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* PatterSong: ALW's version has "Notes" in the first act, which is a patter song with an increasing number of people all singing angrily at each other until the Phantom shuts them up.
* PetTheDog: Piangi and and Carlotta are naturally nasty to Christine, but they do look somewhat sympathetic when she has her breakdown during 'Twisted Each And Every Way'.
* PetTheDog: Piangi and and Carlotta are naturally nasty to Christine, but they do look somewhat sympathetic when she has her breakdown during 'Twisted Each And Every Way'.
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* PatterSong: ALW's version has "Notes" in the first act, which is a patter song with an increasing number of people all singing angrily at each other until the Phantom shuts them up.
* PetTheDog: Piangi and and Carlotta are naturally nasty to Christine, but they do look somewhat sympathetic when she has her breakdown during 'Twisted Each And Every Way'.up.
* PetTheDog: Piangi and and Carlotta are naturally nasty to Christine, but they do look somewhat sympathetic when she has her breakdown during 'Twisted Each And Every Way'.
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* PetTheDog: Piangi and and Carlotta are naturally nasty to Christine, but they do look somewhat sympathetic when she has her breakdown during 'Twisted Each And Every Way'.
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** In the original novel Meg Giry only shows up in the first two chapters of the book and never interacts with any of the main characters; she's even rather dismissive of Christine's singing ability. In the show, although she's definitely a secondary character, she's aged up and promoted to being Christine's best friend.
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** In the original novel Meg Giry only shows up briefly in the first two three chapters of the book and never interacts with any of the main characters; she's even rather dismissive of Christine's singing ability. In the show, although she's definitely a secondary character, she's aged up and promoted to being Christine's best friend.
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* PointyHairedBoss: Played with when it comes to Andre and Firmin. They're not incompetent, per say - they do know how to run the opera house and what's most likely to get customers in seats - but they're really in way over their heads and defer to Raoul in order to get things done. You do have to feel sorry for them, though; they got into the opera business to make a profit, not to deal with a mad man who extorts absurdly large amounts of cash and drops chandeliers when he gets annoyed.
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* PointyHairedBoss: Played with when it comes to Andre and Firmin. They're not incompetent, per say - they do know how to run the opera house and what's most likely to get customers in seats seats, as well as winging it when the Phantom ruins Carlotta's singing - but they're really in way over their heads and defer to Raoul during the climax in order to get things done. You do have to feel sorry for them, though; they got into the opera business to make a profit, not to deal with a mad man who extorts absurdly large amounts of cash and drops chandeliers when he gets annoyed.
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* PointyHairedBoss: Played with when it comes to Andre and Firmin. They're not incompetent, per say - they do know how to run the opera house and what's most likely to get customers in seats - but they're really in way over their heads and defer to Raoul in order to get things done. You do have to feel sorry for them, though; they got into the opera business to make a profit, not to deal with a mad man who extorts absurdly large amounts of cash and drops chandeliers when he gets annoyed.
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* BroughtDownToNormal: The Phantom of the show (possibly) has at least some supernatural abilities, while the film is careful to show its audience how he carries out all his tricks and stunts.
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* MaybeMagicMaybeMundane: The stage version leaves it up in the air as to whether the Phantom actually ''does'' have supernatural abilities. Some of the things he does, like the mirror, are understandable, but a lot more - causing the piano to play itself during the rehearsal of ''Don Juan Triumphant,'' creating fire in the graveyard, making the gates in his lair rise with merely a gesture, disappearing from under his cloak at the end of the show - while obvious stage effects, have no practical explanation in the context of the story. However, the film version makes it very clear that all the stunts he pulls are merely clever tricks, leaving the more supernatural stuff out altogether and explaining other things away by showing the Phantom pulling a lever to raise the gates, or messing with Carlotta's throat spray in order to make her croak.
to:
* MaybeMagicMaybeMundane: The stage version leaves it up in the air as to whether the Phantom actually ''does'' have supernatural abilities. Some of the things he does, like the mirror, are understandable, but a lot more - causing the piano to play itself during the rehearsal of ''Don Juan Triumphant,'' creating fire in the graveyard, making the gates in his lair rise with merely a gesture, disappearing from under his cloak at the end of the show - while obvious obviously stage effects, have no practical explanation in the context of the story. However, the film version makes it very clear that all the stunts he pulls are merely clever tricks, leaving the more supernatural stuff out altogether and explaining other things away by showing the Phantom pulling a lever to raise the gates, or messing with Carlotta's throat spray in order to make her croak.
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* MaybeMagicMaybeMundane: The stage version leaves it up in the air as to whether the Phantom actually ''does'' have supernatural abilities, like causing the piano to play itself during the rehearsal of ''Don Juan Triumphant,'' creating fire in the graveyard, making the gates in his lair rise with merely a gesture, and disappearing from under his cloak at the end of the show. The film, however, makes it very clear that all the stunts he pulls are merely clever tricks, leaving the more supernatural stuff out and explaining other things away by showing the Phantom pulling a lever to raise the gates, or messing with Carlotta's throat spray in order to make her croak.
to:
* MaybeMagicMaybeMundane: The stage version leaves it up in the air as to whether the Phantom actually ''does'' have supernatural abilities, abilities. Some of the things he does, like the mirror, are understandable, but a lot more - causing the piano to play itself during the rehearsal of ''Don Juan Triumphant,'' creating fire in the graveyard, making the gates in his lair rise with merely a gesture, and disappearing from under his cloak at the end of the show. The film, however, show - while obvious stage effects, have no practical explanation in the context of the story. However, the film version makes it very clear that all the stunts he pulls are merely clever tricks, leaving the more supernatural stuff out altogether and explaining other things away by showing the Phantom pulling a lever to raise the gates, or messing with Carlotta's throat spray in order to make her croak.
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* WifeHusbandry: Unfortunately, this ''can'' come across a tad in the 2004 film, where the Phantom watches over Christine from when she arrived at the opera house when she was a little girl.
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* WifeHusbandry: Unfortunately, this ''can'' come across a tad in the 2004 film, where the Phantom watches over Christine from when she arrived at the opera house when she was a little girl.girl, and makes his move when she's still only seventeen.
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* WifeHusbandry: Unfortunately, this ''can'' come across a tad in the 2004 film, where the Phantom watches over Christine from when she arrived at the opera house at the age of about seven.
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* WifeHusbandry: Unfortunately, this ''can'' come across a tad in the 2004 film, where the Phantom watches over Christine from when she arrived at the opera house at the age of about seven.when she was a little girl.
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* IdiotBall: The Phantom grabs hold of this ''hard'' late in the first act; he doesn't seem to consider that, even if Christine enjoyed seeing Carlotta being completely humiliated - which she clearly doesn't - the fact that he ''murdered a guy and hung him over the stage'' is going to have her running for the hills. (Or the roof, as the case might be...)
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* IdiotBall: The Phantom grabs hold of this ''hard'' late in the first act; he doesn't seem to consider that, even if Christine enjoyed seeing Carlotta being completely humiliated - which she clearly doesn't - the fact that he ''murdered a guy and hung him over the stage'' is going to have her running for the hills. (Or Or the roof, as the case might be...)be. But then again, the Phantom is hardly a rational man in any case...
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* WifeHusbandry: Unfortunately, this ''can'' come across a tad in the 2004 film, where the Phantom watches over Christine from when she arrived at the opera house at the age of about seven.
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** In the original novel Meg Giry only shows up in the first two chapters of the book and never interacts with any of the main characters; she's even rather dismissive of Christine's singing ability. In the show, although she's definitely a secondary character, she's aged up and promoted to being Christine's best friend.
*** And, within the story of the show itself, Christine herself is an ascended extra, since after Carlotta storms out she goes from being a lowly chorus girl to the star of the gala.
*** And, within the story of the show itself, Christine herself is an ascended extra, since after Carlotta storms out she goes from being a lowly chorus girl to the star of the gala.
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* IdiotBall: The Phantom grabs hold of this hard late in the first act; he doesn't seem to consider that, even if Christine enjoyed seeing Carlotta being completely humiliated - which she clearly doesn't - the fact that he ''murdered a guy and hung him over the stage'' is going to have her running for the hills.
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* IdiotBall: The Phantom grabs hold of this hard ''hard'' late in the first act; he doesn't seem to consider that, even if Christine enjoyed seeing Carlotta being completely humiliated - which she clearly doesn't - the fact that he ''murdered a guy and hung him over the stage'' is going to have her running for the hills.hills. (Or the roof, as the case might be...)
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* IdiotBall: The Phantom grabs hold of this hard late in the first act; he doesn't seem to consider that, even if Christine enjoyed seeing Carlotta being completely humiliated - which she clearly doesn't - the fact that he ''murdered a guy and hung him over the stage'' is going to have her running for the hills.
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* SmallRoleBigImpact: Joseph Buquet really doesn't do much while he's alive besides loom about the place, tell the corps de ballet scary stories about the Phantom and set up the ChekovsGun of the Punjab lasso - but his shocking death is the nail in the coffin of Christine deciding the Phantom is bad news and choosing Raoul; all (further) hell breaks loose from there.
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* PlayingGertrude: While the Phantom of the book is probably in his late fifties, the Phantom on stage is being played by successively younger actors. Gerard Butler was famously about 35 when he played the part in the 2004 film, while Ramin Carimloo was 30 when he portrayed the Phantom in LoveNeverDies.
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* PlayingGertrude: While the Phantom of the book is probably in his late fifties, ''at least'' about fifty, the Phantom on stage is being played by successively younger actors. Gerard Butler was famously about 35 when he played the part in the 2004 film, while Ramin Carimloo was 30 when he portrayed the Phantom in LoveNeverDies.
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* MaybeMagicMaybeMundane: The stage version leaves it up in the air as to whether the Phantom actually ''does'' have supernatural abilities: such as causing the piano to play itself during the rehearsal of ''Don Juan Triumphant,'' making the gates in his lair rise with merely a gesture, and disappearing from under his cloak at the end of the show, to say nothing of the fire in the graveyard. The film makes it very clear that all the stunts he pulls are merely clever tricks, leaving the more supernatural stuff out and explaining other things away by showing the Phantom pulling a lever to raise the gates, or messing with Carlotta's throat spray in order to make her croak.
to:
* MaybeMagicMaybeMundane: The stage version leaves it up in the air as to whether the Phantom actually ''does'' have supernatural abilities: such as abilities, like causing the piano to play itself during the rehearsal of ''Don Juan Triumphant,'' creating fire in the graveyard, making the gates in his lair rise with merely a gesture, and disappearing from under his cloak at the end of the show, to say nothing of the fire in the graveyard. show. The film film, however, makes it very clear that all the stunts he pulls are merely clever tricks, leaving the more supernatural stuff out and explaining other things away by showing the Phantom pulling a lever to raise the gates, or messing with Carlotta's throat spray in order to make her croak.
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* MaybeMagicMaybeMundane: The stage version leaves it up in the air as to whether the Phantom actually ''does'' have supernatural powers: such as causing the piano to play itself during the rehearsal of ''Don Juan Triumphant,'' making the gates in his lair rise with merely a gesture, and disappearing from under his cloak at the end of the show. The film makes it very clear that all the stunts he pulls are merely clever tricks, leaving out the piano altogether and explaining other things away by showing the Phantom pulling a lever to raise the gates, or messing with Carlotta's throat spray in order to make her croak.
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* MaybeMagicMaybeMundane: The stage version leaves it up in the air as to whether the Phantom actually ''does'' have supernatural powers: abilities: such as causing the piano to play itself during the rehearsal of ''Don Juan Triumphant,'' making the gates in his lair rise with merely a gesture, and disappearing from under his cloak at the end of the show. show, to say nothing of the fire in the graveyard. The film makes it very clear that all the stunts he pulls are merely clever tricks, leaving the more supernatural stuff out the piano altogether and explaining other things away by showing the Phantom pulling a lever to raise the gates, or messing with Carlotta's throat spray in order to make her croak.
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* MaybeMagicMaybeMundane: The stage version leaves it up in the air as to whether the Phantom actually has supernatural powers, such as causing the piano to play itself during the rehearsal of ''Don Juan Triumphant,'' making the gates in his lair rise with merely a gesture, and disappearing from under his cloak at the end of the show. The film makes it very clear that all the stunts he pulls are merely clever tricks, leaving out the piano altogether and explaining other things away by showing the Phantom pulling a lever to raise the gates, or messing with Carlotta's throat spray in order to make her croak.
to:
* MaybeMagicMaybeMundane: The stage version leaves it up in the air as to whether the Phantom actually has ''does'' have supernatural powers, powers: such as causing the piano to play itself during the rehearsal of ''Don Juan Triumphant,'' making the gates in his lair rise with merely a gesture, and disappearing from under his cloak at the end of the show. The film makes it very clear that all the stunts he pulls are merely clever tricks, leaving out the piano altogether and explaining other things away by showing the Phantom pulling a lever to raise the gates, or messing with Carlotta's throat spray in order to make her croak.
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* MaybeMagicMaybeMundane: The stage version leaves it up in the air as to whether the Phantom actually has supernatural powers, such as causing the piano to play itself during the rehearsal of Don Juan, making the gates in his lair rise with merely a gesture, and disappearing from under his cloak at the end of the show. The film makes it very clear that all the stunts he pulls are merely clever tricks, leaving out the piano altogether and explaining other things away by showing the Phantom pulling a lever to raise the gates, or messing with Carlotta's throat spray in order to make her croak.
to:
* MaybeMagicMaybeMundane: The stage version leaves it up in the air as to whether the Phantom actually has supernatural powers, such as causing the piano to play itself during the rehearsal of Don Juan, ''Don Juan Triumphant,'' making the gates in his lair rise with merely a gesture, and disappearing from under his cloak at the end of the show. The film makes it very clear that all the stunts he pulls are merely clever tricks, leaving out the piano altogether and explaining other things away by showing the Phantom pulling a lever to raise the gates, or messing with Carlotta's throat spray in order to make her croak.
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* PlayingGertrude: While the Phantom of the book is old enough to be Christine's father, and is therefore in his late fifties, the Phantom on stage is being played by successively younger actors. Gerard Butler was famously about 35 when he played the part in the 2004 film, while Ramin Carimloo was 30 when he portrayed the Phantom in LoveNeverDies.
to:
* PlayingGertrude: While the Phantom of the book is old enough to be Christine's father, and is therefore probably in his late fifties, the Phantom on stage is being played by successively younger actors. Gerard Butler was famously about 35 when he played the part in the 2004 film, while Ramin Carimloo was 30 when he portrayed the Phantom in LoveNeverDies.
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* MaybeMagicMaybeMundane: The stage version leaves it up in the air as to whether the Phantom actually has supernatural powers, such as causing the piano to play itself during the rehearsal of Don Juan, making the gates in his lair rise with merely a gesture, and disappearing from under his cloak at the end of the show. The film makes it very clear that all the stunts he pulls are merely clever tricks, leaving out the piano altogether and explaining other things away by showing the Phantom pulling a lever to raise the gates, or messing with Carlotta's throat spray in order to make her croak.
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* PlayingGertrude: While the Phantom of the book is old enough to be Christine's father, and is therefore in his late fifties, the Phantom on stage is being played by successively younger actors. Gerard Butler was famously about 35 when he played the part in the 2004 film, while Ramin Carimloo was 30 when he portrayed the Phantom in LoveNeverDies.
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** The first Toronto version had the Phantom and Christine being played by Colm Wilkinson and Rebecca Caine, who only a few years earlier played a surrogate father and daughter pair in LesMiserables, essentially adding this edge to their scenes.
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* TruckDriversGearChange: So many songs feature them. "Think of Me" is the first instance, as it begins in D but then goes up a half-step after the first verse and remains there for the rest of the song. The title theme song itself actually changes key with every verse.
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* AccentUponTheWrongSyllable: There seems to be no consensus as to whether the female lead's name is pronounced "[=ChrisTINE=]" or "[=CHRIStine=]". Similarly, is it pronounced "OP-rah" or "o-PER-a?" The version varies according to which pronunciation best fits the rhythm of the lyrics at a given moment.
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* AccentUponTheWrongSyllable: There seems to be no consensus as to whether the female lead's name is pronounced "[=ChrisTINE=]" or "[=CHRIStine=]". Similarly, is it pronounced "OP-rah" or "o-PER-a?" The version varies according to which pronunciation best fits Sources outside the rhythm of musical agree on the lyrics at a given moment.former, but the musical itself uses the latter because the music was originally written to accommodate the name "Kristen.".
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* BigNo: Some Raouls have let one out when Christine kisses the Phantom. May also be combined with a cry of "[[SayMyName Christine]]!"
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* AnachronismStew: Musically speaking - the electric guitar that duels with the organ during the tag of the titular song.
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* AnachronismStew: Musically speaking - the electric guitar that duels with the organ during the tag of the titular song. The synth snare in the same song is hard to miss, as well.
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* ShoutOut: In the movie, when Carlotta is on the verge of walking out (for the first time) and the new managers appeal to Lefevre on how to convince her to remain, his response, right down to tone and inflection, is very familiar from another ALW production: [[JosephAndTheAmazingTechnicolorDreamcoat "Grovel--grovel, grovel!"]]
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* ShoutOut: In the movie, when Carlotta is on the verge of walking out (for the first time) and the new managers appeal to Lefevre on how to convince her to remain, his response, right down to tone and inflection, is very familiar from another ALW production: [[JosephAndTheAmazingTechnicolorDreamcoat [[Theatre/JosephAndTheAmazingTechnicolorDreamcoat "Grovel--grovel, grovel!"]]
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[[quoteright:300:http://static.tvtropes.org/pmwiki/pub/images/Phantom.jpg]]
''Literature/ThePhantomOfTheOpera'' has perhaps the most well-known adaptation in Creator/AndrewLloydWebber's wildly successful musical. The musical premiered in London in 1986 and Broadway in 1988 and has been running in both locations ever since. The musical was itself made into [[TheMovie a movie]] in 2004 after years in DevelopmentHell, starring Emmy Rossum as Christine and Gerard Butler as Erik, the Phantom. In 2011, London's Royal Albert Hall hosted a 25th anniversary staging that was released on video the following year.
''[[FanNickname Phantom]]'' is an absolute ''juggernaut'' of a musical; if it's not the most iconic musical in the world, it is superseded in that regard only by ''Theatre/LesMiserables'', another Cameron Mackintosh production (and coincidentally also based on a French novel), which began its run a year earlier. ''Les Mis'' remains the longest-running musical theatre production in the world, having been going in the West End continuously since 1985, but with the close of ''Les Mis'' on Broadway in 2003, ''The Phantom of the Opera'' -- which is still running on Broadway and in London -- holds the crown as the longest-running ''Broadway'' musical in history. It has been called the single most financially successful entertainment venture ''[[http://nationaltours.broadwayworld.com/article/Photo_Flash_PHANTOM_Tour_Becomes_First_to_Reach_7000_Performances_20100128 of all time]]'', and it may well be.
Has a sequel in ''Theatre/LoveNeverDies''.
----
!!Contains examples of:
* AccentUponTheWrongSyllable: There seems to be no consensus as to whether the female lead's name is pronounced "[=ChrisTINE=]" or "[=CHRIStine=]". Similarly, is it pronounced "OP-rah" or "o-PER-a?" The version varies according to which pronunciation best fits the rhythm of the lyrics at a given moment.
* AgeCut: Raoul, Mdme. Giry, and both The Phantom and Christine in the 2004 movie.
* AnachronismStew: Musically speaking - the electric guitar that duels with the organ during the tag of the titular song.
* AngryMobSong: "Track Down This Murderer", a reprise of the title song that's part of the lengthy climax.
* AscendedExtra: A lot of understudies and alternates for the three major roles often ended up playing the role in this or other adapations. (Ex. Rebecca Caine was an alternate Christine in the debut London production before being the main Christine in the Toronto production. Additionally, a lot of Raouls have ended up as Phantoms.
* {{Auction}}: The prologue of the musical is set at a 1911 auction of the opera house's odds and ends.
* BigDamnKiss: In the movie adaptation of the musical, Christine and The Phantom's kiss seems to go on for about five minutes. Good thing it's beautiful.
* CanonDiscontinuity: It would be impossible to make a film adaptation of ''Love Never Dies'' without breaking continuity with the 2004 movie, since it had established that [[spoiler:Christine dies in 1918, with the implication that it was because of the flu pandemic]].
* CashCowFranchise: The London and New York productions have been up and running since 1986 and 1988 respectively. Tours and foreign productions are similarly popular, and a lot of merchandise follows in their wake. In Vegas, there was [[http://www.phantomlasvegas.com/ a special condensed 95-minute version]] that retained most of the songs.
* CompellingVoice: "The Music of the Night" is an attempted seduction via this.
** "The Point of No Return" is also a double seduction scene: Don Juan (sung by the Phantom) is seducing Aminta (sung by Christine).
* CompositeCharacter: The Persian is completely absent, but his task of leading Raoul to the Phantom's lair has been given to Madame Giry.
* CostumePorn: Pretty much the whole show, but ''especially'' "Masquerade".
* CreepyDoll: In the musical Erik has one of these in a broken mirror (just go with it) that suddenly lunges out and scares Christine senseless, causing her to faint.
* CrosscastRole: Christine as the Page Boy, in an InUniverse example.
** And her character's name "Seraphino" is a ShoutOut to "Cherubino", another cross-cast role in the real-life ''TheMarriageOfFigaro''.
* CutSong: "Magical Lasso" in the Las Vegas ReCut, though, since its melody reappears elsewhere in many other songs, it's not surprising that the advertising claimed that all the songs appeared.
* DarkReprise: Several turn up in Act Two as part of longer pieces (particularly the appearances of the "Angel of Music" melody), but the Act One closing, the Phantom's reprise of "All I Ask Of You," is the best known.
** The final words of the musical are the Phantom's despairing reprise of "The Music of the Night."
* DawsonCasting: While most actresses to play Christine in the stage show are in their early twenties, a handful have been in their thirties or even nearing forty. The book establishes that both Christine and Raoul are in their early twenties.
* DepartmentOfRedundancyDepartment: "And if he has to kill a thousand men / The Phantom of the Opera will kill and kill again!"
* DramaticNecklaceRemoval: "Your chains are still mine..."
* TheElevenOClockNumber: "The Point of No Return".
* {{Foreshadowing}}: The ''Il Muto'' scene and its song "Poor Fool, He Makes Me Laugh". When the Phantom interrupts it, the Countess is with her lover, cheerfully singing about how she's cuckolding her husband, not knowing that he's hiding nearby. After Buquet's murder, Christine -- about to take over the role of the Countess -- and Raoul head to the roof to hide from the Phantom, share their first kiss together and declare their love...and the Phantom is privy to this all along. Is it any surprise that it's when Christine's taking her bow that night that the Phantom chooses to crash the chandelier?
** Not to mention "Think of Me". The entire song. ''"...Though it was always clear, that this was never meant to be..."'
* GambitPileup: At the beginning of the stage musical -- the change of the opera house's ownership means that ''everyone'' who wants things to change is trying to get a word in first. The Phantom's own machinations go unnoticed for some time because the new owners assume it's Raoul or one of the lesser players trying to stir up trouble.
* GriefSong: Both Christine ("Wishing You Were Somehow Here Again") and The Phantom ("All I Ask of You" Reprise).
* HallOfMirrors: A straight version of the trope appears when Raoul follows the Phantom down a trapdoor after "Masquerade" and finds himself trapped in a mirror maze.
* HotterAndSexier: The musical ("The Point of No Return," anyone?).
** Even more so in the movie version, largely due to the choice to hire younger, prettier actors than are usually cast in the stage show (Gerard Butler especially). Emmy Rossum being only sixteen to Butler's thirty-five makes Point of No Return kind of [[{{Squick}} ...uncomfortable]]. Also, most of the stage actresses are only in their twenties, and are [[http://i55.tinypic.com/2pzl2z6.jpg very]] [[http://i51.tinypic.com/2h6ve47.jpg sexy]] [[http://i52.tinypic.com/2zsbhfk.jpg indeed]]
* IAmBecomingSong: "Wishing You Were Somehow Here Again", Christine recognizes how hard she's been trying to hold on the past and tries to move on.
* InsistentTerminology: In the movie version of the musical, Gilles André would like to point out that he is in the business of ''scrap metal'', not junk. And lets not forget that the phantom calls racketeering his "salary".
* IronicEcho: The final lyrics of "Music Of The Night" are the Phantom's passionate declaration of love for Christine. But when they are sung again at the end of the show, he is now expressing despair at having lost her forever.
* IrrelevantActOpener: "Masquerade". (Though, they do manage to tie the song itself back into an emotional moment with the Phantom near the end of the show.)
** Although even at the beginning of Act 2 it could be seen as a metaphor for the Phantom's situation.
* LampshadeHanging: From "Prima Donna":
-->You'd never get away with all this in a play!
-->But if it's loudly sung and in a foreign tongue,
-->it's just the sort of story audiences adore,
-->in fact, a perfect opera!
* LargeHam: Minnie Driver's Carlotta steals a lot of her scenes.
* LongRunners: Since 1986 in London and 1988 in New York City; it's the longest-running Broadway show in the latter. (''Theatre/LesMiserables'' has got it licked by a year in London, and ''would'' have it similarly licked on Broadway had the Broadway version, which opened in 1987, a year before Phantom did, not closed in 2003.)
* LyricalDissonance: "Masquerade" is a grand celebration...of concealing your identity "so the world will never find you!" A DarkReprise appears at the end.
** 2004 film: The lyrics are all about [[http://blogs.naplesnews.com/stage-door/ThePhantomOfTheOperaCompanyMasquaradePhotocreditCatherineAshmore.jpg how colorful the costumes are]], but aside from [[SplashOfColor Christine's pink dress and Erik's Red Death costume]] everyone's wearing [[http://broadwaystars.com/ellis-nassour/POTOSchuMasquerade.jpg black, white, and gold]] (a little surprising coming from from [[JoelSchumacher the guy]] who directed ''Film/BatmanAndRobin'').
* ManlyTears: Gerard Butler skillfully looks manly whilst simultaneously crying and wearing a frilly shirt.
* NoNameGiven: Andrew Lloyd Webber doesn't call the Phantom "Erik".
* NostalgicMusicbox: It has the image of a monkey sitting atop a barrel organ, and plays what is later revealed to be the "Masquerade" melody.
* NotEvenBotheringWithTheAccent: ''Everyone'' in the 2004 movie save for Miranda Richardson as Madame Giry, who is apparently the only person in France with a French accent.
* NumberOfTheBeast: One has to wonder what jackass decided to tempt fate by putting the cursed chandlier with the bloody past into the musical's auction as Lot 666.
* ObsessionSong: The reprise of "All I Ask of You" at the end of Act One.
* OedipusComplex: Electra Complex. Part of Christine's attraction to the Phantom is that he reminds her of her father. (Note how most of the lyrics in "Wishing You Were Somehow Here Again" could just as easily apply to the Phantom.) WordOfGod said that in the movie, M. Daaé was deliberately cast to look like Gerard Butler.
** Made better by the RetroactiveRecognition of M. Daaé being played in the film by Ramin Karimloo, who played the Phantom in ''Theatre/LoveNeverDies'' and the 25th Anniversary Concert (and is quite well-known in the Phantom fandom for being the apex of sexy stage Phantoms). Karimloo is the only actor to play all three of the men Christine has loved.
* PatterSong: ALW's version has "Notes" in the first act, which is a patter song with an increasing number of people all singing angrily at each other until the Phantom shuts them up.
* ProductPlacement: In the movie version, the "hero" version of the chandelier was sponsored by Swarovski Crystals. There's a scene with a Swarovski store window, which depicts the Swarovski swan logo. However, the [[AnachronismStew logo at the time]] would have been a flower.
* RageAgainstTheMentor: Christine ''really'' lets the Phantom have it when he pulls the ScarpiaUltimatum on her.
* RoadTripAcrossTheStreet: In the film version of the musical, the Phantom places Christine on the back of a horse and uses it to carry her the length of a short corridor before abandoning it again.
* ShoutOut: In the movie, when Carlotta is on the verge of walking out (for the first time) and the new managers appeal to Lefevre on how to convince her to remain, his response, right down to tone and inflection, is very familiar from another ALW production: [[JosephAndTheAmazingTechnicolorDreamcoat "Grovel--grovel, grovel!"]]
** Lloyd Webber has admitted to being inspired by the 1925 film version, and there are a couple of clear shout outs. Most obvious is the angry mob going after the Phantom near the end, but the flower hoops held by the Sylphides in the "Il Muto" ballet also match those used in one of the film ballets.
* ShowWithinAShow: See StylisticSuck below.
* SnowMeansLove: The 2004 movie of the musical. As Raoul and Christine romance on the Opera House Roof, it conveniently starts to snow.
* TheSongBeforeTheStorm: "Prima Donna" and "Notes (reprise) - Twisted Every Way".
* StylisticSuck: The three fictional operas performed in the course of the story (''Hannibal'', a parody of the grand late classical operas from the like of Meyerbeer and Gluck, ''Il Muto'', an obvious parody of Mozart -- or one of that crowd -- and ''Don Juan Triumphant'', Sir Andrew's spoof on serialism in modern opera, overwrought with dissonance, and bathing in clichés.
* TenorBoy: Raoul fits this trope, but note that the Phantom is also a tenor. Starting with the original London cast, in which Steve Barton (Raoul) was also Michael Crawford's (The Phantom's) understudy, it's common for Raoul's actor to understudy the Phantom's role, sometimes taking it over later.
* ThisIsReality: You'd never get away with all this in a play But if it's loudly sung and in a foreign tongue It's just the sort of story audiences adore In fact, a perfect opera!"
* [[ThisIsAsFarAsIGo This Is as Far as I Dare Go, Sir.]]
* TitleDrop: Happens every five seconds...
* VillainLoveSong: It's a LongList...
** "The Mirror"
** "The Music of the Night" is one of the most famous songs in musical theater ''and'' one of the best examples of this trope.
** "Wandering Child"
** "Point of No Return"
** "Down Once More"
* VillainSong: The title number.
* VoiceTypes: Christine, Carlotta.
* WholeCostumeReference: In the 2004 film, Emmy Rossum's costume in "Think Of Me" is practically an exact copy of that worn by Empress Elisabeth of Austria (Sissi) in [[http://upload.wikimedia.org/wikipedia/commons/b/bc/Empress_Elisabeth_of_Austria_with_diamond_stars_on_her_hair.jpg the famous portrait by Franz Winterhalter]], right down to the hairstyle and the diamond stars in it. It doesn't hurt that Rossum is a dead ringer for the empress to begin with.
** The Phantom's "Red Death" outfit in the 2004 movie also appears to have been based on [[http://www.canvaz.com/napoleon/napoleon-011.jpg one of Napoleon Bonaparte's uniforms]] (though with a skull mask and a longer cloak added).
----
''Literature/ThePhantomOfTheOpera'' has perhaps the most well-known adaptation in Creator/AndrewLloydWebber's wildly successful musical. The musical premiered in London in 1986 and Broadway in 1988 and has been running in both locations ever since. The musical was itself made into [[TheMovie a movie]] in 2004 after years in DevelopmentHell, starring Emmy Rossum as Christine and Gerard Butler as Erik, the Phantom. In 2011, London's Royal Albert Hall hosted a 25th anniversary staging that was released on video the following year.
''[[FanNickname Phantom]]'' is an absolute ''juggernaut'' of a musical; if it's not the most iconic musical in the world, it is superseded in that regard only by ''Theatre/LesMiserables'', another Cameron Mackintosh production (and coincidentally also based on a French novel), which began its run a year earlier. ''Les Mis'' remains the longest-running musical theatre production in the world, having been going in the West End continuously since 1985, but with the close of ''Les Mis'' on Broadway in 2003, ''The Phantom of the Opera'' -- which is still running on Broadway and in London -- holds the crown as the longest-running ''Broadway'' musical in history. It has been called the single most financially successful entertainment venture ''[[http://nationaltours.broadwayworld.com/article/Photo_Flash_PHANTOM_Tour_Becomes_First_to_Reach_7000_Performances_20100128 of all time]]'', and it may well be.
Has a sequel in ''Theatre/LoveNeverDies''.
----
!!Contains examples of:
* AccentUponTheWrongSyllable: There seems to be no consensus as to whether the female lead's name is pronounced "[=ChrisTINE=]" or "[=CHRIStine=]". Similarly, is it pronounced "OP-rah" or "o-PER-a?" The version varies according to which pronunciation best fits the rhythm of the lyrics at a given moment.
* AgeCut: Raoul, Mdme. Giry, and both The Phantom and Christine in the 2004 movie.
* AnachronismStew: Musically speaking - the electric guitar that duels with the organ during the tag of the titular song.
* AngryMobSong: "Track Down This Murderer", a reprise of the title song that's part of the lengthy climax.
* AscendedExtra: A lot of understudies and alternates for the three major roles often ended up playing the role in this or other adapations. (Ex. Rebecca Caine was an alternate Christine in the debut London production before being the main Christine in the Toronto production. Additionally, a lot of Raouls have ended up as Phantoms.
* {{Auction}}: The prologue of the musical is set at a 1911 auction of the opera house's odds and ends.
* BigDamnKiss: In the movie adaptation of the musical, Christine and The Phantom's kiss seems to go on for about five minutes. Good thing it's beautiful.
* CanonDiscontinuity: It would be impossible to make a film adaptation of ''Love Never Dies'' without breaking continuity with the 2004 movie, since it had established that [[spoiler:Christine dies in 1918, with the implication that it was because of the flu pandemic]].
* CashCowFranchise: The London and New York productions have been up and running since 1986 and 1988 respectively. Tours and foreign productions are similarly popular, and a lot of merchandise follows in their wake. In Vegas, there was [[http://www.phantomlasvegas.com/ a special condensed 95-minute version]] that retained most of the songs.
* CompellingVoice: "The Music of the Night" is an attempted seduction via this.
** "The Point of No Return" is also a double seduction scene: Don Juan (sung by the Phantom) is seducing Aminta (sung by Christine).
* CompositeCharacter: The Persian is completely absent, but his task of leading Raoul to the Phantom's lair has been given to Madame Giry.
* CostumePorn: Pretty much the whole show, but ''especially'' "Masquerade".
* CreepyDoll: In the musical Erik has one of these in a broken mirror (just go with it) that suddenly lunges out and scares Christine senseless, causing her to faint.
* CrosscastRole: Christine as the Page Boy, in an InUniverse example.
** And her character's name "Seraphino" is a ShoutOut to "Cherubino", another cross-cast role in the real-life ''TheMarriageOfFigaro''.
* CutSong: "Magical Lasso" in the Las Vegas ReCut, though, since its melody reappears elsewhere in many other songs, it's not surprising that the advertising claimed that all the songs appeared.
* DarkReprise: Several turn up in Act Two as part of longer pieces (particularly the appearances of the "Angel of Music" melody), but the Act One closing, the Phantom's reprise of "All I Ask Of You," is the best known.
** The final words of the musical are the Phantom's despairing reprise of "The Music of the Night."
* DawsonCasting: While most actresses to play Christine in the stage show are in their early twenties, a handful have been in their thirties or even nearing forty. The book establishes that both Christine and Raoul are in their early twenties.
* DepartmentOfRedundancyDepartment: "And if he has to kill a thousand men / The Phantom of the Opera will kill and kill again!"
* DramaticNecklaceRemoval: "Your chains are still mine..."
* TheElevenOClockNumber: "The Point of No Return".
* {{Foreshadowing}}: The ''Il Muto'' scene and its song "Poor Fool, He Makes Me Laugh". When the Phantom interrupts it, the Countess is with her lover, cheerfully singing about how she's cuckolding her husband, not knowing that he's hiding nearby. After Buquet's murder, Christine -- about to take over the role of the Countess -- and Raoul head to the roof to hide from the Phantom, share their first kiss together and declare their love...and the Phantom is privy to this all along. Is it any surprise that it's when Christine's taking her bow that night that the Phantom chooses to crash the chandelier?
** Not to mention "Think of Me". The entire song. ''"...Though it was always clear, that this was never meant to be..."'
* GambitPileup: At the beginning of the stage musical -- the change of the opera house's ownership means that ''everyone'' who wants things to change is trying to get a word in first. The Phantom's own machinations go unnoticed for some time because the new owners assume it's Raoul or one of the lesser players trying to stir up trouble.
* GriefSong: Both Christine ("Wishing You Were Somehow Here Again") and The Phantom ("All I Ask of You" Reprise).
* HallOfMirrors: A straight version of the trope appears when Raoul follows the Phantom down a trapdoor after "Masquerade" and finds himself trapped in a mirror maze.
* HotterAndSexier: The musical ("The Point of No Return," anyone?).
** Even more so in the movie version, largely due to the choice to hire younger, prettier actors than are usually cast in the stage show (Gerard Butler especially). Emmy Rossum being only sixteen to Butler's thirty-five makes Point of No Return kind of [[{{Squick}} ...uncomfortable]]. Also, most of the stage actresses are only in their twenties, and are [[http://i55.tinypic.com/2pzl2z6.jpg very]] [[http://i51.tinypic.com/2h6ve47.jpg sexy]] [[http://i52.tinypic.com/2zsbhfk.jpg indeed]]
* IAmBecomingSong: "Wishing You Were Somehow Here Again", Christine recognizes how hard she's been trying to hold on the past and tries to move on.
* InsistentTerminology: In the movie version of the musical, Gilles André would like to point out that he is in the business of ''scrap metal'', not junk. And lets not forget that the phantom calls racketeering his "salary".
* IronicEcho: The final lyrics of "Music Of The Night" are the Phantom's passionate declaration of love for Christine. But when they are sung again at the end of the show, he is now expressing despair at having lost her forever.
* IrrelevantActOpener: "Masquerade". (Though, they do manage to tie the song itself back into an emotional moment with the Phantom near the end of the show.)
** Although even at the beginning of Act 2 it could be seen as a metaphor for the Phantom's situation.
* LampshadeHanging: From "Prima Donna":
-->You'd never get away with all this in a play!
-->But if it's loudly sung and in a foreign tongue,
-->it's just the sort of story audiences adore,
-->in fact, a perfect opera!
* LargeHam: Minnie Driver's Carlotta steals a lot of her scenes.
* LongRunners: Since 1986 in London and 1988 in New York City; it's the longest-running Broadway show in the latter. (''Theatre/LesMiserables'' has got it licked by a year in London, and ''would'' have it similarly licked on Broadway had the Broadway version, which opened in 1987, a year before Phantom did, not closed in 2003.)
* LyricalDissonance: "Masquerade" is a grand celebration...of concealing your identity "so the world will never find you!" A DarkReprise appears at the end.
** 2004 film: The lyrics are all about [[http://blogs.naplesnews.com/stage-door/ThePhantomOfTheOperaCompanyMasquaradePhotocreditCatherineAshmore.jpg how colorful the costumes are]], but aside from [[SplashOfColor Christine's pink dress and Erik's Red Death costume]] everyone's wearing [[http://broadwaystars.com/ellis-nassour/POTOSchuMasquerade.jpg black, white, and gold]] (a little surprising coming from from [[JoelSchumacher the guy]] who directed ''Film/BatmanAndRobin'').
* ManlyTears: Gerard Butler skillfully looks manly whilst simultaneously crying and wearing a frilly shirt.
* NoNameGiven: Andrew Lloyd Webber doesn't call the Phantom "Erik".
* NostalgicMusicbox: It has the image of a monkey sitting atop a barrel organ, and plays what is later revealed to be the "Masquerade" melody.
* NotEvenBotheringWithTheAccent: ''Everyone'' in the 2004 movie save for Miranda Richardson as Madame Giry, who is apparently the only person in France with a French accent.
* NumberOfTheBeast: One has to wonder what jackass decided to tempt fate by putting the cursed chandlier with the bloody past into the musical's auction as Lot 666.
* ObsessionSong: The reprise of "All I Ask of You" at the end of Act One.
* OedipusComplex: Electra Complex. Part of Christine's attraction to the Phantom is that he reminds her of her father. (Note how most of the lyrics in "Wishing You Were Somehow Here Again" could just as easily apply to the Phantom.) WordOfGod said that in the movie, M. Daaé was deliberately cast to look like Gerard Butler.
** Made better by the RetroactiveRecognition of M. Daaé being played in the film by Ramin Karimloo, who played the Phantom in ''Theatre/LoveNeverDies'' and the 25th Anniversary Concert (and is quite well-known in the Phantom fandom for being the apex of sexy stage Phantoms). Karimloo is the only actor to play all three of the men Christine has loved.
* PatterSong: ALW's version has "Notes" in the first act, which is a patter song with an increasing number of people all singing angrily at each other until the Phantom shuts them up.
* ProductPlacement: In the movie version, the "hero" version of the chandelier was sponsored by Swarovski Crystals. There's a scene with a Swarovski store window, which depicts the Swarovski swan logo. However, the [[AnachronismStew logo at the time]] would have been a flower.
* RageAgainstTheMentor: Christine ''really'' lets the Phantom have it when he pulls the ScarpiaUltimatum on her.
* RoadTripAcrossTheStreet: In the film version of the musical, the Phantom places Christine on the back of a horse and uses it to carry her the length of a short corridor before abandoning it again.
* ShoutOut: In the movie, when Carlotta is on the verge of walking out (for the first time) and the new managers appeal to Lefevre on how to convince her to remain, his response, right down to tone and inflection, is very familiar from another ALW production: [[JosephAndTheAmazingTechnicolorDreamcoat "Grovel--grovel, grovel!"]]
** Lloyd Webber has admitted to being inspired by the 1925 film version, and there are a couple of clear shout outs. Most obvious is the angry mob going after the Phantom near the end, but the flower hoops held by the Sylphides in the "Il Muto" ballet also match those used in one of the film ballets.
* ShowWithinAShow: See StylisticSuck below.
* SnowMeansLove: The 2004 movie of the musical. As Raoul and Christine romance on the Opera House Roof, it conveniently starts to snow.
* TheSongBeforeTheStorm: "Prima Donna" and "Notes (reprise) - Twisted Every Way".
* StylisticSuck: The three fictional operas performed in the course of the story (''Hannibal'', a parody of the grand late classical operas from the like of Meyerbeer and Gluck, ''Il Muto'', an obvious parody of Mozart -- or one of that crowd -- and ''Don Juan Triumphant'', Sir Andrew's spoof on serialism in modern opera, overwrought with dissonance, and bathing in clichés.
* TenorBoy: Raoul fits this trope, but note that the Phantom is also a tenor. Starting with the original London cast, in which Steve Barton (Raoul) was also Michael Crawford's (The Phantom's) understudy, it's common for Raoul's actor to understudy the Phantom's role, sometimes taking it over later.
* ThisIsReality: You'd never get away with all this in a play But if it's loudly sung and in a foreign tongue It's just the sort of story audiences adore In fact, a perfect opera!"
* [[ThisIsAsFarAsIGo This Is as Far as I Dare Go, Sir.]]
* TitleDrop: Happens every five seconds...
* VillainLoveSong: It's a LongList...
** "The Mirror"
** "The Music of the Night" is one of the most famous songs in musical theater ''and'' one of the best examples of this trope.
** "Wandering Child"
** "Point of No Return"
** "Down Once More"
* VillainSong: The title number.
* VoiceTypes: Christine, Carlotta.
* WholeCostumeReference: In the 2004 film, Emmy Rossum's costume in "Think Of Me" is practically an exact copy of that worn by Empress Elisabeth of Austria (Sissi) in [[http://upload.wikimedia.org/wikipedia/commons/b/bc/Empress_Elisabeth_of_Austria_with_diamond_stars_on_her_hair.jpg the famous portrait by Franz Winterhalter]], right down to the hairstyle and the diamond stars in it. It doesn't hurt that Rossum is a dead ringer for the empress to begin with.
** The Phantom's "Red Death" outfit in the 2004 movie also appears to have been based on [[http://www.canvaz.com/napoleon/napoleon-011.jpg one of Napoleon Bonaparte's uniforms]] (though with a skull mask and a longer cloak added).
----
