Scribd Logo
Upload

Welcome to Scribd!

  • 112 views

    F 8279

    Uploaded by

    leon lama
    The

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    F 8279

    Uploaded by

    leon lama
    112 views8 pages
    The

    Original Title

    f_8279

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF, TXT or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    The

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    112 views8 pages

    F 8279

    Uploaded by

    leon lama
    The

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 8

    The

    Phantom
    of the
    Opera
    Dramatized by Dirk Kuiper
    Based on the novel by Gaston Leroux

    PERFORMANCE RIGHTS

    It is an infringement of the federal copyright law to copy this script


    in any way or to perform this play without royalty payment. All
    rights are controlled by Eldridge Publishing Co. Inc. Contact the
    publisher for additional scripts and further licensing information.
    The author’s name must appear on all programs and advertising
    with the notice: “Produced by special arrangement with Eldridge
    Publishing Co.”
    PUBLISHED BY
    ELDRIDGE PUBLISHING COMPANY
    www.histage.com
    © 2004 by Dirk Kuiper

    Download your complete script from Eldridge Publishing


    http://www.histage.com/playdetails.asp?PID=1675
    The Phantom of the Opera
    -2-

    DEDICATION
    For Ken, Tim and Erin, who first read it; for Ang, who built it and
    kept it running; for the cast and crew of the original production, who
    made it sing; and for my Angel of Music, Jenn.

    STORY OF PLAY
    This version of the story, while based on the novel, focuses more
    on the character of Christine Daae, the young opera singer. As the
    play opens, she has just filled in for La Carlotta, the reigning prima
    donna, to a stupendous ovation. The owners of the opera are
    thrilled and congratulate her backstage, just as the ballet dancers
    flee from the “Opera Ghost.” The owners, of course, do not believe
    in it. They inform Christine that the Vicomte de Chagny wishes to
    see her. Raoul, the Vicomte, comes to her dressing room, and it
    becomes apparent that they knew each other when they were
    young. Raoul apparently left her for reasons of loyalty to his family.
    Christine’s voice instructor, whom she thinks of as the “Angel of
    Music” her father once told her of, speaks to her. She convinces
    him to show himself, and he does. Now, however, she wants to
    see the hidden world he lives in, for she realizes he is the person
    people call the “Opera Ghost,” though he tells her his real name is
    Erik.
    Reluctantly, he takes her beneath the Opera to his lair, and she
    sees the wonder of a world that totally revolves around music.
    Curious about the mask he wears, she pulls it off his face when he
    is playing the organ, and sees the hideous visage beneath it. He is
    devastated, but she, after her initial shock, gives him the mask back
    and promises to continue her lessons.
    Eventually, Erik is convinced Christine intends to leave the
    Opera. La Carlotta returns and is put in the leading role, defying
    the Opera Ghost’s directive. Erik causes the chandelier over the
    stage to fall, though Carlotta escapes.
    The Phantom of the Opera
    -3-

    In Act II, a masked ball is held. Erik, in a new costume, appears,


    and reminds Christine that she belongs to him. Raoul is defiant.
    He asks Joseph, who works backstage, for information about the
    Opera Ghost. Joseph goes below in search of the Ghost, but he is
    captured. During a performance by Christine, the lights go out, and
    when they return, the body of Joseph is there. His girlfriend, Meg,
    now bent on revenge, joins Raoul as they journey into the cellars.
    Erik captures both. Christine agrees to marry him if he will set them
    free. He does, but Meg produces a knife and tries to kill him.
    Christine stops her, but Raoul also has moved to attack him.
    Christine takes Meg’s knife and threatens to kill herself if all
    violence doesn’t stop. Christine tells Raoul and Meg that she will
    remain with Erik, by choice and not by force. Erik stops them, and
    tells Christine to accompany them. Now that he knows she really
    loves him, he must pay for the crimes he has committed. They sing
    a last song together, and then she leaves with the others. Erik
    goes to the river and throws himself in.

    TIME: 1881.
    PLACE: The Paris Opera and the graveyard at Perros.

    ORIGINAL PERFORMANCE
    “The Phantom of the Opera” was first presented on October 27,
    1995, Spruce Creek High School Drama Club, Port Orange,
    Florida. It was directed and designed by the playwright. It was
    stage managed by Angela Hinton with the following cast:
    Christine Daae: Gretchen Ludwig
    Erik, the “Opera Ghost”: Damon Keith
    Raoul, Vicomte deChagny: Jeff Cheezum
    Meg Giry: Michele Dillon
    Joseph Buquet: Zia Khan
    Carlotta Salvador: Erin Fisher
    Armand Moncharmin: John Longino
    Firmin Richard: Kevin Snipes
    Madame Giry: Kylie Koscoe
    Ratcatcher/Dancer: Albert Chan
    Messenger/Dancer: Keith Marks
    Corps de Ballet: Megan Barnes, Naomi Beth Canup,
    Melissa Lilavois, Courtney Miller, Betsy Powers
    The Phantom of the Opera
    -4-

    CAST OF CHARACTERS
    (4 M, 4 W, 3 flexible, numerous extras)

    CHRISTINE DAAE: A young opera singer.


    ERIK, THE “OPERA GHOST”: A mysterious musician.
    RAOUL, VICOMTE deCHAGNY: Childhood friend and love of
    Christine.
    MEG GIRY: A ballet dancer and Christine’s confidante.
    JOSEPH BUQUET: A backstage crew member, in love with Meg.
    CARLOTTA SALVADOR: The Opera’s Spanish diva.
    ARMAND MONCHARMIN: Business manager of the Opera.
    FIRMIN RICHARD: Artistic manager of the Opera. (May be played
    by a female, Claudette Richard.)
    MADAME GIRY: Head of the box office and Meg’s mother.
    MESSENGER: (May be played by male or female.)
    RATCATCHER: (May be played by male or female.)
    CORPS DE BALLET
    MEMBERS OF PARISIAN SOCIETY

    SYNOPSIS OF SCENES
    Act I
    Scene 1: The stage and backstage area of the Paris Opera.
    Scene 2: Christine’s dressing room.
    Scene 3: The cellars and an underground lake.
    Scene 4: The Phantom’s lair.
    Scene 5: The stage, days later.
    Scene 6: The Phantom’s lair, later.
    Scene 7: The office of the managers, the next afternoon.
    Scene 8: The graveyard at Perros, that evening.
    Scene 9: The stage and backstage area, the next evening.
    Scene 10: The roof.
    Scene 11: Christine’s dressing room.
    Scene 12: The stage and backstage area.
    Act II
    Scene 1: The Grand Staircase, two weeks later.
    Scene 2: The cellars.
    Scene 3: The stage.
    Scene 4: The cellars.
    Scene 5: The Phantom’s lair.
    Scene 6: An underground lake.
    Scene 7: The Phantom’s lair.

    ***See additional PRODUCTION NOTES at end of script.


    The Phantom of the Opera
    -5-

    ACT I
    Scene 1

    (AT RISE: The LIGHTS come up on a SINGLE FIGURE


    onstage, her back to the audience. She is facing an
    audience we do not see beyond the footlights at her feet.
    Standing at the edges of the stage, we now see MEG GIRY
    and the other BALLET DANCERS, as well as JOSEPH
    BUQUET, all entranced by the performance. The figure
    concludes her song to a massive ovation; the back curtain,
    representing the stage’s grand drape, closes, and the figure
    turns as she EXITS the stage. We now see it is CHRISTINE
    DAAE, flushed from the triumph of her performance. Meg
    and the ballet dancers crowd around her.)

    MEG: Oh, Christine, you were wonderful! That was the most
    beautiful thing I have ever heard!
    BALLET DANCERS: (Ad lib.) Yes! Did you hear the
    crowd? So wonderful! (Etc.)
    CHRISTINE: Oh, thank you so much! I was so nervous!
    MEG: You should not have been. It is Senora Carlotta who
    should be nervous! And it serves her right for not showing
    up tonight!
    CHRISTINE: Oh, now you are exaggerating.
    MEG: Mark my words. The new managers will not forget
    that an understudy performed brilliantly in their first
    production. See, here they come even now! No doubt to
    congratulate you. I will see you later, Christine!
    BALLET DANCERS: (Ad lib.) Congratulations again! (Etc.)

    (MEG and the other GIRLS leave the stage as ARMAND


    MONCHARMIN and FIRMIN RICHARD, accompanied by a
    MESSENGER, enter from the wings looking about. Upon
    seeing CHRISTINE, they hasten to her.)

    ARMAND: Though I have no ear, my dear, I must say I was


    most moved! There was something so unique about your
    performance.
    The Phantom of the Opera
    -6-

    FIRMIN: Well, I do have an ear, my young woman, and I am


    stunned. To hear something so stupendous on our first
    night…it is more than we could have wished for.
    CHRISTINE: Thank you, monsieurs, I --

    (Suddenly, there are SCREAMS from offstage, and MEG


    and the DANCERS return, racing to hide by the various
    people on the stage.)

    MEG: It’s him! It’s the Opera Ghost!


    ARMAND: What’s this? What are you talking about?
    MEG: The Opera Ghost! He came out of the shadows as
    we left the stage!
    BALLET DANCERS: (Ad lib.) Yes, it was dreadful! Did you
    see his eyes? (Etc.)
    FIRMIN: Nonsense! The only ghost around here is the one
    you have scared out of me! Your eyes are playing tricks
    on you young ladies.
    BALLET DANCERS: (Ad lib.) No! He was there! (Etc.)
    ARMAND: No, Monsieur Richard is quite right. Calm
    yourselves and go about your business.
    MEG: You don’t understand, monsieurs … but you will. You
    will.

    (MEG and the other GIRLS drift over to JOSEPH. Meg


    brightens, and all the girls gather around him as he begins to
    whisper stories to them. They giggle to themselves; this
    occurs under the following action.)

    ARMAND: Miss Daae, the Vicomte deChagny has asked to


    be admitted backstage, and while it is not unusual for such
    an attractive young lady --
    FIRMIN: Armand!
    ARMAND: Pardon me. Well, in any case, we wished to
    make certain it would be acceptable for him to speak to
    you.
    CHRISTINE: It would be an honor, sir. I will be in my
    dressing room.
    ARMAND: Very good. Then until later.
    The Phantom of the Opera
    -7-

    FIRMIN: And again, mademoiselle, a magnificent


    performance!
    CHRISTINE: Thank you.

    (SHE exits as ARMAND sends his MESSENGER offstage.


    MADAME GIRY enters from the opposite wing and
    approaches them.)

    MADAME GIRY: You wished to see me, monsieurs?


    FIRMIN: Ah, yes, Madame Giry. It’s about this business this
    evening with Box 5.
    ARMAND: Yes, what was the commotion about? I am given
    to understand there were complaints.
    MADAME GIRY: The occupants were disturbed, monsieurs,
    because they kept hearing a voice during the
    performance.
    FIRMIN: A voice? Why did you not instruct the offending
    party to hold his tongue?
    MADAME GIRY: That is difficult to do, monsieur, when the
    offending party cannot be located.
    FIRMIN: And why could he not be located?
    MADAME GIRY: Because there was no one else in the box.
    ARMAND: But that is simply preposterous. Someone must
    have been in the box if a voice was heard.
    MADAME GIRY: In most cases, yes, monsieur.
    ARMAND: Woman, you have become entirely too cryptic!
    What exactly do you mean?
    MADAME GIRY: The people in Box 5 were disturbed to
    hear voices when they were alone in the box, and so they
    left, rather noisily. They did not see the offending party
    because it was … (Looking around carefully.) the Opera
    Ghost!
    ARMAND: Oh, really, this has gone too far!
    FIRMIN: Yes, we understand that everyone wants to have
    their little joke on the new management, but enough.
    There are certainly no ghosts here.
    End of Freeview

    Download your complete script from Eldridge Publishing


    http://www.histage.com/playdetails.asp?PID=1675

    Eldridge Publishing, a leading drama play publisher since


    1906, offers more than a thousand full-length plays, one-act
    plays, melodramas, holiday plays, religious plays, children's
    theatre plays and musicals of all kinds.

    For more than a hundred years, our family-owned business


    has had the privilege of publishing some of the finest
    playwrights, allowing their work to come alive on stages worldwide.

    We look forward to being a part of your next theatrical production.

    Eldridge Publishing... for the start of your theatre experience!

    You might also like