ACT ONE - PARIS 1881 THE STAGE OF THE PARIS OPERA, 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 AUCTlONEER's gavel) AUCTIONEER Sold. Your number, sir? Thank you. Lot 663, then, ladies and gentlemen: a poster for this house's production of "Hannibal" by Chalumeau. PORTER Showing here. AUCTIONEER Do I have ten francs? Five then. Five I am bid. Six, seven. Against you, sir, seven. Eight. Eight once. Selling twice. Sold, to Raoul, Vicomte de Chagny. Lot 664: a wooden pistol and three human skulls from the 1831 production of "Robert le Diable" by Meyerbeer. Ten francs for this. Ten, thank you. Ten francs still. Fifteen, thank you, sir Fifteen I am bid. Going at fifteen. Your number, sir? 665, ladies and gentlemen: a papier-mache musical box, in the shape of a barrel-organ. Attached, the figure of a monkey in Persian robes playing the cymbals. This item, discovered in the vaults of the theatre, still in working order. PORTER (holding it up) Showing here. (He sets it in motion) AUCTIONEER My I start at twenty francs? Fifteen, then? Fifteen I am bid. (the bidding continues. RAOUL. eventually buys the box for thirty francs) Sold, for thirty francs to the Vicomte de Chagny. Thank you, sir. (The box is handed across to RAOUL. 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 gentlemen, 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, gentlemen? (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)
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 GUIDICELLI. 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 cade) 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". (seeing 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 voce 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. BALLET GIRLS begin their dance. LEFEVRE, ANDRE and FIRMIN stand centr-stage 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 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) Mme. 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 absent- mlndedly 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 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-sized 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 Giudicelli, 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 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 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. FlRMIN 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 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.
THINK OF ME
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. 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 August when the trees were green- don't think about the way things 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) Long ago,BR> It seems so long ago, How young and innocent we 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! Come, we rehearse. Now! (She emphasizes this with her cane. The BALLET GIRLS settle into rehearsal upstage, GlRY keeping time with her stick. Variations on this continue throughout the scene)
ANGEL OF MUSIC
(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 Brava, brava, bravissima. . . (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) I watched your face from the shadows, distant through all the applause.. I hear your voice in the darkness... but the words aren't yours.. 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 CHRlSTlNE 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 red 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. (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 "NoQwhat 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 song 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.
THE MIRROR (ANGEL OF MUSIC)
(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 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 CHRISTINE 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 closes behind her The door of the dressing room suddenly unlocks and swings open, and RAOUL enters to find the room empty) RAOUL Christine! Angel!
Scene 4 THE PHANTOM OF THE OPERA
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 thereQ 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/hereQ inside your/my mind . . . Sing, my Angel of Music! CHRISTINE He's there, the Phantom of the Opera . . . (She begins to vocalise strangely, her song becoming more and more extravagant.)
Scene 5 THE MUSIC OF THE NIGHT
BEYOND THE LAKE THE NEXT MORNING (Finally they arrive in the PHANTOM'S lair. Downstage the candles in the lake lift up revealing giant candelabrums 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 (281K) 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 . . . (changing mood) 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 caress you . . . Feel it, hear it, secretly possess 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 dust cover 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 tongueQ he will burn you with the heat of his eyes . . .
Scene 8 THE MANAGERS' OFFICE
(Desk, chairs, papers. FIRMIN is scornfully eyeing a newspaper article) FIRMIN "Mystery after gala night," if says, "Mystery of soprano's flight!" "Mystified baffled Surete say, we are mystified - we suspect foul play!" (He lowers the paper) Bad news on soprano scene - first Carlotta, now Christine! Still, at least the seats get soldQ gossip's worth its weight in gold . . . Diva tenders resignation! Cover does a moonlight flit! Half your cast disappears, but the crowd still cheers! Opera! To hell with Gluck and Handel - Have a scandal and you're sure to have a hit!BR> (ANDRE bursts in, in a temper) ANDRE Damnable! Will they all walk out? This is damnable! FIRMIN Andre, please don't shout . . . It's publicity! And the take is vast! Free publicity! ANDRE But we have no cast . . . FIRMIN (calmly) But Andre, have you seen the queue? (He has been sorting mail on his desk. Finding the two letters from the PHANTOM): Oh, it seems you've got one too . . . (He hands the letter to ANDRE, who opens it and reads): ANDRE "Dear Andre what a charming gala! Christine enjoyed a great success! We were hardly bereft when Carlotta left - otherwise the chorus was entrancing, but the dancing was a lamentable mess!" FIRMIN (reading his) "Dear Firmin, just a brief reminder: my salary has not been paid. Send it care of the ghost, by return of postQ P.T.O.: No-one likes a debtor, so it's better if my orders are obeyed!" FIRMIN/ANDRE Who would have the gall to send this? Someone with a puerile brain! FIRMIN (examining both letters) These are both signed "O.G." . . . ANDRE Who the hell is he? BOTH (immediately realizing) Opera ghost! FIRMIN (unamused) It's really not amusing! ANDRE He's abusing our position! FIRMIN In addition he wants money! ANDRE He's a funny sort of spectre . . . BOTH . . . to expect a large retainer! Nothing plainer - he is clearly quite insane! (They are interrupted by the arrival of RAOUL, who brandishes another of the PHANTOM'S notes) RAOUL Where is she? ANDRE You mean Carlotta? RAOUL I mean Miss Daae - where is she? FIRMIN Well, how should we know? RAOUL I want an answer - I take it that you sent me this note? FIRMIN What's all this nonsense? ANDRE Of course not! FIRMIN Don't look at us! RAOUL She's not with you, then? FIRMIN Of course not! ANDRE We're in the dark . . . RAOUL Monsieur, don't argue - Isn't this the letter you wrote? FIRMIN And what is it, that we're meant to have wrote? (Realizing his mistake) Written ! (RAOUL hands the note to ANDRE, who reads it) ANDRE "Do not fear for Miss Daae. The Angel of Music has her under his wing. Make no attempt to see her again." (The MANAGERS look mystified) RAOUL If you didn't write it, who did? (CARLOTTA bursts in. She too has a letter, which has cheered her no more than the others) CARLOTTA Where is he? ANDRE Ah, welcome back! CARLOTTA Your precious patron - where is he? RAOUL What is it now? CARLOTTA (to RAOUL) I have your letter - a letter which I rather resent! FIRMIN (to RAOUL) And did you send it? RAOUL Of course not! ANDRE As if he would! CARLOTTA You didn't send it? RAOUL Of course not! FIRMIN What's going on . . .? CARLOTTA (to RAOUL) You dare to tell me, that this is not the letter you sent ? ! RAOUL And what is it that I'm meant to have sent? (RAOUL takes the letter and reads it) "Your days at the Opera Populaire are numbered. Christine Daae will be singing on your behalf tonight. Be prepared for a great misfortune, should you attempt to take her place." (The MANAGERS are beginning lo tire of the intrigue) ANDRE/FIRMIN Far too many notes for my taste - and most of them about Christine! All we've heard since we came is Miss Daae's name . . . (GIRY suddenly appears, accompanied by MEG) GIRY Miss Daae has returned. FIRMIN (drily) I trust her midnight oil is well and truly burned. ANDRE Where precisely is she now? GIRY I thought it best that she went home . . . MEG She needed rest. RAOUL May I see her? GIRY No, monsieur, she will see no-one. CARLOTTA Will she sing? Will she sing? GIRY Here, I have a note . . . RAOUL/CARLOTTA/ANDRE Let me see it! FIRMIN (snatching it) Please! FIRMIN (Opens the letter and reads. The PHANTOM'S voice gradually lakes over) "Gentlemen, I have now sent you several notes of the most amiable nature, detailing how my theatre is to be run. You have not followed my instructions. I shall give you one last chance . . ." PHANTOM'S VOICE (taking over) Christine Daae has returned to you, and I am anxious her career should progress. In the new production of "Il Muto", you will therefore cast Carlotta as the Pageboy, and put Miss Daae in the role of Countess. The role which Miss Daae plays calls for charm and appeal. The role of the Pageboy is silent - which makes my casting, in a word ideal. I shall watch the performance from my normal seat in Box Five, which will be kept empty for me. Should these commands be ignored, a disaster beyond your imagination will occur. FIRMIN (taking over) "I remain, Gentlemen, Your obedient servant, O.G." CARLOTTA Christine! ANDRE Whatever next . . .? CARLOTTA It's all a ploy to help Christine! FIRMIN This is insane . . . CARLOTTA I know who sent this: (pointing an accusing finger) The Vicomte - her lover! RAOUL (ironical) Indeed? (to the OTHERS) Can you believe this? ANDRE (to CARLOTTA, in protest) Signora! CARLOTTA (half to the MANAGERS, half to herself) O traditori! FIRMIN (to CARLOTTA) This is a joke! ANDRE This changes nothing! CARLOTTA O mentitori! FIRMIN Signora! ANDRE You are our star! FIRMIN And always will be! ANDRE Signora . . . FIRMIN The man is mad! ANDRE We don't take orders! FIRMIN (announcing it to EVERYONE) Miss Daae will be playing the Pageboy - the silent role . . . ANDRE/FIRMIN Carlotta will be playing the lead! CARLOTTA (waxing melodramatic) It's useless trying to appease me! You're only saying this to please me! Signori, e vero? Non, non, non voglio udire ! Lasciatemi morire! O padre mio! Dio! GIRY Who scorn his word, beware to those . . . CARLOTTA (to MANAGERS) You have reviled me! GIRY The angel sees, the angel knows . . . RAOUL Why did Christine fly from my arms . . .? CARLOTTA You have rebuked me! ANDRE/FIRMIN Signora, pardon us . . . CARLOTTA You have replaced me! ANDRE/FIRMIN Please, Signora, we beseech you . . . GIRY This hour shall see your darkest fears . . . MEG/RAOUL I must see her . . . CARLOTTA Abbandonata! Deseredata! 0, sventurata! GIRY The angel knows, the angel hears . . . RAOUL Where did she go . . .? CARLOTTA Abbandonata! Disgraziata! ANDRE/FIRMIN Signora, sing for us! Don't be a martyr . . . RAOUL/GIRY/MEG What new surprises lie in store . . .? ANDRE/FIRMIN Our star . . .! CARLOTTA Non vo' cantar!
PRIMA DONNA
(ALL look at CARLOTTA, as the MANAGERS approach her lovingly) ANDRE Your public needs you! FIRMIN We need you, too! CARLOTTA (unassuaged) Would you not rather have your precious little ingenue? ANDRE/FIRMIN Signora, no! the world wants you! (The MANAGERS adopt their most persuasive attitudes) ANDRE/FIRMIN Prima donna first lady of the stage! Your devotees are on their knees to implore you ! ANDRE Can you bow out when they're shouting your name? FIRMIN Think of how they all adore you! BOTH Prima donna, enchant us once again! ANDRE Think of your muse . . . FIRMIN And of the queues round the theatre! BOTH Can you deny us the triumph in store? Sing, prima donna, once more! (CARLOTTA registers her acceptance as the MANAGERS continue to cajole and the OTHERS reflect variously on the situation) RAOUL Christine spoke of an angel . . . CARLOTTA (to herself, in triumph) Prima donna your song shall live again! ANDRE/FIRMIN (to CARLOTTA) Think of your public! CARLOTTA You took a snub but there's a public who needs you! GIRY (referring to CHRISTINE) She has heard the voice of the angel of music . . . ANDRE/FIRMIN (to CARLOTTA) Those who hear your voice liken you to an angel! CARLOTTA Think of their cry of undying support ! RAOUL Is this her angel of music . . .? ANDRE (to FIRMlN) We get our opera . . . FIRMIN (to ANDRE) She gets her limelight! CARLOTTA Follow where the limelight leads you! MEG Is this ghost an angel or a madman . . .? RAOUL Angel or madman . . .? ANDRE/FIRMIN (aside) Leading ladies are a trial! GIRY Heaven help you, those who doubt . . . CARLOTTA You'll sing again, and to unending ovation! RAOUL Orders! Warnings! Lunatic demands! GIRY This miscasting will invite damnation . . . ANDRE/FIRMIN Tears . . . oaths . . . Iunatic demands are regular occurrences! MEG Bliss or damnation? Which has claimed her . . .? CARLOTTA Think how you'll shine in that final encore! Sing, prima donna, once more! GIRY Oh fools, to have flouted his warnings! RAOUL Surely, for her sake . . . MEG Surely he'll strike back . . . ANDRE/FIRMIN Surely there'll be further scenes - worse than this! GIRY Think, before these demands are rejected! RAOUL . . .I must see these demands are rejected! MEG . . . if his threats and demands are rejected! ANDRE/FIRMIN Who'd believe a diva happy to relieve a chorus girl, who's gone and slept with the patron? Raoul and the soubrette, entwined in love's duet! Although he may demur, he must have been with her! MEG/RAOUL Christine must be protected! CARLOTTA 0, fortunata! Non ancor abbandonata! ANDRE/FIRMIN You'd never get away with all this in a play, but if it's loudly sung and in a foreign tongue it's just the sort of story audiences adore, in fact a perfect opera! RAOUL His game is over! GIRY This is a game you cannot hope to win! RAOUL And in Box Five a new game will begin . . . GIRY For, if his curse is on this opera . . . MEG But if his curse is on this opera . . . ANDRE/FIRMIN Prima donna the world is at your feet! A nation waits, and how it hates to be cheated! CARLOTTA The stress that falls upon a famous prima donna! Terrible diseases, coughs and colds and sneezes! Still, the dryest throat will reach the highest note, in search of perfect opera! MEG/GIRY . . . then I fear the outcome . . . RAOUL Christine plays the Pageboy, Carlotta plays the Countess . . . GIRY . . . should you dare to . . MEG . . . when you once again . . . ALL Light up the stage with that age old rapport! Sing, prima donna, once more! PHANTOM'S VOICE So, it is to be war between us! If these demands are not met, a disaster beyond your imagination will occur! ALL Once more!
Scene 9 A PERFORMANCE OF 'IL MUTO' BY ALBRIZZI0
(During the overture RAOUL, ANDRE and FIRMIN take their respective seats - RAOUL in Box Five, the MANAGERS in a box opposite) RAOUL Gentlemen, if you would care to take your seats? I shall be sitting in Box Five. ANDRE Do you really think that's wise, monsieur? RAOUL My dear Andre, there would appear to be no seats available, other than Box Five . . . (The front cloth rises to reveal an 18th Century salon, a canopied bed centre-stage. The COUNTESS is played by CARLOTTA. SERAFIMO, the page boy, is disguised as her maid and is played by CHRISTINE. At this point they are hidden behind the drapes of the bed, which are drawn. In the room are TWO EPICENE MEN: one a HAIRDRESSER and one a JEWELLER. The JEWELLER is attended by MEG. There is also an OLDER WOMAN, the COUNTESS' confidante. All a part from MEG are gossiping with relish aboutt he COUNTESS' current liaison with SERAFIMO) CONFIDANTE They say that this youth has set my Lady's heart aflame! 1ST FOP His Lordship sure would die of shock! 2ND FOP His Lordship is a laughing-stock! CONFIDANTE Should he suspect her God protect her! ALL THREE Shame! Shame! Shame! This faithless lady's bound for Hades! Shame! Shame! Shame! (The canopy drapes part and we see the COUNTESS kissing SERAFlMO passionately. As the recitative begins, the lights and music dim on stage, and our attention turns to the MANAGERS in their box) IN THE BOX : ANDRE Nothing like the old operas! FIRMIN Or the old scenery . . . ANDRE The old singers . . . FIRMIN The old audience . . . ANDRE And every seat sold! FIRMIN Hardly a disaster beyond all imagination! (They chuckle and nod to RAOUL in the opposite box. He acknowledges them) ON STAGE COUNTESS Serafimo - your disguise is perfect. (A knock at the door) Who can this be? DON ATTILI0 Gentle wife, admit your loving husband. ATTENTION BACK ON STAGE (The COUNTESS admits DON ATTILI0. He is an old fool) DON ATTILI0 My love - I am called to England on affairs of State, and must leave you with your new maid. (Aside) Though I'd happily take the maid with me. COUNTESS (aside) The old fool's leaving! DON ATTILI0 (aside) I suspect my young bride is untrue to me. I shall not leave, but shall hide over there to observe her! DON ATTILI0 (to COUNTESS) Addio! COUNTESS Addio! BOTH (to each other) Addio! (He goes, pretending to leave, then hides and watches the action) COUNTESS (CARLOTTA) Serafimo - away with this pretence! (She rips off SERAFIMO'S skirt to reveal his manly breeches) You cannot speak, but kiss me in my husband's absence! Poor fool, he makes me laugh! Haha, Haha! etc. Time I tried to get a better better half ! COUNTESS AND CHORUS Poor fool, he doesn't know! Hoho, Hoho! etc. If he knew the truth, he'd never, ever go! (Suddenly from nowhere, we hear the voice of the PHANTOM) PHANTOM'S VOICE Did I not instruct that Box Five was to be kept empty? MEG (terrified) He's here: the Phantom of the Opera . . . (General reaction of bewilderment. CHRISTINE looks fearfully about her) CHRISTINE It's him . . . I know it . . . it's him . . . CARLOTTA (Finding a scapegoat in CHRISTINE, hisses at her) Your part is silent, little toad! (But the PHANTOM has heard her) PHANTOM'S VOICE A toad, madame? Perhaps it is you who are the toad . . . (Again general unease. CARLOTTA and the CONDUCTOR confer and pick up from the opening of the scene) CARLOTTA (As the COUNTESS) Serafimo, away with this pretence! You cannot speak, but kiss me in my croak! (Instead of singing she emits a great croak like a toad. A stunned silence. CARLOTTA is as amazed as anyone but regains herself and continues. More perturbing, however, is a new sound: the PHANTOM is laughing - quietly at first, then more and more hysterically) CARLOTTA (as the COUNTESS) Poor fool, he makes me laugh - Hahahahaha! Croak, croak, croak, croak, croak, croak, etc. (As before. The PHANTOM'S laughter rises. The croaking continues as the chandelier's lights blink on and off. The PHANTOM'S laughter, by this time overpowering, now crescendos into a great cry): PHANTOM'S VOICE Behold! She is singing to bring down the chandelier! (CARLOTTA looks tearfully up at the MANAGERS ' box and shakes her head) CARLOTTA Non posso piu . . . I cannot . . . I cannot go on . . . PIANGI (rushing on) Cara, cara . . . I'm here . . . is all right . . . Come . . . I'm here . . . (ANDRE and FIRMIN hurry out of the box onto the stage. PIANGI ushers the now sobbing CARLOTTA offstage, while the MANAGERS tackle the audience) FIRMIN Ladies and gentlemen, the performance will continue in ten minutes' time . . . (He addresses Box Five, keeping one eye on the chandelier as it returns to normal) . . . when the role of the Countess will be sung by Miss Christine Daae. ANDRE (improvising) In the meantime, ladies and gentlemen, we shall be giving you the ballet from Act Three of tonight's opera. (to the CONDUCTOR) Maestro - the ballet - now! (The MANAGERS leave, the stage is cleared and music starts again. The BALLET GlRLS enter as a sylvan glade flies in. They begin the Dance of the Country Nymphs. Upstage, behind the drop, a series of threatening shadows of the PHANTOM. MEG is aware of them and dances out of step. When this culminates in one gigantic, oppressive, bat-like shadow, the garotted body of JOSEPH BUQUET falls onto the stage, causing the sylvan glade to fly out. Pandemonium.) CHRISTINE (calling for help) Raoul! Raoul! (RAOUL runs on stage and embraces her) RAOUL (to CHRISTINE, leading her away) Christine, come with me . . . CHRISTINE No. . . to the roof. We'll be safe there. (CHRISTINE and RAOUL hurry off) FIRMIN (Attempting to placate the audience as STAGE- HANDS and POLICEMEN crowd onto the stage) Ladies and gentlemen, please remain in your seats. Do not panic. It was an accident . . . simply an accident . . .
Scene 10 THE ROOF OF THE OPERA HOUSE
(A statue of 'La Victoire Ailee' - the same as that which tops the proscenium. It is twilight. CHRISTINE and RAOUL rush on) RAOUL Why have you brought us here? CHRISTINE Don't take me back there! RAOUL We must return! CHRISTINE He'll kill me! RAOUL Be still now . . . CHRISTINE His eyes will find me there! RAOUL Christine, don't say that . . . CHRISTINE Those eyes that burn! RAOUL Don't even think it . . . CHRlSTlNE And if he has to kill a thousand men - RAOUL Forget this waking nightmare . . . CHRISTINE The Phantom of the Opera will kill . . . RAOUL This phantom is a fable . . . Believe me . . . CHRISTINE . . . and kill again! RAOUL There is no Phantom of the Opera . . . CHRISTINE My God, who is this man . . . RAOUL My God, who is this man . . . CHRISTINE . . . who hunts to kill . . .? RAOUL . . . this mask of death . . .? CHRISTINE I can't escape from him . . . RAOUL Whose is this voice you hear . . . CHRISTINE . . .I never will! RAOUL . . . with every breath . . .? BOTH And in this labyrinth, where night is blind the Phantom of the Opera is here: inside your/my mind . . . RAOUL There is no Phantom of the Opera . . . CHRISTINE Raoul, I've been there - to his world of unending night . . . To a world where the daylight dissolves into darkness . . . darkness . . . Raoul, I've seen him! Can I ever forget that sight? Can I ever escape from that face? So distorted, deformed, it was hardly a face, in that darkness . . . darkness . . . (trancelike, then becoming more and more ecstatic) But his voice filled my spirit with a strange, sweet sound . . . In that night there was music in my mind . . . And through music my soul began to soar! And I heard as I'd never heard before . . . RAOUL What you heard was a dream and nothing more . . . CHRISTINE Yet in his eyes all the sadness of the world . . . Those pleading eyes, that both threaten and adore . . . RAOUL (comforting) Christine . . . Christine . . . PHANTOM (unseen, a ghostly echo of RAOUL's words) Christine . . . CHRISTINE What was that?
ALL I ASK OF YOU
(A moment, as their eyes meet. The mood changes.) RAOUL No more talk of darkness, Forget these wide-eyed fears. I'm here, nothing can harm you - my words will warm and calm you. Let me be your freedom, let daylight dry -your tears. I'm here, with you, beside you, to guard you and to guide you . . . CHRISTINE Say you love me every waking moment, turn my head with talk of summertime . . . Say you need me with you, now and always . . . promise me that all you say is true - that's all I ask of you . . . RAOUL Let me be your shelter, let me be your light. You're safe: No-one will find youQ your fears are far behind you . . . CHRISTINE All I want is freedom, a world with no more night . . . and you always beside me to hold me and to hide me . . . RAOUL Then say you'll share with me one love, one lifetime . . . Iet me lead you from your solitude . . . Say you need me with you here, beside you . . . anywhere you go, let me go too - Christine, that's all I ask of you . . . CHRISTINE Say you'll share with me one love, one lifetime . . . say the word and I will follow you . . . BOTH Share each day with me, each night, each morning . . . CHRISTINE Say you love me . . . RAOUL You know I do . . . BOTH Love me - that's all I ask of you . . . (They kiss) Anywhere you go let me go too . . . Love me - that's all I ask of you . . (CHRISTINE starts from her reverie) CHRISTINE I must go - they'll wonder where I am . . . wait for me, Raoul! RAOUL Christine, I love you! CHRISTINE; Order your fine horses! Be with them at the door! RAOUL And soon you'll be beside me! CHRISTINE You'll guard me, and you'll guide me . . . (They hurry off. The PHANTOM emerges from behind the statue) PHANTOM I gave you my music . . . made your song take wing . . . and now, how you've repaid me: denied me and betrayed me . . . He was bound to love you when he heard you sing . . . Christine ... Christine ... RAOUL/CHRISTINE (offstage) Say you'll share with me one love, one lifetime . . . say the word and I will follow you . . . Share each day with me, each night, each morning . . . PHANTOM You will curse the day you did not do all that the Phantom asked of you . . .! (As the roof of the opera house disappears, the opera curtain closes and the PRINCIPALS in 'Il Muto' appear through it for their bows, CHRISTINE conspicuously dressed in CARLOTTA'S costume. simultaneously, we hear the maniacal laughter of the PHANTOM and see him high above the stage, perilously rocking the chandelier. The lights of the chandelier begin flickering and, at a great cry from him, it descends, swinging more and more madly over the orchestra pit) PHANTOM Go! ! (The chandelier falls to the stage at CHRISTINE'S feet)