ACT 1 & ACT 2 SYNOPSIS
Prologue in 12 months. Christine and Raoul are engaged but are keeping it
It is 1911 and the contents of the Paris Opera House are being a secret; Christine keeps her engagement ring on a chain around
auctioned off. Present are the auctioneer, porters, and bidders. her neck. Suddenly, the Phantom appears, and delivers to the
Raoul, now 70 years old, buys a poster and music box. As the Managers a score from his opera, Don Juan Triumphant.
auctioneer displays the Opera House chandelier, he explains that it
is connected with the legend of the Phantom of the Opera. With At first, the Managers refuse to perform the strange, disturbing
a flash of light, the audience is flung back in time, when the Paris opera. Then, with the help of Raoul, they devise a plan to
Opera was at its height. trap the Phantom, using Christine as bait. Plans for Don Juan
Triumphant, and the trap, are made. Christine visits the grave of
Act 1 her father. There at the grave stands the Phantom, beckoning
We are thrust into the middle of a rehearsal for the opera Hannibal. her to join him. Raoul appears and takes her away.
Monsieur LeFèvre, the retiring manager of the Opera, is showing the
new managers, Monsieurs Firmin and André, the great stage. As the At last, the opening night of Don Juan Triumphant arrives. The
prima donna, Carlotta, is singing, a sandbag falls to the floor, nearly theater is surrounded by guards and police eager to catch the
killing her. The cry is raised, “It’s The Phantom of the Opera!” Upset, Phantom. As the opera comes to its end, the Phantom takes the
Carlotta refuses to sing. Meg Giry, daughter of the ballet mistress, place of Piangi, the lead singer. He confronts Christine on stage
Madame Giry, suggests that her friend, Christine Daaé, take Carlotta’s during the performance, and escapes with her once more to his
place. Christine has been taking lessons from a mysterious new teacher. labyrinth below the Opera House. In a last confrontation, the
Phantom gives Christine a choice: Stay with him forever, or he
At Christine’s triumph in the opera is Raoul, a nobleman and will kill Raoul. Her decision brings to an end the story of The
patron of the Opera. Raoul recognizes Christine as a childhood Phantom of the Opera.
friend. He comes backstage after the performance to escort her to
dinner, but Christine tells him she cannot go, because her teacher, SYNOPSIS OF SCENES AND
“The Angel of Music,” is very strict. When Raoul leaves Christine’s PRINCIPAL MUSICAL NUMBERS
PROLOGUE
room, the Phantom appears. Christine is lured into the bowels of
The stage of the Paris Opera House, 1911 ......................................Auctioneer, Raoul & Company
the Opera House, where the Phantom will continue her lessons. OVERTURE
ACT ONE - Paris, late 19th century
SCENE 1 The Dress Rehearsal of Hannibal
The Phantom leads her to his underground lair, where he asks Think of Me ..................................................................................... Carlotta, Christine & Raoul
SCENE 2 After the Gala
her to sing the music he has composed. Overwhelmed, Christine Angel of Music ..................................................................................................Christine & Meg
SCENE 3 Corps de Ballet Dressing Room
faints, only to be awakened several hours later by the Phantom’s Little Lotte/The Mirror (Angel of Music) ...............................Raoul, Christine & The Phantom
music on the organ. Unobserved, he takes off his mask and SCENE 4 The Labyrinth Underground
The Phantom of the Opera.................................................................. The Phantom & Christine
continues to work. Christine creeps up behind him and turns him SCENE 5 The Phantom’s Lair
The Music of the Night........................................................................................... The Phantom
to see his face. Horrified, the Phantom takes Christine back to the SCENE 6 Beyond the Lake, the Next Morning
I Remember/Stranger Than You Dreamt It ........................................ Christine & The Phantom
surface. The Phantom has sent notes to both the Managers of the SCENE 7 Backstage
Magical Lasso..........................................................Buquet, Meg, Madame Giry & Ballet Girls
Opera, as well as Raoul, Madame Giry, and Carlotta, which give SCENE 8 The Manager’s Office
Notes/Prima Donna ........................................................ Firmin, André, Raoul, Carlotta, Piangi,
instructions that Christine will have the lead in the new opera, Il Madame Giry, Meg & The Phantom
SCENE 9 A Performance of Il Muto
Muto. The Managers refuse to give in to the Phantom’s demands. Poor Fool, He Makes Me Laugh ................................................................ Carlotta & Company
SCENE 10 The Roof of the Opera House
Why Have You Brought Me Here?/ Raoul, I’ve Been There ....................... Raoul & Christine
Il Muto proceeds as planned, with Carlotta in the lead and All I Ask of You ............................................................................................. Raoul & Christine
All I Ask of You (Reprise) ..................................................................................... The Phantom
Christine in a secondary role. As promised, disaster strikes—the ENTR’ACTE
stagehand Joseph Buquet is killed and Carlotta’s voice is ACT TWO - Twelve months later
SCENE 1 The Grand Ballroom at the Opera House, New Year’s Eve
compromised. In the confusion, Raoul and Christine escape to the Masquerade/Why So Silent? .................................................................................Full Company
SCENE 2 Backstage ................................................................................. Raoul and Madame Giry
roof of the Opera House. There, with all of Paris around them, they SCENE 3 The Manager’s Office
Notes/Twisted Every Way.............................................. André, Firmin, Carlotta, Piangi, Raoul,
pledge their love to one another. They cannot see the Phantom Christine, Madame Giry & The Phantom
overhearing their vows of love. Enraged at Christine’s betrayal, SCENE 4 A Rehearsal for Don Juan Triumphant
................................................... Christine, Piangi, Reyer, Carlotta, Madame Giry & Company
the Phantom causes the final disaster of the night: the mighty SCENE 5 A Graveyard in Perros
Wishing You Were Somehow Here Again ................................................................... Christine
chandelier comes crashing down. Wandering Child/Bravo, Bravo ...............................................The Phantom, Christine & Raoul
SCENE 6 Before the Premiere ..........................Raoul, André, Firmin, Firemen and The Phantom
SCENE 7 Don Juan Triumphant ....................................Carlotta, Piangi, Passarino and Company
The Point of No Return ...................................................................... The Phantom & Christine
Act 2 SCENE 8 The Labyrinth Underground
Down Once More/Track Down This Murderer .....................................................Full Company
The second act opens at a grand masquerade ball, held in the SCENE 9 The Phantom’s Lair .................................. Christine, The Phantom, Raoul & Company
Ballroom of the Paris Opera. No one has heard from the Phantom

The use of any recording device, either audio or

video, and the taking of photographs, either with or
8
4
Please turn off your cell phones and pagers
prior to the beginning of the performance.
without flash, is strictly prohibited.
PRODUCTION SCRAP BOOK

Matthew Murphy

Matthew Murphy
Julia Udine as Christine Daaé and Cooper Grodin as The Phantom and Julia Udine as Christine Daaé.
Cooper Grodin as The Phantom.

The Company performs “Masquerade.” Alastair Muir

9
 Matthew Murphy
Matthew Murphy

Matthew Murphy
Jacquelynne Fontaine as Carlotta Giudicelli.

Cooper Grodin as The Phantom and Julia Udine as

Christine Daaé.
Matthew Murphy

Matthew Murphy

Linda Balgord as Madame Giry.

Julia Udine as Christine Daaé and Ben Jacoby as Raoul.

10
MUSIC STUDY & ACTIVITIES
ARTIST INSIGHT INTO THE forward in a most compelling fashion. In The Phantom of the
MUSIC OF THE PHANTOM OF THE Opera, the sinister, yet strangely charismatic, title character is
carefully drawn not only in dialogue, costume, sets, and lyrics, but
OPERA: THE PHANTOM MOTIF

“W
chord by chord in the music. The opening notes of the overture
e never hear the motif quietly. It’s always
are as haunting as the Phantom himself, setting the stage for all
fortissimo; it’s always a bold statement. It opens that is to come and raising the question: The Phantom—hero
with a minor chord, moves to a major chord, and or villain?
leaves a feeling of unsettlement and ambiguity. How will it all
resolve? Then back to minor, suggesting the drama of the story— It is suggested that musical theater as a genre be discussed with
arresting, threatening, terrifying. The complex music reflects the class in preparation for classroom activities that focus on the
the complex Phantom, and the alternating use of the major and Phantom as a Byronic hero and Christine as the innocent caught in
minor chords suggests two sides to the same character.” his seductive web of terror and tenderness. An “at home” creative
–John Rigby, Musical Supervisor, The Spectacular New activity allows for individual student response to the Phantom
Production of The Phantom of the Opera theme and the ability to create their own music in an online format
suitable for all grade levels.
SUGGESTED LESSON
Plot, character, setting, costumes, and music, music, and more ESSENTIAL QUESTIONS
music! Musical theater offers ways to propel plot and character •H
 ow can music and lyrics enhance characterization in a musical
production? (Middle and High)
•H
 ow do the decisions we make impact our lives and the lives of
others? (Middle)
•D
 efine hero. (High)

OBJECTIVES
Students will:
•U nderstand musical theater as a genre (Middle and High)
•C reate an original artistic work in response to the Phantom theme
(Middle and High)
•R ealize that decisions have consequences (Middle)
•E xpand their understanding of “hero” by examining the
characteristics of the Byronic hero (High)

PRIMARY LEARNING STANDARDS ADDRESSED

(ELA Common Core: Reading Literature)

CCSS.ELA-Literacy.RL.7.3 Analyze how particular elements CCSS.ELA-Literacy.RL.9-10.5 Analyze how an author’s choices
of a story or drama interact (e.g., how setting shapes the concerning how to structure a text, order events within it (e.g.,
characters or plot). parallel plots), and manipulate time (e.g., pacing, flashbacks)
CCSS.ELA-Literacy.RL.8.3 Analyze how particular lines of create such effects as mystery, tension, or surprise.
dialogue or incidents in a story or drama propel the action, CCSS.ELA-Literacy.RL.11-12.3 Analyze the impact of the
reveal aspects of a character, or provoke a decision. author’s choices regarding how to develop and relate elements
CCSS.ELA-Literacy.RL.9-10.3 Analyze how complex characters of a story or drama (e.g., where a story is set, how the action is
(e.g., those with multiple or conflicting motivations) develop ordered, how the characters are introduced and developed).
over the course of a text, interact with other characters, and
advance the plot or develop the theme.

11
MIDDLE SCHOOL:
THE FORK IN THE ROAD
After studying Robert Frost’s “The Road Not Taken” with conflict Christine faces as she struggles with her feelings toward
students (optional), discuss decision-making as a major conflict in the Phantom and Raoul.
literary and dramatic works. Then: • Show the tour production trailer to demonstrate how Christine
•D istribute or explain the short synopsis of the plot of The interacts with the Phantom and Raoul. After viewing, ask
Phantom of the Opera found in the guide, emphasizing the students to discuss her choices, taking particular notice to her
anguish as highlighted in the video.
• Using the Monkey Music Box, select and play musical highlights
from the show if the full cast recording is not available. Discuss
how the music and lyrics add to characterization.
• Depending on your classroom time and needs, have students
discuss “If I were Christine, I would . . . because . . .” write an
essay about it, or, working in three groups, ask the first group

Matthew Murphy
to create and enact a scene between Christine and Raoul, the
second between Christine and the Phantom, and the third a
soliloquy spoken by Christine with her thoughts and decision as
they would project it.
Cooper Grodin and Julia Udine.

HIGH SCHOOL:
THE PHANTOM—
HERO OR VILLAIN?
Distribute or explain the short synopsis of the plot of the The

Matthew Murphy
Phantom of the Opera found in the guide, emphasizing the
actions and characterization of the Phantom.
• Using the Monkey Music Box, select and play musical
highlights from the show if the full cast recording is
not available. Discuss how the music and lyrics add to Jacquelynne Fontaine.
characterization. You may wish to replay the Overture clip.
What feelings does it evoke? How does it foreshadow what is AT HOME:
MAKING MUSIC
to come?
• Introduce or review the characteristics of a Byronic hero.
Have students name and discuss some contemporary or
literary persons/characters they consider as Byronic heroes.
OF THE NIGHT
ReadWriteThink offers some examples. Listen again to the Overture clip of The Phantom of the Opera
• Show the tour production trailer, asking students to pay on the Monkey Music Box. This is the Phantom theme and is
particular attention to the Phantom and the characteristics of a used often when the Phantom appears, or is about to appear on
Byronic hero he demonstrates in the trailer. Discuss. stage. Notice how, in just a few chords, a whole dramatic sense
• Have students create their own Byronic hero. It can be a of ominous expectation is created, and yet there is something
cartoon action figure, a character in a literary work, even a rock gloriously triumphant about it too.
star! Then ask them to create a context for the hero by offering
a background setting and simple plot line that includes Now it’s your turn. Visit Sound Junction to learn more about
a conflict. Students may work in groups or individually, the art of music-making and create your own composition
but some share-out time should be included in planning. that could be used as a character’s theme. You’ll need to create
Presentations may be in the form of a slide show, a skit, or an your character in your mind first, and then select appropriate
expository essay. instruments, tempo, and rhythm to represent him or her. There’s
lots of help for you at the site, so explore it well and have fun!

12
STAGING THE PHANTOM OF THE OPERA
INSIGHT INTO THE STAGING OF
THE PHANTOM OF THE OPERA

I
n addition to character and plot development, live theatre
requires the creation of scenery, lights, costumes, props, and
other technical elements. While there are many opinions
about what makes some musicals, like The Phantom of the
Opera, so enduring and others unable to draw audiences to
them, it is clear that when character, plot, music and staging are
well thought out, coordinated and interesting, there is a better
chance of success. In the case of The Phantom of the Opera, the
mysterious title character, a love triangle, haunting music and
elaborately stunning costumes and sets, along with a chandelier
that crashes into the audience all contribute to such a memorable
experience that theatre-goers return over and over again and with endearing and enduring nature of The Phantom of the Opera. An
each visit find something new to excite the imagination. “At Home” activity allows students to explore the question of
whether or not the Phantom actually existed and come to their
own conclusions about whether he was a real person or a figment
of Leroux’s imagination.

ESSENTIAL QUESTION
What elements of a dramatic work, particularly a musical play,
make it enduring?

OBJECTIVES
Students will:
• Recognize the potential of literary sources and/or historical
events as inspiration for musicals.
• Recognize aspects of the identification between themes and
forms of musicals and the cultural climate of a time period.
• Understand musical theater as a genre
SUGGESTED LESSON • Create an original work incorporating elements that will have
It is suggested that the lesson begin with a discussion of students’ enduring appeal.
favorite books, films, or plays and what elements make them • Make a decision based on research about a debatable issue
favorites, in preparation for classroom activities that focus on the (At Home)

PRIMARY LEARNING STANDARDS ADDRESSED

(ELA Common Core)
9-12.RL.11.b. Establish and use criteria to classify, select, and 11-12.W.11.d. Create poetry, stories, plays, and other literary
evaluate texts to make informed judgments about the quality forms (e.g. videos, artwork)
of the pieces. CC.7.SL.1.a Come to discussions prepared, having read or
11-12.W.11.c. Develop innovative perspectives on texts, researched material under study; explicitly draw on that
including historical, cultural, sociological, and psychological preparation by referring to evidence on the topic, text, or issue
contexts. to probe and reflect on ideas (At Home Activity)
9-12.SL.1.c. Propel conversations by posing and responding to CC.6-8.R.H.7 Integrate visual information (e.g., in charts,
questions that probe reasoning and evidence; ensure a hearing graphs, photographs, videos, or maps) with other information
for a full range of positions on a topic or issue; clarify, verify, in print and digital texts.
or challenge ideas and conclusions; and promote divergent and
creative perspectives.

13
INTRODUCTION
Andrew Lloyd Webber’s The Phantom of the Opera is a cities in 13 languages. Just exactly what goes into the staging
worldwide entertainment phenomenon. It has grossed over of a show this complex and how, after all these years, is it kept
$5.6 billion worldwide, with over 65,000 performances that fresh so audiences want to return over and over again? This
have been seen by 130 million people in 30 countries and 152 segment offers some insights to help answer these questions.

MIDDLE SCHOOL:
ENDEARING AND ENDURING ELEMENTS
PRE-ACTIVITY
• Distribute, explain, or revisit the short synopsis of the plot of
the The Phantom of the Opera found in the guide, emphasizing
the staging and characterization aspects.
• Discuss the various elements that contribute to making a
drama endearing and enduring: characters, plot, sets, costumes,
lighting, special effects, theme, etc.

ACTIVITY
As a class, conceptualize a one-act drama. Assign groups to
develop one different element each of your new play. Have
groups share out their work in an appropriate format for their
element (model, sketch, essay, slide show, short skit or simply in
discussion if time does not permit presentations). After pulling
the elements together, lead a discussion on its potential for
durability. How does its potential lasting interest compare and
contrast to that of The Phantom of the Opera musical?

HIGH SCHOOL: AT HOME:

ADAPTING A NOVEL THE PHANTOM: FACT
INTO A MUSICAL OR FICTION?
PRE-ACTIVITY The question of whether or not the Phantom actually existed
Distribute or explain the background of the Paris Opera House is much debated. This question is just one of the many factors
found in the guide. that keeps audiences interested in the story of The Phantom of
the Opera. The author of the novel upon which the play is based,
ACTIVITY Gaston Leroux, was convinced that he was real. In his prologue,
Staying true to historical details both in staging and costuming he writes:
while keeping them visually and emotionally interesting is one of
the challenges faced by a show’s creative team. After examining The Opera ghost really existed. He was not, as was long
photos of the The Phantom of the Opera U.S. tour production, believed, a creature of the imagination of the artists, the
compare and contrast the production details with the actual superstition of the managers, or a product of the absurd
Paris Opera House. You may wish to do additional research for and impressionable brains of the young ladies of the ballet,
more information on the historical background of the period their mothers, the box-keepers, the cloak-room attendants,
and the Opera House. Then, review the list of sets used in The or the concierge. Yes, he existed in flesh and blood,
Phantom of the Opera. How do these sets reflect the features of although he assumed the complete appearance of a real
the Paris Opera House? What makes them interesting to an phantom; that is to say, of a spectral shade.
audience? How do the costumes reflect the historical period?
After understanding what goes into these creative elements, But not everyone is convinced. Research this question on the
make your own adaptation of a novel into a musical, staying Internet. You decide: real or imaginary? Be prepared to share the
true to historical detail using the lesson provided by the Kennedy reasons for your decision with your classmates.
Center’s Arts Edge.

14
PRODUCTION ASPECTS
INTRODUCTION

S
cheduling, setting up, and breaking down stage sets; transporting
scenery and props; and making adjustments for the unique
features of multitudinous theaters are some of the issues that
any show faces when going on tour. On the production end of The
Phantom of the Opera North American Tour, that translates to packing,
unpacking, placing on stage and then repacking some 306 tons of
scenery, lighting, and sound equipment. As to scheduling, the most
travel that can be done is 650 miles between cities at 45 miles per hour.
That consideration, along with theater availability and suitability, must
also be taken into account.

PRODUCTION TEAM INSIGHT INTO

THE PHANTOM OF THE OPERA:
NORTH AMERICAN TOUR
“As Head of Production, my job is to move the show from OBJECTIVES
theater to theater over many months of the tour. Usually, that Students will:
means packing the trucks, unpacking, and repacking them • Apply mathematics to real world situations (Middle and High)
usually 2 times a month. My crew and I need to make sure that • Map a route (Middle)
we know in advance, the most efficient way to load and unload • Create a map to scale (High)
20 tractor-trailers. The clock is ticking; we have 33 hours of
work time from empty theater to curtain up. Then, after the run PRIMARY LEARNING
in each city, we have only 12 hours to load up and drive to the STANDARDS ADDRESSED
next city!” (Mathematics Common Core: Geometry and Modeling)
– Jason Juenker, Senior Production Manager, CCSS.Math.Content.7.G.A.1 Solve problems involving scale
The Spectacular New Production of The Phantom drawings of geometric figures, including computing actual
of the Opera lengths and areas from a scale drawing and reproducing a
scale drawing at a different scale.
SUGGESTED LESSON CCSS.Math.Content.HSN-Q.A.1 Use units as a way to
It is suggested that, prior to introducing these lessons, students understand problems and to guide the solution of multi-step
be familiar with Google maps, mapquest.com, or similar problems; choose and interpret units consistently in formulas;
Internet resources in preparation for classroom activities which choose and interpret the scale and the origin in graphs and
focus on mapping a route and the mathematics underlying data displays.
cartography. An “At Home” activity, which is also highly suitable CCSS.Math.Content.HSG-MG.A.3 Apply geometric methods
for the classroom, introduces algorithms for the age-old “packing to solve design problems (e.g., designing an object or
problem” and allows for student practice. structure to satisfy physical constraints or minimize cost;
working with typographic grid systems based on ratios).★
ESSENTIAL QUESTIONS CCSS.Math.Content.HSG-MG.A.3 Apply geometric methods
• What is the role of mathematics in cartography? to solve design problems (e.g., designing an object or
• What strategies can be used in mapping a route? structure to satisfy physical constraints or minimize cost;
• How are algorithms helpful in solving a packing problem? working with typographic grid systems based on ratios).★

PRIMARY LEARNING
STANDARDS ADDRESSED
(National Geography Standards)
• How to use maps and other geographic representations,
geospatial technologies, and spatial thinking to understand and
communicate information.
• The use of geographic representations to ask and answer
geographic questions.

15
MIDDLE SCHOOL:
MAPPING A ROUTE
• MapQuest http://mapquest.com and/or Google Maps https://
maps.google.com/
BACKGROUND • Mapping a Route (Worksheet One)
There are several factors that go into booking a tour of a • Rerouting Worksheet (Worksheet Two)
Broadway show. Available dates, theater size, technology, and
crew availability are just some of the variables that need to be ACTIVITY
considered. As a result, the route a tour takes may not always be 1. C alculate the total mileage and travel time from city to city of
the most cost- and time-effective one. the The Phantom of the Opera North American tour.
2. Reroute the tour to be more geographically and time-efficient.
MATERIALS Calculate your route’s mileage and travel time.
• Partial List of The Phantom of the Opera North American Tour 3. C
 ompare and contrast your results with the actual tour schedule.

HIGH SCHOOL:
THE MATHEMATICS OF CARTOGRAPHY
BACKGROUND get ready for your trip, become a cartographer and create a map to
While we generally think of maps being relevant in social studies scale of the city’s greater downtown area. Include in your map:
and geography classes, the truth is that the most important 1. Your arrival/departure airport, if applicable
training a cartographer needs to have is in mathematics. Math 2. The hosting theatre
helps cartographers with map scale, coordinate systems, and map 3. Five other points of interest you wish to explore
projection. A map scale is a ratio that compares the distance
After mapping your destinations, establish an itinerary for
on a map to the actual distance between points on the map.
yourself, noting the distance to each attraction and approximate
In mapping, a coordinate system uses one or more numbers,
travel time to get there and back.
or coordinates, to uniquely determine the position of a point.
Sounds like geometry! And finally, a map projection is a function Some things you need to know:
or transformation that relates coordinates of points on a curved • You will leave your home town airport on a Saturday and return
surface to coordinates of points on a plane. For our activity, we the following Saturday at noon.
will focus on map scale and ratios. • You will be staying at a hotel that is within walking distance
of the host theatre, so you can use that address as your starting
ACTIVITY point for excursions.
Congratulations! You are the Grand Prize winner of a trip to see • You will see the matinee show on Sunday.
The Phantom of the Opera at a tour location of your choosing! But
wait…There’s more. In addition to theater tickets, you will have an Helpful online resources: Google Maps, MapQuest, and the
all-expense paid week to explore the host city’s interesting sites. To chamber of commerce of the city you are visiting. Have Fun!

AT HOME: is the most time-consuming method, but usually gives a very

good result.
MAKING A MOVE Click here for an example of each of these algorithms.
BACKGROUND
ACTIVITY
There are different ways of fitting objects of different sizes into
Sort the following 12 containers into bins sized 100.
fixed-size containers efficiently, using as few containers as possible
25 36 72 45 34 20 11 8 17 50 66 14
• Lower bound: Add up the total amount of objects and divide by
1. Determine the lower bound
the size of the containers, rounding up to the next integer. This is
2. Pack the bin using the first fit algorithm
the smallest number of containers that are needed, but more may
3. Pack the bin using the first fit decreasing algorithm
be needed based on the sizes of the objects and containers.
4. Pack the bin using the full fit algorithm
• First fit algorithm: Take the objects in the order they are listed,
5. Discuss your results for each algorithm.
and put each in the first bin we come to that has room. This is
very easy to do, but does not give a very efficient result. Hint: Your lower bound number will be very close to a full
• First fit decreasing algorithm: Put the objects in decreasing integer, which means that your packing will have to be very
order of size, and then use the first fit algorithm precise. You may want to cross off numbers as you use them so as
• Full bin algorithm: Find combinations that produce full bins, not to repeat a number. Make sure you have 12 different ones in
and use the first fit algorithm on the remaining objects. This each of your result sets. Have fun!

16
 RESOURCE CENTER

RESOURCES FOR PURCHASE FREE RESOURCES

VOCAL SELECTIONS OFFICIAL WEBSITES
halleonard.com Tour: thephantomoftheopera.com/ustour
BOOKS Twitter.com/PhantomOnTour
Leroux, Gaston. The Phantom of the Opera. New York: Harper Perennial Facebook.com/PhantomOnTour
Library, 1987. Print.
YouTube: youtube.com/user/thephantomoftheopera
Lloyd Webber, Andrew. Andrew Lloyd Webber’s the Phantom of the Opera
Companion. Pavilion Books, 2005. Print. Composer: andrewlloydwebber.com, reallyuseful.com
Morley, Sheridan. Hey, Mr. Producer!: The Musical World of Cameron Producer: cameronmackintosh.com
Mackintosh. Back Stage Books, 1998. Print. Production Company: www.networkstours.com
Perry, George. The Complete Phantom of the Opera. New York: Henry Holt Paris Opera House: operadeparis.fr
& Company, 1988. Print.
Museé d’Orsay: musee-orsay.fr/en
Snelson, John. Andrew Lloyd Webber. New Haven: Yale University Press,
2004. Print.
Walsh, Michael. Andrew Lloyd Webber: His Life and Works. London: Viking, ACKNOWLEDGMENTS
1989. Print.
StageNotes® is published by Leonine Edutainment LLC.
DVDS
All Rights Reserved.
Andrew Lloyd Webber’s “Love Never Dies.” Dir. Brett Sullivan. Universal
Studios, 2012. DVD.
The authorized study guide for The Spectacular New Production of
Behind the Mask: The Story of “The Phantom of the Opera”. Dir. Jamie The Phantom of the Opera North American Tour was produced by
Crichton. Really Useful Films. 2005. DVD. Publisher . . . . . . . . . . . . . . . . . . . . . . . Susan E. Lee
The Phantom of the Opera (1924 Silent Film Classic). Dir. Lon Chaney. Project Manager. . . . . . . . . . . . . . . . . . Kerry Dineen
Alpha Video, 2002. DVD. Curriculum Designer. . . . . . . . . . . . . . Karen Mack
“The Phantom of the Opera”. Dir. Joel Schumacher. Perf. Gerard Butler and Feature Writer . . . . . . . . . . . . . . . . . . . Allen Mogol
Emmy Rossum. Warner Home Video, 2005. DVD. Original Researcher/Writer. . . . . . . . . . Peter Royston
Graphic Designer. . . . . . . . . . . . . . . . . Kathleen Giarrano
The Phantom of the Opera at the Royal Albert Hall. Perf. Ramin Karimloo
and Sierra Boggess. Universal Studios, 2012. DVD. Technology Architect. . . . . . . . . . . . . . Elbie Yaworsky
Featured Content. . . . . . . . . . . . . . . . . Philip Dean
RECORDINGS Dean Communications
The Phantom of the Opera (Original London Cast). February 2001. CD. Proofreader . . . . . . . . . . . . . . . . . . . . . Marla Garfield
The Phantom of the Opera (2004 Movie Soundtrack). November 2004. CD.
Highlights From The Phantom Of the Opera: The Original London Cast CREDITS FOR THE SPECTACULAR NEW PRODUCTION OF
Recording (1986 London Cast). October 1990. CD THE PHANTOM OF THE OPERA NORTH AMERICAN TOUR
Director. . . . . . . . . . . . . . . . . . . . . . . . Laurence Connor
The Phantom of the Opera at the Royal Albert Hall: In Celebration of 25 Years.
Musical Supervisor. . . . . . . . . . . . . . . . John Rigby
February 2012. CD.
Senior Production Manager. . . . . . . . . Jason Juenker
(All titles are available for purchase on amazon.com) NETworks Presentations
PERFORMANCE LICENSES Tour Booking, Engagement. . . . . . . . . Broadway Booking Office NYC
Available through R&H Theatricals at: rnh.com Management, Press & Marketing Steve Schnepp, Kent McIngvale
& Jenny Bates
TICKETS:
Production Photos. . . . . . . . . . . . . . . . Alastair Muir, Matthew Murphy
On Tour: thephantomoftheopera.com/ustour/tickets-and-schedule
On Broadway: telecharge.com SPECIAL THANKS
Lincoln Park Performing Arts Center

This publication is based on the production of The Phantom of the Opera with music and lyrics by Andrew Lloyd Webber and Charles Hart and book by Andrew Lloyd Webber
and Richard Stilgoe, based on the novel by Gaston Leroux. The content of The Phantom of the Opera edition of StageNotes® is fully protected under the copyright laws of the
United States of America and all other countries with which the United States has reciprocal copyright relations. All rights regarding publishing, reprint permissions, public
readings, and mechanical or electronic reproduction, including but not limited to CD-ROM, information storage and retrieval systems and photocopying, and the rights of
translation into foreign languages are strictly reserved.