오페라의 유령
Prologue
The Paris Opera House, 1911. An on-stage auction is in process, and among the memorabilia for sale is an unusual music box. An elderly gentleman bids for it. He is Raoul, Vicomte de Chagny. As the auction proceeds, the damaged remains of a grand chandelier are revealed. Suddenly, we are swept back to the time of Raoul's youth when the chandelier hung in splendour the Opera House.
Act One
Paris, 1881. A new opera, Hannibal, is in rehearsal. The proceedings are interrupted by the arrival of Monsieur Lefevre, manager of the Opera House. He announcese to the company that he is retiring and introduces the new managers. Monsieur Andre and Monsieur Firmin. Eager to make a good impression, Andre asks prima donna Carlotta Giudicelli to sing for him. As she goes, a backdrop suddenly drops from the flies, nearly killing her. Lefevre interrogates the cjief flyman, Joseph Buquet, but no explanation is found. There are murmurs among the company that it must have been the work of the Opera House "ghost"
Carlotta storms out in a rage, leaving the new production without a leading lady. There have, she says, been too many such "accidents". Meg Giry, daughter of ballet mistress Madame Giry and a member of the Opera's corps de ballet, suggests that fellow dancer Christine Daae take Cailotta's palce. Christine has been taking singing lessons, but will not say from whom. She is granted as audition. Christine's audition and performance merge as the young Raoul voices his enthusiasm from the manager's box.
Christine's performance is met with overwhelming approval, and Raoul visits backstage to congratulate her. The meeting becomes a reunion as Christine and Raoul realize that they were once childhood friends. Raoul insists on escorting her to dinner and leaves to collect his coat. Once Christine is alone in her dressing room, an odd, disembodied voice is heard. Suddenly, a lysterious, masked figure appears behind the mirror. It is the Phantom, the teacher whom Christine has heard but never seen.
When Raoul returns, Christine has disappeared. The Phantom leads Christine through a gloomy labyrinth deep beneath the Opera House. They cross a subterranean lake, and arrive at the Phantom's lair. Here he explains to her the purpose behind his teaching: he is composer and she is to song in his opera. Christine falls into a trance, waking the following morning to find that she is still the Phantom in his lair.
High above them, the Opera House has been thrown into confusion by Christine's disappearance. Everyone has received cryptic notes alluding to the missing soprano. All the notes are the work of the Phantom. Among his demands is one stipulating that Christine replace Carlotta in an upcoming opera. As news arrives of Christine's return, Monsiurs Andre and Firmin assure Carlotta that no heed will be paid to the Phantom's demands.
As the opera proceeds with Carlotta as leading lady, the Phantom reiterates his demands. When these are repeatedly ignored, he magically transforms Carlotta's voice into that of a croaking toad. Carlotta is led off stage, and christine prepares to take over her role. During the intermission, she and Raoul flee to the rooftop of the Opera House. As they prepare to return inside, the Phantom appears. He vows vengeance and, as the opera's cast members are taking their bow, brings the chandelier crashing to the stage.
Act Two
It is six months later. Christine and Raoul have become engaged, and all are celebrating the New Year at a masked ball. As the festivities continue, a strange figure dressed in red descends the grand staircase. The Phantom has returned. he throw the score of his new opera to Monsieur Andre, demanding that it be performed. Backstage, Raoul interrogates Madame Giry about the Phantom's identity. Reluctantly, she reveals that he is an escaped circus freak who has long lived somewhere in the bowels of the Opera House.
Monsieurs Andre and Firmin have no desire to produce the Phantom's opera, but are fearful of the consequences. Christine, whom the Phantom has cast as his leading lady, refuses to become involved. Raoul convinces Christine that they can enrap the Phantom, using her as the bait. Reluctantly, she agrees.
Emoyionally distraught, Christine visit her father's grave, knowing that she must free him from her memory in order to free herself from the Phantom. The Phantom appears at the grave site to win her back, but his hypnotic influence is broken when Raoul arrives to help Christine.
At the Opera House, during the final scene of the Phantom's opera, an unfamiliar singer appears on stage as Don Juan in place of Piangi. Christine becomes aware that her mysterious new co-star is actually the phantom. As their duet ends, she tears the mask from his face, revealing his horrible deformity. As the Phantom escapes the stage with Christine, and Piangi's dead body is revealed, Raoul resolves to pursue them.
In the underground lair, Christine confronts the Phantom. Raoul the appears and the Phantom admits him, only to trap him in a noose .The Phantom offers Christine a choice : she must stay with him forever or watch Raoul die. In a bizarre twist, Christine then kisses the Phantom. He is so touched hy her gesture that he frees Raoul and allows them to flee together. An angry mob descends upon the lair, but the Phantom disappears before they can catch him.
Pantages Theatre - The Phantom of the Opera
Each performance of The Phantom of the Opera requires the combined talents of more than 150 people, including"
39 members in the acting company
18 musicians
1 conductor
4 stage managers
35 members of the backstage running crew
13 dressers
5 wig masters
1 makeup artist
45 front-of-house theater staff
There are 190 trap doors built into the stage deck which house some of The Phantom of the Opera's
spectacular scenic effects. One hundred and thirty-three of these traps are for the flickering
candles that Phantom's lair
During each performance 230 costumes, 70 wags and 150 pairs of shoes are worn on stage.
60,000 pounds of counterweights are needed to balance the sets
Each performance features 53 mechanized scenic effects.
Running throughout the theater are 200 miles of steel, electrical and computer cable.
Four computers are required to operate the lights, sound equipment, special effects and scenery.
The control panel of the automation unit alone requires 25,000 feet of wiring.
The sound system uses 46 different microphones.
There are 104 sound speakers used in this production.
It takes makeup artist two hours to transform someone to The Phantom.
The Phantom of the Opera
ACT ONE - PARIS 1861
scene1 - The dress rehearsal of "Hannibal"
Think of Me - Carlotta, Christine and Raoul
scene2 - After the Gala
Angel of Music - Christine and Meg
scene 3 - Christine's dressing room
Little Lotte.../The Mirror - Raoul, Christine and Phantom
scene 4 - The labyrinth underground
The Phantom of the Opera - Phnatom and Christine
scene 5 - Beyond the lake
The Music of Night - Phantom
scene 6 - Beyond the lake, the next morning
I Remember.../Stranger Than Dream It - Christine and Phantom
scene 7 - Backstage
Magical Lasso - Buqiet, Meg, Madame Giry and Ballet Girls
scene8 - The managers' office
Note.../Prima Donna - Firmin, Andre, Raoul, Carlotta, Giry, Meg and Phantom
scene9 - A performed of "Il Muto"
Poor Fool, He Makes Me Laugh - Carlotta and Company
scene10 - The roof of the opera house
Why Have You Brought Me Here../Raul, I've Been There - Raoul and Christine
All I Ask of You - Raoul and Christine
All I Ask of you(Reprise) - Phantom
ACT TWO - Six months later
scene1 - The staircase of the opera house, New Year's Eve
Masquerade/Why So Sillent - Full Company
scene2 - Backstage
Raoul and Giry
scene3 - The managers' office
Notes.../Twisted Every Way - Andre, Firmin, Carlotta, Piangi, Raoul, Christine, Giry and Phantom
scene4 - A rehearsal for "Don Juan Triumphant"
Christine, Piangi, Reyer, Carlotta, Giry and Company
scene5 - A Graveyard in Perros
Wishing You Were Somehow Here Again - Christine
Wandering Child.../Bravo, Monsieur - Phantom, Christine and Raoul
scene6 - Before the premiere
Raoul, Andre, Firmin, Firemen and Phantom
scene7 - "Don Juan Triumphant"
Carlotta, Piangi, Passarino and Company
The Point of No Return -nPhantom and Christine
scene8-The labyrinth underground
Down Once More.../Track Down This Murder - Full Company
scene9 - Beyond the lake
Christine, Phantom, Raoul and Company
내노라하는 별들의 경연장 속에서 무엇하나 손색없는 음악가문으로는 역시 LLoyd Webber일가가 아닐까 싶다. 명첼리스트로 음악적 공간의 벽을 왕래하고자 와신상담 중 Julian LLoyd Webber, 그리고 세계적 뮤지컬의 대명사격인 그의 형 Andrew LLoyd Webber는 부러움의 시선을 한몸에 받으며 경의로운 행적을 이어왔다. 뮤지컬의 대중화와 예술성의 진보적 위치를 추구하며 팜과 락, 그리고 클래식을 접목시킨 Andrew LLoyd Webber는 이 시대의 장인으로까지 추대됐다.
어떠한 작품이든 그의 손을 거치면 여지없이 화제와 관심을 집중시키며 만원사례를 이룬다. 이의 근본적 요인이라면 절묘한 작품 구성력과 극적인 완성도, 치밀한 성격 분석에 의한 정확한 캐스팅이 남다른데서 알 수 있다. 때론 기존 거물을 영입하는가 하면 근성있는 무명의 신인을 과감히 기용 스타덤에 올려 놓으며 마이다스적 채취를 매번 풍겼다. 60년대 Andrew LLoyd Webber 의 파트너는 Tim Rice였다. 이 두사람의 컴비 플레이는 지구촌 문화계를 놀라게 만드는 일련의 힛트행진으로 빛났다. 그 후 Andrew LLoyd Webber의 주변엔 항상 추종세력이 붐볐다.
Andrew LLoyd Webber 에겐 또 하나의 남다른 점이 있는데 그것은 아마도 주어진 숙제 이상의 왕성한 집념일 것이다. 이런 토양 속에서 그는 Jesus Christ Superstar, Cat's, Evita 외에도 바르셀로나 올림픽 타이틀송인 Amigo Para siempre-Friends For Life까지 이어졌다.
Andrew LLoyd Webber를 거쳐가거나 클로즈업된 뮤지션들로는 전처인 Sara Brightman부터 Placid Domingo, Jose Carreras를 필두로 Babasa Streisand, David Essex, Jason Donovan, Michael Crawford, Michael Ball, Phillip Schofield 등이 있다.
The Phantom of The Opera- 오페라의 유령 - 은 그에게 비교적 근작에 속하는 뮤지컬이다. 프랑스의 테러 소설까 가스통 트루의 원작인 The Phantom of The Opera는 1910년 첫 출판된 이후 꾸준히 영화, TV, 오페라화 됐던 금세기의 고전급이라고 할 수 있겠다.
그는 정확히 87년 뮤지컬로 재현했다. 당시 이에 대한 우려 가운데 하나는 Andrew가 근대 고전작에 도전이 어느 만큼의 성공확률을 보장할 것인가였지만 이는 시간으로 불식되었다.
미스테리 애정 공포물의 스펙타클화는 The Phantom of The Opera 식 각색법에 의해 재조명 됐다고 볼 수 있다. 아울러 그는 원작에서의 어둡고 음침한 분위기를 일순에 무게있는 화려함으로 반전시킴으로서 시각적 차이를 극명하게 드러냈다.
제작, 감독에는 Harold Prince며 편곡 파트는 Charles Hart가 맡았다. 많은 등장인물 가운데 주역은 Michael Crawford 와 Sara Brightman, Steve Barton 에게 돌아가 열연됐다. 운명의 소용돌이에 휩싸인 후 외적 용모에 치명상을 입게 된 주인공과 미모의 젊은 여자가수가 운명적 마주침을 이루면서 일어나는 갈등과 사랑을 전체적 테마로 삼고 있다. 우리에게도 고대와 현대의 story가 존재하듯이 오페라의 유령은 근대의 시대적 상황 속에서 있을 수 있는 이질적인 애정을 응축해 낸 것이다.
지금까지 여러 분야의 제작, 감독, 연기자들이 빈번하게 동원됐고 묘사됐지만 Andrew LLoyd Webber 의 뮤지컬엔 그만의 맛이 깃들여져 있다는 평가를 받아왔다. 브로드웨이와 런던, 파리 올림피아, 밀라노를 왕래하며 팬들의 기대와 궁금증을 한껏 고조시킨 만큼이나 정비례 할 만한 평가를 거둬낸 제일의 요소라면 Andrew LLoyd Webber 가 존재했기에 가능한 현실이다.
그는 매번 뮤지컬이 갖추어야 할 기본적 여건과 대중들에 부응할 수 있는 충족 요소야말로 미래적 작품이 지녀야 할 핵심이라고 주징했다. 즉 지리한 일방적 틀을 과감히 거부한, 즐기는 단위의 대상으로 가장 먼저 선창해 낸 리딩히터다. 걸출한 캐릭터가 말해주 듯 Andrew LLoyd Webber의 The Phantom of The Opera는 또하나의 지침서감이다. 깊은 의미의 커튼으로 여겨진다.
박원희
|
|
|
|
|
|
|
|
