Keep in mind we're only about 20 minutes into the show and this isn't even the worst of it.Īfter threatening the theatre owners with disastrous harm if Christine is not given the lead in the next opera, the owners decide to stick with their resident diva, Carlotta. So to recap, a 30-40-year-old man has been preying upon a 15-20-year-old girl, kidnaps her and reveals a twisted scenario of secretly marrying her. In the same regard, due to the Phantom's childhood connection with Madame Giry, it's also safe to say that the Phantom is at least 15-20 years older than Christine. However, most women who play the role, are in their low to mid-'20s (Sarah Brightman - 25, Sierra Boggess - 24), so we can certainly say that Christine is in the 15-20 age range. Since that occurred in Webber's version, it's fair to say that he intended her to be that age.
#The phantom of the opera movie
But, in the movie version, based on the dates shown on her gravestone, the events of the show would have occurred when she was 15 to 16. However based on her childhood friendship with Raoul, assuming they're the same age, that would put her around 20. The original novel hints that she's around 15-16 years old, but this is often misconstrued because the passage describes her heart "as pure as that of a 15-year-old". How young is this girl? Well, that's up for debate. To begin with, it's very clear that the Phantom has been manipulating an impressionable young girl by exploiting the words of her dead father. Okay, let's break a couple of things down here. The Phantom picks her up and places her on a bed. When they arrive, the Phantom shows Christine a mannequin resembling herself in a wedding dress, and she faints. She is essentially kidnapped by the Phantom and taken to his underground lair. Now here is where Christine's ordeal begins. After being visited by her childhood friend, Raoul, she is then visited by the jealous/possessive Phantom. Christine is then thrust into the lead role by the Opéra's ballet mistress after the owners are told she's been "well taught".Īfter her triumphant performance, she admits to her friend, Meg Giry, that she has been tutored by her "Angel of Music", a figure that her sick father often said would help Christine after his death.
After a rehearsal incident involving the "Phantom of the Opera", the resident diva quits the show and storms off stage. When we first meet Christine, she is a young chorus girl at the Paris Opera House. Now while many call it the greatest love story in musical theatre history when we look at the piece through the eyes of Christine Daae, it's not much of a love story at all.and there's a sequel.
In the past, we've looked at shows such as Oklahoma!, Grease, Beauty & the Beast and Carousel. Today, we dip into another fan favorite, The Phantom of the Opera. And in Christine Daaé, he’s found his angel of music: the young woman he would make a star.When looking at some of our favorite shows through the eyes of different characters, perspectives can change, plots can shift and what might be comedy could become far darker. The Phantom haunts the catacombs beneath the Paris Opera House. Its “bigger and better than ever before” ( Yorkshire Post), “stunning, intense and spectacular” (Sunday Express). Overseen by Cameron Mackintosh & Matthew Bourne, the “simply epic” new staging includes many special effects, from the famous chandelier to the underground lake, and a large cast and orchestra. It features a new direction by Laurence Connor, brand new scenic design by Paul Brown, lighting design by Tony Award ®-winner Paule Constable, sound design by Mick Potter, new choreography by Scott Ambler and the original, Tony Award ®-winning costume design by Maria Björnson. Now, you can hear them all in a spectacular new production that has stunned critics across the United Kingdom and North America.
Hit after hit punctuates the thrilling score, from the stunning romance of “Music of the Night”, “Think of Me” and “All I Ask of You” to the splendid “Masquerade” and brilliant title song. Experience the phenomenon of one of the most successful musicals of all time, when Cameron Mackintosh’s new production of Andrew Lloyd Webber’s legendary show makes its Sydney Opera House debut.
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