History of the Phantom of the Opera Essay Example for Free

History of the Phantom of the Opera Essay In 1911, Gaston Leroux published Le FantÔme de l’Opera, the now famous book that gave birth to the legend of the Phantom.   Leroux had been fascinated by the mystery and design of the Paris Opera House.   As a theatre enthusiast, he had toured all the levels of the Opera House including a visit to the underground lake, cellar and hidden passageways. The mysterious events at the Paris Opera House which ignited Leroux ‘s interest began with Napoleon III’s call for a new opera house to be built in Paris in 1860, after he had survived an assassination attempt one evening when returning from the Opera.    The construction of the Opera House, faced many delays and construction stopped during the Franco Prussian War. After the war, the then unfinished Opera House was occupied by the working class who used it as a warehouse, observation post, communications center, military post and a powder store.   The cellar was once used as a torture chamber.   The new Paris Opera House was finally finished in 1875.   Finally, adding to the mystery, an unfortunate incident occurred in the Paris Opera House in 1896, a counter-weight of six and a half ton chandelier fell from the ceiling, killing a patron. Gaston Leroux always claimed that the ghost in the story was true, based on his investigations and tours of the Opera House.   He is quoted as saying: The Opera ghost really existed.   He was not, as was long believed, a creature of the imagination of the artists, the superstition of the managers, or the absurd and impressionable brains of the young ladies of the ballet, their mothers, the box-keepers, the cloak-room attendants, or the concierge.   No, he existed in flesh and blood, though he assumed all the outward characteristics of a real phantom, that is to say, of a ghost.   (Leroux, G, n.d) In 1925, began the chain of events that would give rise to the phenomenon of the Phantom.   Universal Studios made the first film of the book – the silent movie, Phantom of the Opera, which starred Lon Chaney Snr.   A second version of the film, this time with sound and color, starring Claude Raines was produced in 1943.   Followed by a Spanish version in 1962, and a 1974 version starring Herbert Lom and Heather Sears. The Phantom was produced twice on stage in 1935 and 1975, without much success. Then, in 1986, the legend of the Phantom of the Opera would become one of the most famous stories in the world, when Andrew Lloyd Weber’s Musical – Phantom of the Opera hit the stage in London.   In the 21 years since the Musical began, it has broken all theatre records and is now the longest running Broadway Show in History. The success of the musical spurred the movie industries interest again in 2004, with a moderately successful movie called â€Å"Phantom of the Opera† based on Andrew Lloyd Webber’s opera.   Critical acclaim for the movie has been varied. The Phantom has outlived his creator who died in April 1927 and has become iconic to the 20th and 21st Century.    History of the Hit Musical – The Phantom of the Opera   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Andrew Lloyd Webber’s musical The Phantom of the Opera opened in London’s Majesty Theatre on 9 October 1986.   In the original London Cast, â€Å"The Phantom† was played by Michael Crawford, and â€Å"Christine† by Sarah Brightman (then wife of Andrew Lloyd Webber). The original creative team of the Phantom was: Harold Prince  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Director Cameron Mackintosh  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Producer Andrew Lloyd Webber  Ã‚  Ã‚  Ã‚   Composer, Book, Co-orchestra Maria Bjà ¶rnson   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Production Designer    While Andrew Lloyd Webber had already been phenomenally successful with productions like Evita and the Sound of Music, â€Å"The Phantom† made stars of the actors and creative team members. The musical is still running 21 years later (2007) in London, Broadway (N.Y) and touring worldwide.   The Phantom has won over 50 awards including 3 Olivier, an Evening Standard Award, 7 Tony’s and 3 Outer Critic Circle Awards. At the time of writing, it is estimated that over 80 million people have seen the musical, with total ticket sales of over $3.2 billion.    Reviews of the Phantom of the Opera: The Daily Mirror’s first review of the Phantom of the Opera in 1986: It’s fantastic, fabulous and phantasmagorical! Its fantastic, fabulous and phantasmagorical! From the eerily flickering lights that greet you outside Her Majestys Theatre to the last, glorious curtain call, Andrew Lloyd Webbers long-awaited new musical, Phantom of the Opera, is a triumph. The special effects are among the most spectacular ever seen in the West End. The music is very bit as memorable as one would expect from the man who wrote Evita, Starlight Express and the rest. But most of all, the show belongs to Sarah Brightman and Michael Crawford, who soar and swoop through their hugely demanding roles like eagles. After all the well-publicised false starts and back-biting, Lloyd Webber has created a musical which deserves to be around well into the next decade. The story is based closely on the original novel of 1911 unlike most of the Phantom of the Opera films which have been made over the years. Michael Carwfords Phantom hides his hideously disfigured face by skulking in the stage caverns and pools deep beneath the Paris opera. His passion for music is the only thing which gives his life meaning until he becomes obsessed by Sarah Brightmans Christine a young opera singer whose beauty is matched only by the purity of her voice. He coaches her in secret while visiting dreadful catastrophes on anyone who refuses to advance her career. A hanged scene shifter is suddenly hideously dropped on to the stage in the middle of a performance. A vast crystal chandelier crashes on to the audience. As the phantom becomes more fiendish so Christine becomes increasingly mixed in her feelings towards him. A dreadful climax is fast approaching. The eerie sets of the unfolding drama great stages filled with mist and shining candles are interspersed with all the colour and spectacle of the operas being prepared and presented at the theatre. Despite all the ghost train theatricals the greatest thrills of the show come from Michael Crawford. He not only sings superbly but also captures the torment of the Phantom perfectly. If you only see one show this year, make sure it is this one! (Blake, J, 1986) In 2002, The Times wrote: Long-runners One answer is obvious: Maria Bjà ¶rnson’s stunning designs. The story, based on Gaston Leroux’s novel, begins on the Paris Opera’s stage in 1911. The building is dusty and neglected, the stage festooned with great swags of grey fabric. Old theatrical props are being auctioned off. Then, as the auctioneer announces the final lot — the opera’s enormous chandelier — the dustsheets fall away, the scene seems almost to dissolve and the theatre travels back in time to 1881 before our very eyes. It’s a vision of gaudy grandeur: gas lamps flicker, red velvet glows in the light and plaster nymphs and satyrs frolic on pillars. The opera is dogged by misfortunes that are rumoured to be the work of the Phantom, a malevolent figure who haunts the theatre. This sinister creature has become obsessed with Christine Daaà ©, a pretty chorus girl. But only cadaverous Madame Giry, the formidable ballet mistress, knows the terrible secret that lies behind the mask the Phantom wears. The musical’s best sequence occurs when the Phantom leads Christine through labyrinthine passages to his lair beyond a hidden lake underneath the building. As their boat glides over the misty water, surrounded by flickering candles, the effect is breathtaking. The problem is that this spectacle takes place early on and nothing afterwards can really compete. Harold Prince’s direction is slick and Gillian Lynne’s choreography effective, but Lloyd Webber’s music is often trite and dated. There’s little depth to any of the characters, either, yet the musical’s central relationship intrigues. For while Christine is Beauty to the Phantom’s Beast, she is haunted, not only by the opera ghost, but by the memory of her dead violinist father. This lends a pleasingly perverse Freudian twist to the erotic tension between the two characters, and the performers John Owen-Jones and Celia Graham make the most of it. Not only are they both excellent singers, they are fine actors too. Graham brings both passion and a childlike neediness to her portrayal of Christine. Owen-Jones uses his rich, powerful voice to great effect, crooning one moment, spitting bitterness the next. But the real star of the show is Bjà ¶rnson’s work. The designer died earlier this month, aged 53, and if Phantom has stood the test of time, it’s because of her. It is not the music audiences will remember; it’s the opera’s chandelier swinging crazily over the stalls, or a masked figure crouched menacingly over a gilded angel. And for those images alone, this show is still worth seeing. (Marlowe, S,   2002) The New York Times revisited the Phantom in 2005 and wrote this review: New York Times revisits the Phantom Old and Ghostly but Still a Hoot The paint on the balconies of the Majestic Theater looks chipped and the electronic drum machine sounds like something left over from a music video from the 1980s. But The Phantom of the Opera really shows its age (17 years and running) when the signature special effect is presented. Musicals have opened and closed in the time it takes that chandelier to lumber to the floor. Looking like one of Ed Woods teetering flying saucers, it crashes to the stage with the force of a shopping cart, the biggest, most extravagant anticlimax in town. Seventeen years later: Sandra Joseph and Hugh Panaro are now playing the roles of Christine and the Phantom. Under the fearsome shadow of Hugh Panaro in The Phantom of the Opera. But what do you expect? It was designed during the Reagan administration. For a top-of-the-line chandelier, you will have to wait for the $40 million production of Phantom opening in Las Vegas next spring. But if the technology of the Broadway show seems a bit quaint, the real news is that the rest of the production has grown old gracefully. Judging by sheer invention, emotional punch and onstage talent, the venerable blockbuster still beats out almost all of the whippersnappers currently on Broadway. Maria Bjornsons flamboyant gothic design and Harold Princes fantastical staging still have the gleam of finely polished professionalism. Led by the current Phantom (there have been 10 after Michael Crawford), Hugh Panaro, an up-and-coming musical theater star who finds the right mix of shock and schmaltz, most of the cast retains the freshness of opening night. That does not mean that Andrew Lloyd Webber haters, a large and very grumpy contingent, will be won over. Sorry, The Music of the Night hasnt changed. Nor has Charles Harts bumbling lyrics (You have brought me to that moment when words run dry). But for those sentimental souls looking for a popular entertainment to transport them to a baroque, romantic new world with a powerful smoke machine, Phantom, Im happy to report, still delivers the goods. Which is especially impressive, given that not long ago, the musical seemed to be on its last legs. By the fall of 2003, its peers Miss Saigon, Cats and Les MisÃÆ' ©rables had faded away. Ticket sales were down and rumors of its demise were common around Broadway. Flash-forward to today: crowds are lined up around the corner to see the show, which regularly sells out. Last week, 99 percent of the seats were filled. In January, barring a strike, disaster or nuclear holocaust, Phantom will eclipse Cats as the longest-running show in Broadway history. What happened? For one thing, it received a boost from Joel Schumachers film version of the musical, which opened in December. Even though it wasnt a smash hit, the movie introduced a new audience to the show (as evidenced by the large number of young girls at the Majestic) and reminded old ones how superior the musical is. In fact, the bombastic film may be the only thing that makes the musical look understated. Mr. Prince, who continues to oversee casting and reportedly checks up on the show every few months, deserves credit for tending to it with care. When the box office dipped, he never panicked and cast a former Backstreet Boy for a short-term boost in sales. Unlike so many long-running shows, Phantom has not resorted to stunt casting. Although dont be surprised if Mr. Panaro, who has been rumored on theater Web sites as the choice to star in Lestat, Elton Johns vampire musical heading to Broadway next season, becomes a household name someday. A young, charismatic actor, he brings a maniacal energy and Grand Guignol charm to the tortured Phantom. In his hands, the show concentrates more on the horror than the romance; but only once does he turn to the audience and growl which, considering how scenery chewing this role could be, counts as admirable restraint. Surrounding him is a solid supporting cast who deliver disciplined performances free of the lazy flourishes that sneak into a role when an actor becomes bored by repetition. As the diva Carlotta, Anne Runolfsson flashes a hundred-watt smile and shows off a richly textured voice in the opening song, Think of Me. Jeff Keller and George Lee Andrews, the only actors with major roles who have been with the company since the beginning, are marvelous as the nervous theater managers who made the mistake of buying the Paris Opera House. In 2001, Mr. Prince had them switch roles to keep things fresh. Sandra Joseph (who doesnt perform Wednesday evenings or Saturday matinees) is perfectly competent as Christine, although in her scenes with the Phantom she can come off as a bit bland. As her other love interest, Raoul, a terribly underwritten role, Tim Martin Gleason provides a strong voice and a stiff performance. In the romantic songs, ones mind easily wanders to the bitingly funny Lloyd Webber parody in Spamalot, which droned on and on until the stars looked tired of their own voices. Then again, the winking and eyebrow-raising in satirical musical comedies like Spamalot and The Producers are part of what makes the proudly melodramatic and unironic Phantom a nice change of pace. The musical may seem as if it is from a different time, but thats not necessarily a bad thing. (Zinoman, J, 2005) Personal Review:    The Broadway production of The Phantom of the Opera captures your attention right from the start and then you will be you will be drawn into a mysterious world of horror, romance and tragedy. Your journey keeps you spellbound through resonating songs sung by a handpicked cast, Maria Bjornsons magnificent sets and costumes to both delight and frighten you. Gaston Leroux’s gothic novel comes to life through Andrew Lloyd’s Webbers’ Phantom.   The musical beautifully combines a mixture of genres, performed through opera, leaving the audience entrapped in a tragic tale of love. Whether you are recovering from fright or floating on Phantoms’ songs – this musical will keep, you entertained, wistful and somewhat disturbed leaving you thoughtful as to who should triumph in the end. New fans and old are still being enraptured by the phenomenon of The Phantom.       Works Cited: Blake, J, (1986) It’s fantastic, fabulous and phantasmagorical!, The Daily Mirror U.K. Retrieved 04/18/2007, http://www.thephantomoftheopera.com/poto/news_mediareviews_story.php?id=38 Leroux, G. n.d. Quotation Phantom of the Opera Official Site. Retrieved 04/18/2007, http://www.thephantomoftheopera.com/poto/show/the_show_history_filmography.php Marlowe, S, (2002), Long Runners, The Times, UK.   Retrieved 04/18/2007 http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/article805339.ece Zinoman, J, (2005), New York Times revisits the Phantom: Old and Ghostly but Still a Hoot, The New York Times, USA.   Retrieved 04/18/2007 http://www.thephantomoftheopera.com/poto/news_mediareviews_story.php?id=216    Bibliography: Paris Opera House (n.d.), Music of the 19th Century Paris, Opera. Retrieved 04/18/2007 http://gallery.sjsu.edu/paris/music/opera/opera_house.html The Phantom of the Opera (n.d.), Official Website.   Retrieved 04/17/2007, http://www.thephantomoftheopera.com

Values vs. The American Educational System :: bell hooks College Education

Values vs. The American Educational System In "Keeping Close to Home: Class and Education," bell hooks suggests that the American educational system forces individuals to hide, change, or mask the values that they bring with them to college by sharing her perception of the sickening class division at Stanford. Perhaps "influence" makes a better term than "force"; this change in terminology allows a better argument and saves the readers from a misleading idea of the American educational system. hooks explains that "education as the practice of freedom becomes not a force which fragments or separates, but one that brings us closer, expanding our definitions of home and community" (95). The University of Georgia does not force its students to hide, change, or mask the values that they bring with them to college; instead, the university offers them the choice of keeping their values or letting these values slip away by giving them the freedom to express themselves in every aspect. This freedom allows the students to be who the y want to be. If brought to trial, the institution of the University of Georgia remains innocent; it has not exercised pressure on me to change my values, but has drawn me unconsciously into altering my values. I believe inner strength can hold an individual and his or her values together. A person's values are factors that create the person’s identity; without these values, one loses his or her connection to the past. Many students, however, fall in the hands of the influential social interactions and university expectations that often lead to the unpleasant change in their lives. I have been a victim of this change because of my freedom to choose. It will be hypocritical of me to state that I possess the strength to fight the university's influential activities. It hurts to see a person lose connection with his or her past; without his or her past, he or she remains incomplete. It hurts me more to realize that I am one of those people who remains incomplete and weak, and that I was not strongly connected to the values taught by my parents. Born and raised as a Catholic, I expected my religious values to be of great importance; I was wrong. When I lived under my parents' supervision, going to church was my job. I still remember those Friday nights when the whole family would sit together in front of our homemade altar to pray the rosary.

Economics of Risk and Problems Essay

Please, complete the following two applied problems in a Word or Excel document. Show all your calculations and explain your results. Submit your assignment in the drop box by using the Assignment Submission button. Problem II Volkswagen is considering opening an Assembly Plant in Chattanooga, Tennessee, for the production of its 2012 Passat, tailored for the US market. The CEO of the company is considering two potential options for the size of the plant: one is a large size with a projected annual production of 150,000 cars, and the other one is a smaller size plant, which is cheaper to build, but can only produce up to 80,000 cars per year. Depending on the expected level of demand for these cars in the US, Volkswagen has to decide which option is more profitable. The discount rate is 6% and for simplicity purposes, the CEO is only evaluating a two-year horizon. The initial factory setup cost, the expected demand scenarios, profit, and probabilities are shows in the below table. Calculate the Net Present Value in each of the two options. Which option should the CEO choose and why? Please, show all your calculations. Business – General Business Economics of Risk and Uncertainty Applied Problems. Please, complete the following 3 applied problems in a Word or Excel document. Show all your calculations and explain your results. Submit your assignment in the drop box by using the Assignment Submission button. 1. A generous university benefactor has agreed to donate a large amount of money for student scholarships. The money can be provided in one lump-sum of $10mln, or in parts, where $5.5mln can be provided in year 1, and another $5.5mln can be provided in year 2. Assuming the opportunity inte†¦ Find needed answers here – https://bitly.com/1oJN1Cd Select difficult classes that will stimulate your interest instead of conventionally easy classes. Challenge yourself and you will reap the rewards. You’ll be able to learn a lot more and this can help you create a network of people that can assist you later on when you’re seeking out a career. Business – General Business Economics of Risk and Uncertainty Applied Problems. Please, complete the following 3 applied problems in a Word or Excel document. Show all your calculations and explain your results. Submit your assignment in the drop box by using the Assignment Submission button. 1. A generous university benefactor has agreed to donate a large amount of money for student scholarships. The money can be provided in one lump-sum of $10mln, or in parts, where $5.5mln can be provided in year 1, and another $5.5mln can be provided in year 2. Assuming the opportunity interest rate is 6%, what is the present value of the second alternative? Which of the two alternatives should be chosen and why? How would your decision change if the opportunity interest rate was 12%? Please, show all your calculations. 2. Volkswagen is considering opening an Assembly Plant in Chattanooga, Tennessee, for the production of its 2012 Passat, tailored for the US market. The CEO of the company is considering two potential options for the size of the plant: one is a large size with a projected annual production of 150,000 cars, and the other one is a smaller size plant, which is cheaper to build, but can only produce up to 80,000 cars per year. Depending on the expected level of demand for these cars in the US, Volkswagen has to decide which option is more profitable. The discount rate is 6% and for simplicity purposes, the CEO is only evaluating a two-year horizon. The initial factory setup cost, the expected demand scenarios, profit, and probabilities are shows in the below table. Calculate the Net Present Value in each of the two  options. Which option should the CEO choose and why? Please, show all your calculations. 3. An angel investor is considering investing in one of two start-up businesses and is evaluating the expected returns along with the risk of each option in order to choose the better alternative.

The Impact of Population Aging - 5586 Words

CHAPTER 1 INTRODUCTION 1.1: Study Background The population aging, in other words, the greying of the population is major concern all over the world. Many factors are leading to population aging, namely, unwillingness to marry, late marriage, fertility control, low birth rate and longer life span. All these factors are also related to developing status of the country. The more the country is developing, the more the factors have stronger effect on aging population and the age population problems of the country is more serious. If there is no solution for the population aging, many countries, especially developing countries, will face the problems regarding old age care. The Government of the many countries will be facing huge†¦show more content†¦The research questions that we prepared are as follows: 1) Discuss Age Population 2) What is population ratio in Singapore? 3) What is the effect of Age Population in Singapore? 4) How does Singapore respond to Age Population? 5) Discuss what Singapore should do to overcome to Age Population and its problems? From the analysis of the above research questions, following research objectives are derived: 1) To describe Age Population 2) To investigate the seriousness of Age Population from the ratio 3) To understand the effect of Age Population in Singapore 4) To illustrate Singapore and Singaporean reaction to Age Population 5) To establish solutions to Age Population. 1.4: Research Structure We will further discuss on Literature review and Research Methodology. CHAPTER 2 2: LITERATURE REVIEW 2.1: Age Population Age Population means the population is mainly with older aged group (65 years and over). In another way, it was explained as age structure of a population shifted towards older ages, Gavrilov and Heuveline: 2003. When the majority population of a country or a region age 65 and above, its population is aging. Population aging is mainly favoured in industrialized countries, and slower in less developed countries. 2.2: Population ratio in Singapore According to Singapore Population Census 2010, Singapore’s current population is recorded as 5.08 million at the end of June this year. Out of 5.08 million populations,Show MoreRelatedImpacts of an Aging Population1406 Words   |  6 PagesThe impacts of an aging population on a country An aging population is where the population of a country is of a high elderly dependence. 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