The Phantom
of the Opera

Musical Sensation
by Andrew Lloyd Webber

Music by Andrew Lloyd Webber
Lyrics by Charles Hart
Additional Lyrics by Richard Stilgoe
Book by Richard Stilgoe
and Andrew Lloyd Webber
Directed by Harold Prince

Tampa Bay Performing Arts Center
Tampa, Florida
January 2001


The Phantom

Christine Daaé

Vicomte Raoul de Chagny

Carlotta Guidicelli

Monsieur Firmin

Monsieur André

Madame Giry

Ubaldo Piangi

Meg Giry

Monsieur Reyer/Jeweler ("Il Muto")


Hairdresser ("Il Muto")/Marksman

Monsieur Lefévre/Firechief

Joseph Buquet

Don Attilo ("Il Muto")
Passarino ("Don Juan Triumphant")

Slave Master ("Hannibal")

Solo Dancer ("Il Muto")



Page ("Don Juan Triumphant")

Wardrobe Mistress/Confidante ("Il Muto")

Princess ("Hannibal")

Spanish Lady ("Don Juan Triumphant")

Innkeeper's Wife ("Don Juan Triumphant")

Madame Firmin/Wildwoman ("Hannibal")

The Ballet Chorus of the Opéra Populaire

Ballet Swing

Ted Keegan

Rebecca Pitcher

John Cudia

Julie Schmidt

David Cryer

Bill Carmichael

Patti Davidson-Gorbea

Frederic Heringes

Melissa Allen

David DeWitt

Jack Savage

Thomas E. Cunningham

Allen Kendall

Jay Lusteck

Lawrence Asher

Joseph Woelfel

William Patrick Dunne

William Solo

Kirk Vaughn-Robinson

Lydia Rajunas

Elizabeth Huling

Julie Hanson

Diane Jennings

Janet Saia

Laureen Vigil

L. Melissa Allen, Caroline Chapman,
Jacqueline Emma Gabbard, Kristi Patricia,
Lisl Vaillant, Laurie Volny

Michelle Lucci

Larry Adams, Ray Gabbard, Barbara Scanlon

Synopsis of Scenes
and Musical Numbers


The stage of Paris Opera House, 1911

ACT ONE - Paris 1881

SCENE 1: Dress rehearsal of "Hannibal"
Think of Me

SCENE 2: After the Gala
Angel of Music

SCENE 3: Christine's dressing room
Little Lotte/The Mirror (Angel of Music)

SCENE 4: The Labyrinth underground
The Phantom of the Opera

SCENE 5: Beyond the Lake
The Music of the Night

SCENE 6: Beyond the lake, next morning
I Remember/Stranger Than You Dreamt It

SCENE 7: Backstage
Magical Lasso

SCENE 8: The Manager's Office
Notes/Prima Donna

SCENE 9: A performance of "Il Muto"
Poor Fool, He Makes Me Laugh

SCENE 10: The roof of the Opéra House
Why Have You Brought Me Here/Raoul, I've Been There
All I Ask of You
All I Ask of You (Reprise)


Christine and Meg


Phantom and Christine


Christine and Phantom

Buquet,Meg,Madame Giry,
Ballet Girls


Carlotta and Company

Raoul and Christine
Raoul and Christine


SCENE 1: Opera House, New Year's Eve
Why So Silent

SCENE 2: Backstage

SCENE 3: The Manager's Office
Notes/Twisted Every Way

SCENE 4: A rehearsal for Don Juan Triumphant

SCENE 5: A graveyard in Peros
Wishing You Were Somehow Here Again
Wandering Child/Bravo,Bravo

SCENE 6: The Opéra House stage

SCENE 7: Don Juan Triumphant
The Point of No Return

SCENE 8: The Labyrinth underground
Down Once More/Track Down This Murderer

SCENE 9: Beyond the Lake

Full Company



Phantom and Christine

Full Company


This was my first time watching the musical by Andrew Lloyd Webber. This production starred Ted Keegan as the Phantom, Rebecca Pitcher as Christine, and Julie Schmidt as Carlotta.

Ted Keegan has a pleasant voice that reminded me somewhat of recordings I've heard by Chris Corcoran. In Leroux's novel, the daroga says Phantom often behaves like a "conceited child," and Keegan's portrayal captured this aspect of Erik's personality extremely well. It was cute the way he would pace around, stick his face up in the air, and act almost "twitchy" when he was angry. When he came out for his curtain call, the members in my group encouraged me to do my Xena war cry. I indulged but did not think anything of it, as I was way up in the dead last row of the gallery seats. The next day, when I talked about it at a phorum, one of the actors came forward and told me they could hear me. Hee hee. I mean uh, oh. Heh heh.

Rebecca Pitcher has a very pleasant voice but, forgive me, my poor brain is stuck in one gear concerning the quintessential Christine, at least in regards to the voice - Sarah Brightman. I know Brightman does not have the best reputation as an actress, but her voice in this role stole my heart years ago. Shame on me, because I normally prefer the buffet approach verses the strict diet. Brightman left the show ages ago and pioneered the pop opera genre, yet my poor brain is stuck. I'm working on it. Anyways, Pitcher looked quite lovely in a few of the costumes, including the pageboy outfit and the white wedding dress. While I am a mere collector and not a professional critic, however, it seems her role as Christine is almost too passive. I do not blame her as a performer; I think it is just how Christine's role in written in this production. There seems to be the same problem in the movie adaptation.

Speaking of the movie, there are some significant differences between it and the live show. The graveyard scene, for instance, is quite different (and I think better) in the live show. It shows just how emotionally vulnerable Christine has become, making her so easily deceived by the Phantom who claimed to be her Angel of Music. The chemistry between Pitcher and Keegan was extraordinary as the Phantom slowly appears from behind the tombstone. Raoul as an inexperienced young man is no match for the Phantom and in the show, this is obvious. He never could have won a swordfight against an experienced street killer like the Phantom, so I think the movie was all wrong on this point (if a work of fiction can be "wrong"). Raoul is nearly toasted in this scene, and is spared only because Christine pulls him out of the way in the nick of time.

I have to admit, Julie Schmidt was a show-stealer in ways that would make Carlotta proud. From the moment she came on stage with the fake decapitated head, bellowing out her notes from Hannibal, I could see the foreshadowings of a Prima Donna that loves to be worshipped but does not like to be angered. She was a hoot in this production.

Unlike the movie based on this musical, one of the new managers is actually very taken by Carlotta. It is cute the way Carlotta drinks the adulation up, volunteering to sing "Think of Me" just for him as he gazes with wide eyes and nearly swoons. Another funny thing they did in the live show that is not in the movie occurs during the moment when the Phantom makes Carlotta sound like a toad. In this show, Carlotta runs off the stage and as the lights dim for a quiet moment for the ballet scene, one more very loud "Coack" comes out from behind the curtain. It's still yet another one of those many "little things" that makes going to the live show worthwhile, even if you've seen the movie.

Ken Hill | Yeston and Kopit | Webber (2001) | Webber (2004)

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