History WMG / ThePhantomOfTheOpera

8th May '16 10:18:22 PM STRiPESandShades
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A lot of Erik's actions in the original musical can make a lot more sense if you consider the possibility that he's terminally ill. Everything he does is essentially one last "fuck you" to the world that [[WoobieDestroyerOfWorlds showed him nothing but cruelty; as such he is filled with nothing but rage and hate.]] Christine, by virtue of being the only person who showed him any kindness ever, [[LoveRedeems helps to redeem him at the end]], thus freeing his soul from that rage and [[TearJerker allowing him to die without regret and ascend to heaven afterwards]] (symbolized by his mask remaining, then being lifted up as a light from over the stage shines on it).

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A lot of Erik's actions in the original musical can make a lot more sense if you consider the possibility that he's terminally ill. Everything he does is essentially one last "fuck you" to the world that [[WoobieDestroyerOfWorlds showed him nothing but cruelty; as such he is filled with nothing but rage and hate.]] Christine, by virtue of being the only person who showed him any kindness ever, [[LoveRedeems helps to redeem him at the end]], thus freeing his soul from that rage and [[TearJerker allowing him to die without regret and ascend to heaven afterwards]] (symbolized by his mask remaining, then being lifted up as a light from over the stage shines on it).it).

[[WMG: Growing up under the Opera has seriously skewed Erik's idea of reality.]]
This may be strongly implied, but I'm not sure if it's every expressly said - or discussed. Especially in the musical and its incarnations, you'd think knowing nothing of the world but cruelty and then the only example of things outside of it is *opera* of all of things, your idea of how things work is probably a little... off. The hero always gets the girl and wins her by highly dramatic means (up to and including sword duels, magic, and particularly enticing music), extreme measures are always warranted, and lots of deaths may happen, but that's okay. It's the only idea of the outside world he's ever had.
14th Apr '15 6:28:23 AM CoGDork
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* Because: why not?

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* Because: why not?not?

[[WMG: The Phantom is dying.]]
A lot of Erik's actions in the original musical can make a lot more sense if you consider the possibility that he's terminally ill. Everything he does is essentially one last "fuck you" to the world that [[WoobieDestroyerOfWorlds showed him nothing but cruelty; as such he is filled with nothing but rage and hate.]] Christine, by virtue of being the only person who showed him any kindness ever, [[LoveRedeems helps to redeem him at the end]], thus freeing his soul from that rage and [[TearJerker allowing him to die without regret and ascend to heaven afterwards]] (symbolized by his mask remaining, then being lifted up as a light from over the stage shines on it).
7th Mar '15 5:59:06 AM DocWildNole
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I don't believe Lloyd Webber has ever claimed any of the sort, but the two tunes certainly sound similar, with their loud, haunting pipe organs playing a tune that rises and falls. Before the musical came out and [[AdaptationDisplacement displaced all other versions of the story]], ''Toccata and Fugue'' was widely associated with the Phantom thanks to its appearance in [[Film/ThePhantomOfTheOpera1962 the 1962 Hammer movie]]. Thus, the tune would likely at least cross ALW's mind while he was writing his own version.

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I don't believe Lloyd Webber has ever claimed any of the sort, but the two tunes certainly sound similar, with their loud, haunting pipe organs playing a tune that rises and falls. Before the musical came out and [[AdaptationDisplacement displaced all other versions of the story]], ''Toccata and Fugue'' was widely associated with the Phantom thanks to its appearance in [[Film/ThePhantomOfTheOpera1962 the 1962 Hammer movie]]. Thus, the tune would likely at least cross ALW's mind while he was writing his own version.version.

[[WMG: Erik is a TimeLord]]
* Because: he goes by a "The" title
* Because: he possesses incredible genius and technological capabilities far beyond the time setting
* Because: they never find him at the end, therefore the chair was his entrance to his TARDIS.
* Because: (in the movie) [[spoiler: a very aged Raoul finds a fresh red rose on Christine's grave]] and since the Phantom was clearly older than the two of them, he's clearly ageless
* Because: why not?
18th Dec '13 2:33:35 PM erforce
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I don't believe Lloyd Webber has ever claimed any of the sort, but the two tunes certainly sound similar, with their loud, haunting pipe organs playing a tune that rises and falls. Before the musical came out and [[AdaptationDisplacement displaced all other versions of the story]], ''Toccata and Fugue'' was widely associated with the Phantom thanks to its appearance in the 1962 Hammer movie. Thus, the tune would likely at least cross ALW's mind while he was writing his own version.

to:

I don't believe Lloyd Webber has ever claimed any of the sort, but the two tunes certainly sound similar, with their loud, haunting pipe organs playing a tune that rises and falls. Before the musical came out and [[AdaptationDisplacement displaced all other versions of the story]], ''Toccata and Fugue'' was widely associated with the Phantom thanks to its appearance in [[Film/ThePhantomOfTheOpera1962 the 1962 Hammer movie.movie]]. Thus, the tune would likely at least cross ALW's mind while he was writing his own version.
18th Oct '13 9:02:39 PM SergeantLuke
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* He becomes attached to Christine because she reminded him of Catherine, whom he still loves. Hence his reactions when he sees Christine kiss Raoul.

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* He becomes attached to Christine because she reminded him of Catherine, whom he still loves. Hence his reactions when he sees Christine kiss Raoul.Raoul.

[[WMG: The famous Overture was inspired by Bach's ''Toccata and Fugue in D Minor''. ]]
I don't believe Lloyd Webber has ever claimed any of the sort, but the two tunes certainly sound similar, with their loud, haunting pipe organs playing a tune that rises and falls. Before the musical came out and [[AdaptationDisplacement displaced all other versions of the story]], ''Toccata and Fugue'' was widely associated with the Phantom thanks to its appearance in the 1962 Hammer movie. Thus, the tune would likely at least cross ALW's mind while he was writing his own version.
22nd Sep '13 6:33:17 AM Stinkfly3
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He was one of the people who agreed to perform the Finale. To the Leading Player's surprise, he survived, but his face was burned in the process. When he left, one of the other performers (Madame Giry) agreed to keep an eye on him to make sure he's okay.

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He was one of the people who agreed to perform the Finale. To the Leading Player's surprise, he survived, but his face was burned in the process. When he left, one of the other performers (Madame Giry) agreed to keep an eye on him to make sure he's okay.okay.
* He becomes attached to Christine because she reminded him of Catherine, whom he still loves. Hence his reactions when he sees Christine kiss Raoul.
22nd Sep '13 6:28:28 AM Stinkfly3
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[[WMG: Erik was an actor who played Theatre/Pippin.]]

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[[WMG: Erik was an actor who played Theatre/Pippin.{{Pippin}}.]]
22nd Sep '13 6:28:00 AM Stinkfly3
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Working off of novel continuity here- he's born looking like a corpse (as traditional vampires did), he never knew his real father, and his childlike psychopathy is very much like Dracula's childlike psychopathy. Also, he manages to treat his prospective wife like total crap and have it romanticized, which seems par the course for [[{{Dracula}} most]] [[{{Twilight}} vampires]].

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Working off of novel continuity here- he's born looking like a corpse (as traditional vampires did), he never knew his real father, and his childlike psychopathy is very much like Dracula's childlike psychopathy. Also, he manages to treat his prospective wife like total crap and have it romanticized, which seems par the course for [[{{Dracula}} most]] [[{{Twilight}} vampires]].vampires]].

[[WMG: Erik was an actor who played Theatre/Pippin.]]
He was one of the people who agreed to perform the Finale. To the Leading Player's surprise, he survived, but his face was burned in the process. When he left, one of the other performers (Madame Giry) agreed to keep an eye on him to make sure he's okay.
23rd Jul '13 6:37:33 AM Reviewgamesh
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Added DiffLines:

[[WMG: Since Webber stole the melody of the title song from Pink Floyd, they're collectively the Phantom. ]]
* Since Webber more or less lifted the melody for the title song from Pink Floyd's "Echoes", wouldn't that technically make David Gilmour the Phantom or something? Actually, several members of Pink Floyd combined could make the Phantom- Gilmour the musical genius, Waters the self-aggrandizing jerk, Wright the keyboard player, and Syd Barrett the reclusive madman? Now we just need to figure out what Nick Mason is.
30th May '13 4:53:31 PM DAStudent
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** Sander Cohen is canonically gay.
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http://tvtropes.org/pmwiki/article_history.php?article=WMG.ThePhantomOfTheOpera