[[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 starring Sierra Boggess as Christine and Ramin Karimloo as The Phantom, ''(both of whom originated the same roles in the Andrew Lloyd Webber's 2010 sequel)''.

''[[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Phantom]]'' is an absolute ''juggernaut'' of a musical; if it's not the most iconic musical in the world, it is superseded in that regard only by ''Theatre/LesMiserables'', another Cameron Mackintosh production (and coincidentally also based on a French novel), which began its run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's also one of the most successful entertainment ventures of all time and for many years was THE most successful ([[http://nationaltours.broadwayworld.com/article/Photo_Flash_PHANTOM_Tour_Becomes_First_to_Reach_7000_Performances_20100128 see here]]). It has only been outgrossed by the Disney stage musical ''Theatre/TheLionKing'' as of September 2014.

Has a sequel in ''Theatre/LoveNeverDies''. See also the [[Film/ThePhantomOfTheOpera1925 famous 1925 silent film]] by Creator/{{Universal}} starring Creator/LonChaney, which gave Webber strong inspiration.
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!!Contains examples of:
* AcCENTUponTheWrongSylLABle: There seems to be no consensus as to whether the female lead's name is pronounced "[=ChrisTINE=]" or "[=CHRIStine=]". Sources outside the musical agree on the former, but the musical itself uses the latter because the music was originally written to accommodate the name "Kristen". Specific productions will vary.
* AdaptationExpansion:
** The 25th anniversary performance at the Royal Albert Hall, which features several parts of the original libretto that usually aren't performed, expands upon the Phantom's backstory, incorporating elements of it from the novel. Madame Giry claims to have seen him in a freakshow in a traveling fair several years before, where it was said that he was formerly a torturer for the Shah, and that she later heard he had escaped. She recognized him as the Phantom by his eyes.
* 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.
** If we're going to be picky, the Phantom's iconic fedora is technically one of these; while the musical is set in 1881, homburg hats - from which fedoras would develop - wouldn't rocket to popularity until later on in the 1880s.
* AngryMobSong: "Track Down This Murderer", a reprise of the title song that's part of the lengthy climax.
* AnguishedDeclarationOfLove:
--> "Christine... I love you".
** He's usually already quite weepy before he says it, but the waterworks crank up when she responds to this by ''leaving him''.
* ArcWords: "Keep your hand at the level of your eyes..."
* AscendedExtra:
** A lot of understudies and alternates for the three major roles often ended up playing the role in this or other adaptations. (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.
** In the original novel Meg Giry only shows up briefly in the first 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.
** 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. The Phantom is delighted at this and continues to coach Christine.
* {{Auction}}: The prologue of the musical is set at a 1911 auction of the opera house's odds and ends.
* BigNo:
** The Phantom will often let out a huge one of these in the first half when Christine sneaks up to his side and removes his mask, often accompanied by theatrics such as scampering on the ground and muttering things such as "Curse you!" Both Christine and the audience are left horrified.
** As well, some Raouls have let one out when Christine kisses the Phantom; that may also be combined with a cry of "[[SayMyName Christine]]!"
* ColorfulSong: "Masquerade".
* 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".
** Hell, the first ''fifteen minutes'' of the musical is a great example, what with the fancy details put in the ShowWithinAShow depicting AncientRome.
* CounterpointDuet: The finale features a duet of "Point of No Return" by Phantom & Raoul (with differing lyrics) vs. Christine's "Angel of Music".
* 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 "Serafimo" 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."
** "Twisted Every Way" for "Prima Donna".
** The first two times The Phantom's leitmotif is heard, it's awesome. The last time, it is when Christine unmasks him in front of the whole theatre.
* DarkAndTroubledPast:
** Madame Giry tells Raoul what she knows of the Phantom's past, including that he ended up imprisoned in a cage in a travelling fair. The film goes one step further, showing how she rescued him from said sideshow when they were both very young.
** Christine is somewhat of a parallel example given how she's had to deal with the tragic death of her father.
* DepartmentOfRedundancyDepartment: "And if he has to kill a thousand men / The Phantom of the Opera will kill and kill again!"
* DidYouActuallyBelieve: As the Phantom says when he crashes the party in 'Masquerade': "Why so silent, good messieurs?/Did you ''think'' that I had ''left'' you for good?"
* DramaticNecklaceRemoval: "Your chains are still mine..."
* TheElevenOClockNumber: "The Point of No Return".
* EvilSoundsDeep:
** [[AvertedTrope Averted]] as the role of the Phantom was written for, and is almost always played by, a tenor.
*** Played straight, however, with the casting of baritone Norm Lewis on Broadway.
** Going even further, a key aspect of the Phantom's relationship to Christine at the beginning is that he communicates to her through ''murmurings and whispers''.
* ForegoneConclusion: Right from the beginning, we know that Raoul at least will survive the events of the musical and that the chandelier, having gone up in such a dramatic fashion, is going to come down again just as dramatically...
* {{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..."'
* ForgottenFramingDevice: The show opens with an elderly Raoul attending an auction of the opera house's items which segues into main story when they show the chandelier. Raoul's lines imply that Christine has died but the play ends with her still alive and never returns to the framing story.
* FourthDateMarriage: it's not clear how much time elapses over the course of the first act.[[note]]Christine has her first aria, "Think Of Me," and then absconds with the Phantom. The next morning, he decrees that, "in the new production of ''Il Muto''," Christine and Carlotta should swap roles. The next scene is said opera in performance, but how long did it take the Opera Populaire to assemble it?[[/note]] What ''is'' clear is that in Christine and Raoul's ''second scene together'', they're singing "All I Ask Of You" and pledging their love. True, they may have been hanging out in the intervening time; true, they grew up together; but it's still only their second interaction [[ShowDontTell privy to the audience]].
** (And by their third, they are in fact engaged! Fortunately the six-month TimeSkip is made explicit, lending a ''bit'' more credibility to that development.)
* TheFourthWallWillNotProtectYou: Since the plot takes place in an opera house, the entire theatre itself is part of the set:
** That chandelier that was slowly cranked up to the ceiling at the beginning, to signify time going backwards? The Phantom sends it hurtling back towards the stage at the end of the first act, ''narrowly'' missing the front rows before crashing.
** Whenever the Phantom "publicly" terrorizes any showing, his voice can be heard echoing from ''anywhere'' in the building.
*** At the World Tour's performance at the Marina Bay Sands in Singapore, the audience got the distinct feeling that the Phantom is ''breathing down their necks'' as his voice echoes all around them. Brr.
** When the theatre is being secured for the performance of ''Don Juan Triumphant'', the sounds of the sounds of doors slamming and firemen shouting "Secure!" can be heard throughout the theatre.
* FramingDevice: The show opens well after the events of plot have taken place and then "flash back" to the past.
* 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).
* {{The Gentleman or the Scoundrel}}: Raoul and Erik.
* HallOfMirrors:
** In the new (2014) U.S. tour the set for "Masquerade" is a stage full of very large mirrors.
* HotterAndSexier:
** ''"The Point of No Return,"'' anyone?
** 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.]]
** The guys playing Raoul can be pretty hot as well. I mean, heck, JohnBarrowman (yes, the same guy who plays Captain Jack Harkness in Series/DoctorWho and ''Torchwood'') played Raoul in West End in 1993 and was supposed to be the first Raoul in Love Never Dies!
** The 25th anniversary performance at the Royal Albert Hall touches on this trope, with well-respected character actor Ramin Karimloo portraying the Phantom as particularly charismatic in both voice and general appearance (with the mask on) yet also showing the bleakness and despair of the Phantom's internal conflicts... and, well, [[BodyHorror with the mask off...]]
* 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.
* 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. But then again, the Phantom is hardly a rational man in any case...
* InsistentTerminology: 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.
** "The Phantom of the Opera is INSIDE MY MIND!
** "Order your fine horses now!"
** Phantom asked Christine if she can bear to look or "Think of Me" when she unmasks him in "Stranger Than You Dreamt It".
* 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!
** "And what was it were supposed to have wrote? (I mean) Written!"
* LaughingMad:
** The Phantom does this a ''lot'' in the ''Il Muto'' scene, whether he's making Carlotta croak or disrupting the ballet scene and offing Buquet. Depending on the actor playing him, he can also devolve to this in the final lair sequence.
** The trope is pretty much [[AvertedTrope averted]], however, back when the Phantom whispers to Christine as the "angel of music" and for a good chunk of the story afterwards when she meets him in person, when he acts either cool and calm or passionately charismatic in his singing despite his obsessive insanity.
* 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 of the show.
* ManipulativeBastard: The Phantom follows Christine to her father's grave and, while she's at her most emotionally distraught and vulnerable, attempts to convince her to return to him by using his CompellingVoice as well as playing hard and fast on her daddy issues. ''Charming.''
* ManlyTears: The Phantom breaks down every time he loses Christine, especially at the end.
* MaybeMagicMaybeMundane:
** It's deliberately left ambiguous as to whether this version of the Phantom actually ''does'' have supernatural abilities. Some of the things he does, like the mirror and shooting fire from his staff, are understandable, but a lot more - causing the piano to play itself during the rehearsal of ''Don Juan Triumphant,'' creating the massive amounts of 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 obviously stage effects in real life, have no practical explanation in the context of the story.
* MoodWhiplash: Whatever romantic feelings the audience may have watching Christine and Raoul sing a love duet evaporate ''fast'' into a MassOhCrap once they leave the stage and the Phantom emerges from behind a statue, revealing that he's seen and heard everything and is ''pissed''. Audiences have been known to gasp in horror at this moment.
* MusicalisInterruptus: Phantom's "All I Ask of You" reprise when Christine unmasks him.
* 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: While the West End (of course), the Broadway and the World Tour productions have everyone speaking and singing with an English accent, the restaged US tour has everyone speaking and singing with an American accent.
* NumberOfTheBeast: One has to wonder what jackass decided to [[TemptingFate tempt fate]] by putting the cursed chandelier 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.)
** 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 Theatre/LesMiserables, essentially adding this edge to their scenes.
** And the 2014 Broadway Phantom and Christine--Norm Lewis and Sierra Bogess, played father and daughter Triton and Ariel in the Broadway version of ''Theatre/TheLittleMermaid'', which will probably give their scenes this edge as well.
* OriginalCastPrecedent: In every replica production of the theatrical Phantom (and most non-replica ones) Christine has brown or nearly black hair (despite the fact that in the book, Christine is blonde); the original West End Christine, Sarah Brightman, has very dark hair. Other inspiration may have come from the 1925 film, in which Mary Philbin has dark hair. Really Useful Group has also been known to keep a tight leash on character designs and appearances, so ExecutiveMeddling may come into play here.
** Averted with Emmi Christensson, current alternate in the West End production, who is actually Swedish and has been given a blonde wig.
* 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.
* PlayingGertrude: While the Phantom of the book is ''at least'' about fifty, the Phantom on stage is being played by successively younger actors--Ramin Karimloo was 30 when he portrayed the Phantom in LoveNeverDies.
* PointyHairedBoss: Played with when it comes to Andre and Firmin. They're not incompetent, per se - they do know how to run the opera house and what's most likely to get customers in 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.
* RageAgainstTheMentor: Christine ''really'' lets the Phantom have it when he pulls the ScarpiaUltimatum on her.
* RepriseMedley: Everything after "Point of No Return".
* SadisticChoice: "Twisted Every Way" and the "Point of No Return" reprise.
* SayMyName: "Christine, Christine" is sung the same way by the Phantom, Raoul, Meg and Carlotta.
* ShoutOut:
** 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.
* 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 ChekhovsGun of the Punjab lasso - but his shocking death is the final nail in the coffin of Christine deciding the Phantom is ''bad news'' and choosing Raoul; all (further) hell breaks loose from there.
** For that matter, the Phantom himself. Would you believe that a character who so thoroughly dominates the show is only onstage for about 30-40 minutes of a two-and-a-half hour production?
* SomethingCompletelyDifferent: The Hungarian and Polish productions look nothing like the Broadway/London versions--hair, costumes, sets, blocking, etc. The Polish production even looks far more like the 2004 movie rather than the musical. The producers actually had to get special permission from TPTB for this. The recent US and UK tours have some differences as well.
* TheSongBeforeTheStorm: "Prima Donna" and "Notes (reprise) - Twisted Every Way".
* StupidSexyFlanders: Both Ramin Karimloo as the title character and Hadley Fraser as Raoul count for many fans in ''The Phantom of the Opera at the Royal Albert Hall'', as well as other times when said actors have been involved.
* 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: Said word for word by Madame Giry as she leads Raoul to the Phantom's lair
* TitleDrop: Happens every five seconds...
* 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.
* TheUnreveal: Although Madame Giry hints at the Phantom's MysteriousPast, it's never explained ''how'' she knows where his house is - or why she's unofficially on his 'payroll,' so to speak. (Aside from sheer terror, of course...)
* 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.
* VillainousBreakdown: The Phantom has one of these at the climax of ''both'' acts. The first time, after Christine chooses Raoul, he causes the chandelier to ''nearly fall on her.'' The second time, after she unmasks him in front of everyone, he tries to force her to marry him, despite the fact that an angry mob is hunting him down. [[AlasPoorVillain And both times it's incredibly painful to watch.]]
* VoiceTypes: Christine, Carlotta.
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