It evolved over time and incorporates a variety of influences and elements. First of all, of course, there is the music. Minstrel songs and the cakewalk; Irish ballads and patriotic jingles; ragtime marches and stirring blues; poignant torch songs and jazz ditties; totemic anthems and rock opera — the musical has captured every idiom of American expression. However, this is by no means the only kind of music to appear on Broadway. Then, there are the lyrics, the words that go with the music.
Broadway lyrics have become another form of native poetry — words, catchphrases, sentiments, and stanzas that have entered the American lexicon. The lyrics of Cole Porter, Ira Gershwin, and Irving Berlin — to name but three — are routinely quoted in poetry anthologies around the world. In the early days of the musical, what mattered most were the songs, and it was essential that they were catchy enough to amuse the audience or provide material for dancers or comedians.
But, beginning in the s, the situation, the book or libretto, of the musical started to achieve primary importance. A story or narrative became more frequently the spine of the musical, and in the s, mostly due to the narrative sophistication of the shows of Rodgers and Hammerstein, the songs followed the plot and the characters, rather than the other way around.
As the musical got more complex, it required a director to shape the production and its design and concept. Strong musical directors like George S.
Performers have also been the cornerstone of the musical. In fact, in the past, there were separate dancing and singing choruses; now everyone is expected to do it all. None of these elements would come together without the producer.
The idea for a new musical can come from a writer, composer, or performer, but it can only be realized by a producer. He or she must raise the money for the production; the amount required is called the capitalization.
Giry leads Raoul down to the catacombs to rescue Christine. The Phantom has Christine wear a wedding dress and proposes marriage. Christine admits that she does not fear the Phantom for his appearance but for his rage and willingness to kill. Raoul arrives, the Phantom threatening to kill him unless Christine weds him. Christine, pitying the Phantom, kisses him.
Moved by her kindness, the Phantom allows the lovers to flee. Before leaving, Christine gives the Phantom her ring in remembrance. In , the elderly Raoul visits Christine's gravestone, placing the monkey before it. Before leaving, he notices a freshly laid rose with Christine's ring attached to it, implying that the Phantom is alive and that he still loves her. Warner Bros. Hugh Jackman was offered the chance to audition for the Phantom, but he faced scheduling conflicts with Van Helsing.
I wasn't available, unfortunately.
Elements of the Musical
So, that was a bummer. Christine is attracted to the Phantom because he's the right side of danger. However, Hathaway dropped out of the role because the production schedule of the film overlapped with The Princess Diaries 2: Royal Engagement , which she was contractually obligated to make. For the role of Carlotta, Minnie Driver devised an over-the-top, camp performance as the egotistical prima donna.
Principal photography lasted from 15 September to 15 January The film was shot entirely using eight sound stages at Pinewood Studios ,  where, on the Pinewood backlot , the bottom half exterior of the Palais Garnier was constructed. The top half was implemented using a combination of computer-generated imagery CGI and a scale model created by Cinesite.
Production designer Anthony D. Schumacher was inspired by Jean Cocteau 's Beauty and the Beast , where a hallway is lined with arms holding candelabra.
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However, both categories were awarded to The Aviator. The soundtrack of the film was released in two separate CD formats on 23 November as a two-disc deluxe edition which includes dialogue from the film and a single-disc highlights edition. The film received mixed to negative reviews from film critics but received highly positive reviews from audiences.
Despite having been impressed with the cast, Jonathan Rosenbaum of the Chicago Reader wrote that "Teen romance and operetta-style singing replace the horror elements familiar to film-goers, and director Joel Schumacher obscures any remnants of classy stage spectacle with the same disco overkill he brought to Batman Forever.
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In a mixed review for Newsweek , David Ansen praised Rossum's performance, but criticized the filmmakers for their focus on visual design rather than presenting a cohesive storyline. Still, I can easily imagine a more dashing, charismatic Phantom than Butler's. Rest assured, however, Lloyd Webber's neo- Puccinian songs are reprised and reprised and reprised until you're guaranteed to go out humming. Roger Ebert , who gave the film three stars out of four, reasoned that "part of the pleasure of movie-going is pure spectacle—of just sitting there and looking at great stuff and knowing it looks terrific.
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There wasn't much Schumacher could have done with the story or the music he was handed, but in the areas over which he held sway, he has triumphed. Now, in Schumacher's film, that spell lives on. From Wikipedia, the free encyclopedia. The Phantom of the Opera Theatrical release poster. British Board of Film Classification. Retrieved 4 March Box Office Mojo. Retrieved 18 March Entertainment Weekly. Retrieved 25 September The New York Times. Retrieved 26 September Retrieved 20 September Retrieved 19 September TV Guide.
Retrieved 19 October Animation World Network. Retrieved 23 December Associated Press. Retrieved 16 February Pittsburgh Tribune-Review. Archived from the original on 16 December Archived from the original on 29 June Archived from the original on 8 July Motion Picture Producers Association of Japan. Academy of Motion Picture Arts and Sciences.
Archived from the original on 14 July Retrieved 14 October Hollywood Foreign Press Association. Archived from the original on 15 December