THE MUSIC OF THE NIGHT
Midnight Rose 1994
Part 6
“Let my Opera begin!”
---Phantom, Act Two, Scene Six.
Winterfest began as it always did in the cold swirling Chamber of the Winds outside the massive oak doors of the Great Hall. Vincent removed the heavy, oak bar and led the procession of family, friends, and Helpers into the darkness. Sitting around the long tables pushed together as one, Father’s voice emerged from the gloom as he lit a single candle. Vincent and Mary took up the ritual of the familiar words telling the story of a community of darkness finding the light in their lives. The flickering light grew until every candle was lit and the shadows from every corner of the Great Hall were chased away.
An unusually high note of excitement presided over the day. The majestic atmosphere created by the stage area---elaborate, even by tunnel standards---seemed to whisper that something wonderful was going to happen. Most of the Helpers did not know what would be performed until it began because the yearly presentation was kept a secret from them. The production was not until after the hearty Winterfest feast. There was plenty of music and dancing, stories to swap, games to play, and friends to visit to help carry the morning and afternoon along.
Finally, it was time. Fifteen minutes before the curtain was to go up, the cast and crew were called backstage for last minute preparations and a pep talk from Vincent, Paul, and Lawrence, and then everyone was allowed to disperse to their appointed positions.
Vincent found Catherine in the crowded side stage area and stopped to give her a reassuring hug and kiss. “You shall be wonderful, my love. ” Though he looked calm and in control on the outside, he could not suppress his own nervousness and anticipation from effecting Catherine in a small way.
He moved off, leaving Catherine with her stomach butterflies and her fluttering fellow ballerinas. Her eyes followed her golden soulmate as he moved with fluid grace through the organized jumble of the side stage area to the side curtain where Lawrence met him. They exchanged quiet words, Vincent listening intently to what Lawrence was whispering into his ear. With a final glance back at the expectant cast and crew, Vincent parted the curtain and stepped out front.
The Hall candlelight was snuffed out and the assembled audience hushed as the golden leonine man stepped over the railroad tie stage boarder to center stage and the spotlight trained upon him; he was a golden prince, impressive and elegant in his finery. Tonight was what the underground community had been working for during the uncountable hours of labor, sacrifices of time, and the collecting of materials. The Tunnel community had a right to be proud. It was a moment of triumph.
“Ladies and gentlemen, on behalf of the Tunnel community’s heart-felt thanks to each and every one of our Helpers for their generous support throughout the years,” Vincent announced in his rich, granite voice, “we are proud to present for your enjoyment---The Phantom of the Opera. ”
**
Act One
“Sold”
The story unfolds during an auction of the Opera House’s contents years after the Phantom incident. The auctioneer (Lawrence) and a porter stand amidst tables cluttered with antique stage props and covered items. The bidders and a very old Raoul (Michael) sit in the audience.
The action commences with a blow from the auctioneer’s gravel. Bidding is fierce among several items including a musical box in the shape of a barrel organ with the figure of a monkey in Persian robes, playing the cymbals. A porter sets it in motion and it plays the gentle tune of ‘Masquerade. ’Raoul buys it and as he studies it for a moment he remembers Christine speaking of it.
Raoul:
“…Every detail exactly as she said…
She often spoke of you, my friend…
Your velvet lining and you figurine of lead…”
The auction continues with the next item: a chandelier. The auctioneer speaks of its role in the legend of the Phantom of the Opera and as the porter switches it on, the Overture begins---
**
“Think of Me”
The Opera House is restored to its earlier grandeur. The chandelier rises from the floor and hovers high above the stage.
The production of Hannibal is in dress rehearsal. The opera company has reached the end of a great choral scene with a huge elephant as one of the props and Diva Carlotta’s (Jamie) aria. A stagehand carries a ladder through the scene, as others are still constructing parts of the scenery. Reyer (Paul), the repetiteur is in charge, he is trying to keep the rehearsal going despite numerous interruptions (that play out comically in the background). Arriving in front of the stage (after coming down the stairs) is Lefevre (Pascal), the retiring manager of the Opera, giving a tour to the new owners, Frimen (Will) and Andre (Kainin). They comment among themselves on the ballet troop practicing off to one side (to the side of the stage) as Meg (Samantha) and Christine (Catherine) become prominent.
The rehearsal on stage climaxes and ends and Carlotta wastes no time making her presence known to the new House owners and she is asked to sing a bit of her aria. As she is singing, the elephant prop crashes to the floor behind her.
Ballet girls:
“He’s here: the Phantom of the Opera!”
The ballet girls and chorus are spooked and Carlotta storms off.
Carlotta:
“Well, until you stop these things from `appening-
This thing does not `appen!”
The Hannibal production is new and there is no understudy for Carlotta’s role. Meg grabs Christine by the hand and drags her onto the stage and tells the managers Christine could sing it. The ballet madam, Giry (Rebecca), reaffirms this. Christine, shy and unsure, begins to sing the aria, Think of Me, with growing confidence. The managers are impressed.
Christine:
“Think of me, think of me fondly,
When we’ve said goodbye.
Remember me once in awhile-
Please promise me you’ll try…”
*
The great choral scene transforms into the Gala opening night. Christine is revealed in full costume. The manager’s stage box is full, but Box Five (high up on the staircase landing) is empty-or is it? One of the patrons in the audience is Raoul, who sings of knowing Christine in his youth.
Raoul:
“She may not remember me,
But I remember her…”
**
“Angel of Music”
Backstage after the Gala performance, the ballet girls flock around Christine. Giry, the ballet madam, scolds them because their dancing was a disgrace. She holds a rehearsal right then and there on stage. The girls begin to practice outside Christine’s dressing room door (free-standing at center stage), while Giry keeps time with her cane. Christine enters her dressing room and stops short when she hears a haunting voice out of nowhere. She slowly spins in the tiny room furnished with a dressing table, stool, and full-length mirror.
“Bravi, bravi, bravissimi…”
Christine is bewildered by the voice and cautiously looks around her dressing room for the speaker. Meg follows Christine into the room, but has not heard the voice. Christine rounds in surprise and relief to see that it is only Meg. Meg wants to know who Christine’s teacher is and Christine sings about her mysterious Angel of Music. Meg is concerned because her friend looks frightened when she speaks of him. Giry breaks the moment by knocking on the door looking for Meg and she delivers a note from Raoul.
**
“Little Lotte/The Mirror”
Meanwhile, Raoul, Andre, and Frimen make their way towards the dressing room. Raoul wishes to see Christine alone and the managers move off. He knocks on the door and enters at Christine’s bidding.
The childhood friends embrace and laugh, then Christine moves away and sits at her dressing table. Raoul reminds her of her father’s story of Little Lotte and asks her to join him for dinner. Christine hesitates, wishing to refuse but Raoul has hurried off, plans already dancing in his head.
Catherine, still seated at the dressing table was not prepared for what happened next. Vincent was in position behind the mirror and when it came time for his lines, he did not speak the words.
Phantom:
“Ignorant fool!
This brave, young suitor,
Sharing in my triumph!”
He sang them! A beautiful, haunting baritone, deep and rich with the same granite tones of his beautiful speaking voice. It could only be the voice of a strange and wonderful angel.
The spellbound look on Catherine’s face as she rose to face the mirror was real. A magical hush fell upon the whole hall. Her voice quivered.
Christine:
“Angel! I hear you!
Speak- I listen…
Stay by my side, guide me!
Angel, my soul was weak-
Forgive me…
Enter at last, Master!”
The Phantom answers, his voice filling her tiny room.
Phantom:
“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 discernable in the reflection of the mirror. Christine is elated, thinking all the while it is the angel promised to come for her by her deceased Father on his deathbed.
Christine:
“Angel of Music!
Hide no longer!
Come to me, strange Angel…”
The voice beckons from the mirror. Christine moves closer and reaches her fingertips out to the shimmering glass.
Phantom:
“I am your Angel…
Come to me: Angel of Music…”
Meanwhile, Raoul has returned. From outside of Christine’s dressing room door, he hears the voices and is puzzled. He tries the door, but it is locked.
Inside the room, the mirror opens and the silhouette of the Phantom appears in the bright light. He reaches out a gloved hand and takes Christine’s fingers firmly. She gasps, hesitant. The Phantom’s voice is hypnotic.
Phantom:
“I am your Angel of Music…
Come to me, Angel of Music…”
Trusting, Christine disappears through the mirror, which closes behind her. The dressing room door magically unlocks and swings open. Raoul enters to find the room empty.
**
“The Phantom of the Opera”
Catherine was still in a daze as she was led offstage by Vincent. His glittering sapphire eyes within the white mask locked on her startled emeralds for a moment. The bond was a swirl of heightened emotions that could not be analyzed; they tumbled so in their shared excitement. She had no time to compliment him on his singing or ask the dozen of questions swirling in her head. Vincent was already leading her by the hand through the side curtain and they were strolling toward the rear of the Hall for the continuation of the scene. The swelling music reached her cue to sing again.
Christine:
“In sleep he sang to me
In dream he came…
That voice which calls to me
And speaks my name…”
Christine sings, as she is led by the Phantom to his lair deep below the foundations of the Opera House. She begins to understand this strange tutor.
Phantom:
“Sing once again with me
Our strange duet…
My power over you
Grows stronger yet…”
Christine:
“Those who have seen your face
Draw back in fear…
I am the mask you wear…”
Phantom:
“Its me they hear…”
These words ran straight to the hearts of the heart-bound couple. Catherine saw herself as Vincent’s eyes and ears to a world forbidden to him. He had often experienced many things through her that she had learned to share with him through their bond. It was if he walked beside her in the world Above, an almost physical presence. In the same spirit, Vincent gave Catherine an inner strength and courage very rare in most women.
Christine and the Phantom’s voices blended together in perfect harmony.
Christine and Phantom:
“Your/my spirit and your/my voice
In one combined:
The Phantom of the Opera is here/there-
Inside my/your mind…”
The haunting duet concludes as they arrive at the lair (around the audience and back on stage). The Phantom magically commands her voice and Christine begins to vocalize strangely her song becoming more and more extravagant.
**
“The Music of the Night”
At the Phantom’s gesture, invisible hands close the portico gates (light iron gates on wheels and moved by off-stage crew members. They framed the front edges of the stage. ). He welcomes Christine to his home and turns to the piano, as the Phantom plays he explains why he has brought her here. Christine slowly turns, her eyes touching the furnishings but not seeing them, in her dazed state. The piano in the front corner, a large carved chair of oak and worn rich brown leather. At the center of the lair, a round table with a strange music box and, beyond, in a back corner, a lavish bed.
Phantom:
“…To serve me, to sing
For my music…my music…”
The mood changes as the Phantom rises from the piano bench and mesmerizes Christine with the sensations of the ‘music of the night. ’
Phantom:
“Nighttime sharpens,
Heightens each sensation…
Darkness stirs
And awakes imagination…
Silently the senses
Abandon their defenses…”
Christine stands almost in a trance as the Phantom circles, wooing her with his movements, his words, and his touches. Her fingers, on their own accord, are brave enough to stray to the white mask and lovingly caress the porcelain cheek.
Phantom:
“Slowly, gently
Night unfurls its splendor…
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…”
Christine is becoming entranced by the Phantom’s magic and her eyes begin to flutter close.
Phantom:
“Close your eyes
And surrender to your
Darkest dreams!
Purge your thoughts
Of the life you knew before!
Close you eyes,
Let your spirit start to soar!
And you’ll live
As you’ve never lived before…”
The Phantom comes up behind the hypnotized Christine and wraps an arm around her shoulders as she begins to sway and weaken under his power.
Phantom:
“Floating, falling
Sweet intoxication!
Touch me, trust me,
Savoir 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…”
The Phantom catches Christine in his arms as she loses consciousness and carries her to the lavish bed covered in layers of colorful quilts and mounds of mixed pillows. He gently lays her down and steps back to gaze upon her dreaming form.
Phantom:
You alone
Can make my song take flight-
Help me make the music of the night…”
The song ended concluding the scene---no one moved. The scene had played out with such power, beauty, and magic, it left everyone spellbound, including the crew---again.
Vincent kept the scene going as the music lulled for a few seconds and the spotlight danced to find him again. The transition was deceptively smooth because this scene blended into the next with no changes to the scenery.
**
“Stranger then You Dreamt it. ”
The Phantom is sitting at the piano, playing with furious concentration. He breaks off occasionally to write the music down with a feathered quill.
Across the lair, Christine awakens in the plush bed. On a round table nearby is a musical box in the shape of a barrel organ and monkey. Mysteriously, it plays as she sits up, its music keeping her in a daze. Slowly, Christine remembers the mist, the journey underground, and the mysterious man.
Christine rises and approaches the Phantom seated at the piano, his back to her. He does not know that she is behind him. As she reaches to remove the concealing mask, the Phantom turns, almost catching her several times.
Christine:
“Whose is the face in the mask?”
Finally, Christine succeeds in tearing the mask from his face. The Phantom springs up and rounds on her furiously.
Vincent had added dark, wide parallel gashes with makeup to the right side of his face across his brow, nose, and cheek, the side which was revealed to the audience. When the mask came off it shocked Catherine as well.
Christine clearly sees his face and the horror of it causes her to stumble backward and fall to the floor. Covering half of his face with his hand, the Phantom curses her. Is this what she wanted to see---his face? Now that she has seen it, he tells her she can never be free of him.
Christine’s revulsion to his appearance is clear and the pain is too deep, cutting him to the soul. Phantom sinks to his knees, rocking with pain, one hand still covering his ruined face and the other pressed over his broken heart.
For a long moment, Catherine felt all the pain Vincent experienced when strangers recoiled from his own animal face. The feelings Vincent called up from within himself to play this scene were crushing in their intensity. The truth was in his stormy blue gaze and Catherine found that she could not even look Vincent in the eye for many moments.
After a moment, still on hands and knees, the Phantom recovers and challenges Christine.
Phantom:
“Stranger than you dreamt it…
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…”
Christine retrieves the fallen mask and tenderly gives it back to him. The Phantom puts it on and his mood immediately changes. He stands up and pulls Christine to her feet, abruptly changing the subject.
Phantom:
“Come, we must return-
Those two fools who run my theatre
Will be missing you. ”
**
“The Magical Lasso”
On a backstage staircase, Buquet (Kipper), the stagehand is showing off to the impressionable ballet girls. He rounds in a length of blanket pinned to his throat, it serving as a cloak and holds a piece of rope as the Punjab Lasso (The Phantom’s lasso that is held magical up in thin air). Demonstrating his method of self-defense against the Phantom’s noose, Buquet inserts his hand between his neck and the loop of the rope. He pulls the rope taunt. With a mixture of horror and delight, the ballet girls applaud this demonstration.
The curtain at the back of the darkened stage parts and shadows emerge. The girls run off terrified. It is the Phantom returning Christine and he fixes his cold stare on Buquet standing on the stairs. Sweeping his cloak around Christine, they exit into the curtains at the opposite side of the stage. Before they are gone, Giry (Rebecca) has come to the base of stairs, observing. She turns on Buquet and warns him that it would be wise if he held his tongue about the Phantom.
**
“Prima Donna”
Firmen (Will) is in the manager’s office, standing at his desk, scornfully eyeing a newspaper article.
Firemen:
“…Gossip is worth its weigh in gold…
…It’s a scandal that’ll pack’em in the aisles!”
Andre (Kainin) bursts in the open door, his temper raging. The spooked cast and crew are threatening to walk out. Firmen sorts his mail that Andre hands him and finds two letters from the Phantom. Snatching a letter, Andre tears it open and reads it aloud; then Firmen does the same to his own letter. Both letters are signed O. G. They quickly realize it stands for Opera Ghost and are not the bit amused.
Raoul (Michael) barges in the door with his own mysterious note wanting an explanation---who sent it and who forbids him to see Christine? Carlotta enters a moment later; she also has a letter warning her not to play the role of the Countess in IL Muto. The managers, Raoul, and Carlotta are beginning to tire of the intrigue when Giry (Rebecca) appears, with yet, another note of the most amiable nature.
Vincent, as the Phantom, took over the reading of the note, speaking from his perch on the staircase landing.
The managers are determined not to comply with the Phantom’s demands and must persuade their stubborn, and haunted Prima Donna to perform as planned. It is a declaration of war.
Phantom:
“So, it is to be war between us!
If these demands are not met,
A disaster beyond your imagination will occur!”
“Once more!”
**
“Poor Fool, He Makes Me Laugh!”
Firmen and Andre have taken their seats in the stage box for the performance of Il Muto. Raoul is in Box Five (on the staircase landing), the Phantom’s private box.
On stage, IL Muto begins. The Countess, played by Carlotta, and the pageboy, played by Christine, who is disguised as the Countess’ maid, sit upon a plush bed. The Countess’ attendants, who are gossiping amongst themselves about her current liaison with her pageboy, Sarafimo, surround them.
Carlotta, as the Countess:
“Poor fool, he makes me laugh!
Ha, ha, ha, ha,
Time I tried to get a better half!”
The Phantom’s voice booms within the walls of Box Five (Vincent under the staircase), shaking up Raoul. The Phantom is very upset that his demands were not met.
Christine, breaking out of character:
“He’s here, the Phantom of the Opera!”
Carlotta hisses at Christine to be silent and calls her a toad. The Phantom, whose ears are everywhere has heard her and taunts Carlotta. Carlotta determines to continue and after conferring with the conductor (Paul) starts the scene over. As she sings again, Carlotta emits a croak, like a toad. She cannot continue and is ushered off the stage.
The flustered managers hail from their box to soothe the restless audience. A change of plans is announced; the role of the Countess is given to Christine. While the understudy changes into costume, the audience will be shown the ballet from Act Three of IL Muto.
Meanwhile, the managers and Raoul have come out of their boxes and are nervously watching the stage from the sidelines.
The ballet girls enter and begin to dance. At the back of the stage, the curtains move as two forms move against them. Meg (Samantha) is distracted by the movement behind her and dances out of step. Suddenly, Buquet (Kipper) is pushed through the curtains and he falls to the stage floor dead.
Pandemonium breaks out, on stage and off.
Players in amidst the audience stood up and cried out in fear making the scene come alive for the Tunnel friends and Helpers watching.
Cast and crew swarm in from all over the theatre (Hall) and crowd onto the stage. Amidst the chaos, Christine and Raoul find each other.
Raoul:
“Christine, come with me…”
Christine:
“No…to the roof, we’ll be safe there. ”
The couple hurries off, leaving the confusion behind.
Firmen:
“Ladies and gentlemen, please remain in your seats.
Do not panic. It was an accident…simply an accident…”
**
“All I Ask of You”
On the roof of the Opera House (staircase landing), Raoul calms Christine and the fact that she has met this Phantom and has seen his face comes tumbling out.
Christine:
“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…”
Christine’s freight turns to sadness for her strange Angel.
“…Yet in his eyes,
All the sadness of the world…
Those pleading eyes,
That both threaten and adore…”
Raoul comforts her.
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. ”
The Phantom, unseen by the couple clings to the shadows below them. Raoul sings to Christine of his love and promises to protect her. They share a tender kiss.
Raoul and Christine:
“Anywhere you go let me go too…
Love me-
That’s all I ask of you…”
The couple plots to escape from the Phantom’s wrath after the performance that evening. They hurry back to the stage before Christine is missed.
The Phantom emerges from the shadows climbing toward the spot where Raoul and Christine had been standing. He sings with lament and growing anger of his betrayal.
Phantom:
“I gave you me 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…
You will curse the day you did not do…
All the Phantom asked of you…!”
*
The scene returns to the stage where the principals of IL Muto are taking their bows to audience applause. Suddenly, maniacal laughter fills the Opera house and the chandelier rocks perilously, its lights flickering. The Phantom is at the ropes holding the chandelier and with a great cry from the masked man, everyone on stage scatters as the chandelier crashes to the stage at Christine’s feet.
End of Act One
***
“Really, you were perfect!
I only wish I knew you secret!
Who is this new tutor?”
---Meg, Act One, Scene Two.
Act One was behind them. It had been a nearly flawless execution with only one scene not opening on cue. The chandelier survived its fall with all its lights and Vincent hoisted it back overhead for the rest of the play. The spotlights were turned off and by the dim glow of the stage chandelier, candelabras and lamps throughout the Great Hall were lit for Intermission.
As soon as Catherine exited the stage after the last scene, she headed for the back of the staircase and waited for Vincent to come down the steep temporary stairs built onto the back. She did not even wait for him to take his Phantom mask off before she gripped his arms and demanded, “Why didn’t you tell me you could sing?”
Vincent’s shy gaze peering from behind the pearl white clay reflected the fiery glow of a nearby lantern. “I wanted to surprise you. ”He cocked his elegant golden head. “I had decided not to sing until Lawrence caught me at the curtain…”
Catherine remembered Lawrence halting him at the side curtain before Vincent announced the presentation.
“He told me I had practiced too hard for this night to back out now. ”His wife released her hold on him and he removed his mask. Catherine helped him drape a long red shawl around his lofty shoulders over the black cloak he wore as he continued to explain. “The nights I have been going Above to visit Lawrence have been two-fold---to discuss the play and to teach me to sing…as least, give me the courage to try. ”
“Oh, Vincent, you sing as beautifully as you speak…” Catherine cooed giving her soulmate a hug. The couple locked eyes for many moments. More could have been said out loud but it was not necessary, the bond between them was working its magic, the emotion of thoughts clear to their hearts.
A gathering of cast and crew crowded around the fairytale couple breaking the passionate, silent communication between the lovers. Everyone wanted to compliment Vincent on his singing success. Vincent tucked Catherine safely in his red and black cloaked embrace to protect her from the press of the crowd in the tight space of the backstage area cluttered with props.
“Vincent, you sing great!”
“We didn’t know you could sing. You were wonderful. ”
“No more excuses for holding out during sing-a-longs and Sunday worship. ”
“Vincent, you were sensational. ”
Vincent graciously, but shyly accepted the praise. “Let’s not get carried away…” There will be time for triumph later. “We still have Act Two to survive. ”
Vincent gave his bride a final hug and released her; he then herded the bustling cast back to their tasks as he took charge of his duties as director, his binder and Red Death scull mask and feathered hat in hand. The stage was readied for the extravagant opening scene of Act Two. Everyone, with their variety of party masks was in their places in plenty of time.
The audience was quieted and the Entr’acte filled the Great Hall setting the mood for the Second Act.