The Phantom of the Opera

The Phantom of the Opera is the mysterious denizen of the Paris Opera House's deepest sub-basement. It is also the name of the many, many iterations of his story.

The Original Novel
The French novel Le Fantôme de l'Opéra by Gaston Leroux was first published in serial form between 1909 and 1910. It was translated to English in 1911 and has since been adapted into multiple books and films as well as the popular musical by Andrew Lloyd Webber.

The original novel is sadly ignored by most fanbrats. Thus, they miss certain important details such as the fact that the Phantom's name is Erik, that his eyes are yellow, and that he wears a full black mask. Oh, and he's really, really, I mean damn-I've-seen-better-looking-corpses UGLY.

This does not stop them from finding him Teh hawTt.

Also overlooked is the character of the Persian, who was replaced by Madame Giry in the ALW musical and film.

Phantom
Written by Susan Kay and published in 1991. Phantom is a re-telling of Erik's life from the points of view of various people. It begins with his mother's POV, switches to Erik's when he runs away from home, then to master stonemason Giovanni's, then to the Persian's (here named Nadir Khan), back to Erik, then Christine, and finally to Raoul.

From this adaptation comes Erik's cat, Ayesha.

Maskerade
Written by Terry Pratchett and published in 1995. Maskerade is a Discworld novel that parodies the story.

Phantom of Manhattan
Written by Fredrick Forsyth and published in 1999. Inspiration for the awful Phantom: Love Never Dies. Notable for dissing the original Leroux work, making the Phantom wear a clown mask, making Christine bear the Phantom's rape baby, making Raoul impotent, and killing Christine. And the musical only got worse.

The Musical
In 1986, Andrew Lloyd Webber's musical adaptation of the novel opened in London's West End, starring Michael Crawford as the Phantom, Sarah Brightman as Christine Daaé, and Steve Barton as Raoul. The musical score was composed by Webber with lyrics by Charles Hart with contributions from Richard Stilgoe.

Webber's musical follows the story of Leroux's novel relatively faithfully as it pertains to Christine, the Phantom (who goes unnamed), and Raoul. Webber's version focuses more on the romance of the story than the mystery, but at least this way the Phantom retains his humanity and gets his redemption in the end. Some names are changed (perhaps to make them easier to sing) and some, like Raoul's older brother and the Persian, are written out altogether.

The Other Musical
In 1999, Fredrick Forsyth wrote a sequel to the original Lloyd-Webber musical entitled The Phantom of Manhattan. In 2010, this novel was adapted into its own musical, entitled Phantom: Love Never Dies.

A short summary of Love Never Dies is that it is essentially a pretentious fanbrat's wet dream. The Phantom has become a successful amusement park owner in New York, and he possesses an automaton of Christine that he regularly...eh, interacts with. He finally gets the nerve to invite Christine over to sing in one of his operas, completely unaware that Meg Giry is also in love with him. Christine has given birth to the Phantom's illigitimate son, who was conceived the night before she married Raoul. Raoul is a bitter drunkard who has wasted away his family's fortune on booze and gambling. Madame Giry has forced Meg to become a prostitute in order to supply the Phantom with more money. And then it got worse...

But the saddest thing about it is that this atrocity was actually written by Andrew Lloyd Webber himself. Old fans of the original musical are disillusioned...and the fanbrats of the 2004 movie are squeeing. And it's a published work, so the PPC is forced to protect it, glorified badfic though it is.

The Non-Webber Musical
Maury Yeston and Arthur Kopit produced yet another musical adaptation, entitled simply Phantom, which hit stages in 1991. Actually, this adaptation was completed before Lloyd-Webber produced his take on the story, but then Phantom of the Opera became a smash hit in London, and moved to a Broadway production. Yeston and Kopit's backers thought that both musicals were the same (not the case) and they withdrew their support. Finally, Yeston and Kopit just marketed the production for off-Broadway venues. Nowadays, it's fondly referred to as one of the most popular musicals never see on Broadway.

Phantom does not follow the plot of the Leroux novel as faithfully as Phantom of the Opera. The Phantom is actually referred to as Erik, and he is the illegitimate son of a retired manager of the Opera. Erik's younger and more innocent in this plot; he hasn't actually killed anyone until the very beginning of the show, because his father has protected him from intruders. He actually has a sense of humor, too, and his interest in Christine is less possessive and voyeuristic and more childlike and platonic (though still very romantic). Christine is actually prepared to marry him over her other love interest (without his having to force her to choose between them), when she sees his face, panics, and runs away. Then all hell breaks loose.

The adaptation is also notable in that Christine's other love interest is Philippe de Chagny, who does not have a younger brother named Raoul, and in that La Carlotta has suddenly become the new manager of the Opera (the horrors!).

Given the fluffier-than-Webber nature of this production, it's a miracle the fanbrats haven't noticed it en masse just yet. However, this is a good thing, because despite its inaccuracies, Phantom is a good musical. Better than the Lloyd Webber sequel, that's for sure.

Films
The novel has been adapted into many films, some fairly good, some fairly awful. Among the best-known is the 1925 silent film, starring Lon Chaney as the Phantom. This version is essentially a horror film.

Most recently, in 2004, Andrew Lloyd Webber's musical was adapted as a film. It has received mixed reviews. Some love it for its brilliant photography and effects, but some people, especially those with a background in music, hate it. Common complaints are:

and
 * The actors can't sing;
 * The Phantom is too pretty;
 * Where did the canon go?

Mission Reports from this Continuum

 * Mission Reports from the Department of Mary Sues, Phantom of the Opera Division