History WMG / ThePhantomOfTheOpera

25th Oct '17 2:20:46 AM Misstress
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Added DiffLines:

* Another thing that's relevant; In Sami religion it is believed that if you yoik your relatives[[note]]using yoik as a verb is a bit tricky. If you mean to say "sing a yoik about your relatives" the gramatically correct way to say it is "yoik your relatives"[[/note]], they'll never leave you. Yoik is simply put, a string of vocalizations used to express you feelings. Christine might never have been good at yoiking so she settled for singing. Another explanation as to why she fell for the Phantom's tricks. Ofcourse her dad came back, she's been singing while thinking of him.
17th Oct '17 8:11:32 PM JMcool
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So Sami people are the indegenous population of Scandinavia, yeah? Raoul recognizes Christine by her red scarf and red scarves or shawls are a part of some traditional Swedish-sami clothes. This is why she cherished it so much, it's a symbol of her heirtage, maybe it was even passed down from her late sami mother, having no energy to weave Christine her own scarf because she was dying of a disease, she instead let her have hers. Christine takes pride in her heirtage, but fears she'll experience the discrimination she did back home in Sweden and tries not to bring it up.

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So Sami people are the indegenous population of Scandinavia, yeah? Raoul recognizes Christine by her red scarf and red scarves or shawls are a part of some traditional Swedish-sami clothes. This is why she cherished it so much, it's a symbol of her heirtage, maybe it was even passed down from her late sami mother, having no energy to weave Christine her own scarf because she was dying of a disease, she instead let her have hers. Christine takes pride in her heirtage, but fears she'll experience the discrimination she did back home in Sweden and tries not to bring it up.up.

[[WMG: Erik looks the way he does because of Congenital Syphilis]]
At least in the book. The way he's described would fit with the symptoms and deformities associated with the disease and considering how widespread Syphilis was back before antibiotics, it would make sense.
23rd May '17 2:16:42 AM Misstress
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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.

to:

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.had.

[[WMG: Christine is half-sami on her mother's side.]]
So Sami people are the indegenous population of Scandinavia, yeah? Raoul recognizes Christine by her red scarf and red scarves or shawls are a part of some traditional Swedish-sami clothes. This is why she cherished it so much, it's a symbol of her heirtage, maybe it was even passed down from her late sami mother, having no energy to weave Christine her own scarf because she was dying of a disease, she instead let her have hers. Christine takes pride in her heirtage, but fears she'll experience the discrimination she did back home in Sweden and tries not to bring it up.
1st Feb '17 10:35:01 PM Doug86
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[[WMG: Erik was an actor who played {{Pippin}}.]]

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[[WMG: Erik was an actor who played {{Pippin}}.Theatre/{{Pippin}}.]]
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?

to:

* 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.

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]]. 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.

to:

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.
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