The Phantom Of The Opera

I decided for my play review that I would go see Mary Poppins The Broadway Musical at the Jefferson Davis Fine Arts building this past weekend. The play is based on the stories of P.L. Travers and the Walt Disney Film; the original music was by Richard M. Sherman and Robert B. Sherman, the book written by Julian Fellowes, and the co-creator of the original was Cameron Mackintosh.

In 1984 Andrew Lloyd Webber, transformed the original The Phantom of the Opera novel (written in 1911 by Gaston Leroux) into a dialogic, emotional masterpiece. The prologue starts at the end of the story, in an auction in the Paris Opera House, in 1905. Raoul, the Vicomte de Chagny is buying a papier-mâché music box,

To start off, The Phantom of the Opera, musically composed by Andrew Lloyd Webber, arrived in Broadway in 1988 and preformed on the stage of the Majestic Theatre. The Phantom of the Opera tells a the story of young Christine Daae who takes center stage as leading soprano. The opera's supposed phantom cuts the rope, which connects the stage lights, causing the old lead singer to quit after nearly being killed by falling lights. Christine claims to have had lessons from an angle of music that her late father had promised. Unknown, the angle is the supposed phantom. The phantom is just a man named Erik who

Abstract: The Phantom Of The Opera was a story originally written by Gaston Leroux. It is the combination of both romance and misfortune. This story isn’t

Influence is the capacity or power of persons to produce an effect on the actions of others. Victor Flemming, the director of the 1939 film The Wizard of Oz, depicts a message that revolves around the reversal of power and gender roles. Moreover, Dorothy is a child in her physical presence but lives the role of a hero as she leads the scarecrow, lion, and tin man to the Wizard himself. Through the archetypes such as the hero being a women, Cultural values, and the stages of the journey, Flemming raises the argument that in this case those who don 't have much influence in society are very influential in the Emerald City.

In the 1920‘s they started experimenting with musical theater by taking popular vaudeville songs and connecting them into one story. When Showboat opened in December 1927, it was unlike anything Broadway had ever seen. Showboat featured dramatic themes and the first-ever completely integrated book and score.

The Phantom of the Opera started out as a book written by Gaston Leroux, published January 8th in 1910 (Haining, 1). There have been several adaptations since then, including Andrew Lloyd Webber’s musical. The other adaptations were Das Phantom der Opera, which is also known as Das Gespent im Opernhaus produced during 1916 in Germany as a silent drama film, this is known as a lost film due to no known copies existing at this time. A silent drama horror was produced on November 15th, 1925, a drama thriller was produced during August 27th in 1943, a horror film was produced June 25th during 1962, and an indie thriller, called Phantom of the Paradise was adapted from Phantom of the Opera and then produced in October 31st of 1974.

Musicals were originally developed in the 20th century with the purpose to entertain, however, they have surpassed this and have accomplished to entwine with the emotions of an audience group through the manipulation of certain musical elements. One of the musicals that correspond to an unadulterated musical is The Wicked. The wicked is based on a book by Winnie Holzman with the Music and Lyrics written by Stephen Schwartz. The musical focuses on the basis of an unlikely friendship and who struggle with opposing viewpoints, personalities and rivalry. This friendship is shown through the pop melodies with an addition of sophisticated musical theatre song construction.

It wasn't until six years later that his story, Mystery of the Yellow Room, made it to the screen. Leroux had written a screenplay in 1916, and had become partner in a film company in 1919 that had lasted for three years, but his involvement in film was limited. Fate intervened when Universal Pictures, whose success with The Hunchback of Notre Dame in 1923, a tale of horror, thrills, and mystery done on a grand and vastly expensive scale, had sent the studio in search of another mysterious and thrilling story. The Phantom of the Opera seemed a logical choice and it became one of the most enduring classics of the silent era, produced on an immense scale on outsized sets built specifically for the film (some of which were still standing into the new millennium), with images that have remained familiar to the present day. Leroux died on April 15, 1927, at age 59, from complications following surgery, two years after The Phantom of the Opera's release. In the 1980s, Leroux's story came to the London and Broadway stages, where the multi-year runs of the musical version led to the republication of the novel and multiple efforts at restoring the 1925 movie.

“The Rocky Horror Picture Show is not so much a movie as more of a long-running social phenomenon” (Ebert). The interpretation of the film, The Rocky Horror Picture Show, which was produced in 1975, opens the curtains to the cross on top of a church after being introduced to the characters by the huge, bright red lips. Promptly after the introduction the camera moves in a sensational gesture towards a just married couple that is walking to the front of the church with their wedding guests, carrying the traditional wedding ceremony of throwing the newly brides bouquet. The visual that is taken in this scene seems to be vital to the aspect behind the film, as it is showing how dull a wedding that carries the same tradition can be, especially since it is being related to the following scene at the castle of Dr. Frank-n-Furter. With the proximity of the heterosexual traditions and the events at the mansion, it is obvious this film is meant to draw into question the common gender stereotypes along with sexuality. The Rocky Horror Picture Show validates that gender roles and stereotypes are socially constructed and that there should not be any social stigma attached to personalities that cannot easily be identified as a male or female by using irony, the use of social practice, and more specifically through Dr. Fran-n-Furter’s character.

Many films have captivated the hearts and minds of Americans, however a true film goes in-depth into the current social tensions and customs of the modern world. Such a film, was The Wizard Of Oz. Beneath the surface of the film, one may examine many characteristics of real world struggles through creative flair. In films, directors will strive to make characters, storylines, backdrops, lighting and other creative factors up to par with modern day events (Lewis 2007). So too, The Wizard Of Oz offers viewers something rather unique and made the world of Hollywood more esoteric than ever before.

In the play Othello by William Shakespeare, Iago manipulates other characters in an iniquitous way causing commotion and destruction in all of their lives. He uses malicious tactics to negatively affect faultless characters who have done nothing to intentionally harm him. In Shakespeare’s Othello, Iago is a character shaped by jealousy and hunger for power. He is ruthless and immoral, and manipulates nearly all the characters in the play in order to get what he wants.

Most other Shakespearean characters commit malicious actions in order to achieve a particular goal. Oftentimes the reason is ambition, as in Macbeth, or revenge, as in Hamlet. What is interesting about Iago is that the audience never knows for certain why it is that Iago wants to destroy Othello. His evil comes without a motive. The characterization of Iago as a motiveless malignity was first proposed by Samuel Taylor Coleridge as he was preparing a series of lectures delivered in 1818. Coleridge calls him a motiveless malignity at the end of Act 1, Scene 3 when Iago leaves Roderigo, saying, "Go to, farewell. Put money enough in your purse," and then gives the soliloquy beginning "Thus do I ever make my fool my purse" (1.3.423-426).

of the Opera” with the stage version of it and decide based off of this, if the theatre is really a

Phantom of the Opera is the longest running musical to date and has become one of the most beloved and well known musicals on Broadway. The musical was inspired and loosely based on the characters and the story of the book Phantom of the Opera by Gaston Leroux. This CD is the original London cast which means that this recording is with the first cast that ever preformed the musical with the actors that created the parts. The musical was written and composed by Andrew Lloyd Webber who is one of the most famous musical composers and has composed some of the most well loved musicals of the last fifty years. Webber created incredible and emotional music for Phantom of the Opera that set this musical apart from all the others.