Who will win the battle for control of the opera house? Even more importantly, who will win the battle for Christine? Christine held in thrall by the sexiest Phantom ever. Plus, her ability to view him with compassion, as few people ever have, gives her empathy for a man whose physical violence continues to escalate. She loves Raoul, yet feels grateful to the Phantom. These two goals put him on a direct collision course with Raoul and the managers of the opera. RELATED POST: La La Land (2016) A Contemporary Musical Dancing Through Hollywood He will stop at nothing both to dictate the management of the opera house itself and to possess the lovely and innocent Christine. But in spite of his kindness to Christine, the Phantom is a man to be feared. He is not the ghost that the company thinks he is, but a highly disfigured man (both physically and emotionally) who lives beneath the opera house. Her public success and meeting with the Vicomte motivate her mysterious tutor to finally reveal himself to her as the Phantom of the Opera. This also brings her to the attention of the new patron of the opera house and her former childhood sweetheart, Raoul the Vicomte de Chagny. When an accident occurs during rehearsal, Carlotta, the resident soprano, refuses to sing for opening night. But she has secretly been taking voice lessons from a tutor she only knows as the Angel of Music. In Webber’s version, the orphaned Christine Daae has been raised in a Parisian opera house where she also works as a dancer. But it is Andrew Lloyd Webber’s stage and film musical which is arguably the most familiar to audiences. Most importantly, what happened to the Phantom?! Welcome to “The Masquerade”īased on the French novel by Gaston Leroux, The Phantom of the Opera has been adapted many times. The music replayed continuously in my mind and I couldn’t let go of all the questions that the stage production left open-ended. For weeks, I was haunted by the story of the Phantom. But as much as I loved the message, it was not Les Miserable which stuck with me. We also watched the equally famous Les Miserable that same trip. My family was in New York and my father took us all to see the show on Broadway. Like Meg was crazy obsessed with winning the Phantom's attention.I vividly remember my first exposure to The Phantom of the Opera. I hate to ever use Love never Dies references to back up my statements when discussing tpoto, but I am sure that Madame Giry would not allow Meg to have affection towards the Phantom neither seek equivalent attention from the Phantom as he gave Christine if you understand what I'm saying. Since the moment I first heard you sing, I have needed you with me to serve me, to sing." This shows that he brought Christine to his lair because of his attraction to Christine and her talent or whatever (but absolutely not because he is attracted to young girls), the talent which Meg lacks is shown due to her mother's reaction/attitude/actions when Christine goes up to sing 'Think of Me' - in the movie, she looks at Meg and touches her hair, giving her that look of disappointment on the DL in the theater version, after the performance, she scolds Meg (and the other ballerinas), speaking to her as if she were somewhat unworthy or not as good as Christine. This would only make sense if you were implying that he was a pedophile which I can tell you that he most likely is not because in the short song ("I have brought you to the seat of sweet music's thrown.") between ' The Phantom of the Opera' and 'Music of the Night' he says "You have come here for one purpose and one alone. The theory of Meg being the Phantom's daughter would not be at all an explanation as to why he is not interested in her as he is with Christine. But in the absence of any evidence to support the theory, I would say it's a pretty clear bet that Meg Giry has no blood relationship to the Phantom. Further, given the dramatic payoff that could be added to the story by revealing that Meg is the Phantom's love child, it is all but inconceivable that such a relationship would be salient in the mind of author Gaston Leroux, but that he would never make it explicit. Also, if Meg were his daughter, it wouldn't make sense, given his personality, that Erik would have absolutely no apparent relationship with her. She functions more as a knowledgeable intermediary and is more or less employed by the Phantom to represent his interests to the Opera House administration, even though she had never seen him, but had only heard his voice. But never is a romantic connection between Madame Giry and Erik, past or present, even implied. The role of Madame Giry (the correct spelling) in the opera house, and her relationship to Erik (the Phantom) and Christine Daae differ somewhat between the book, the stage musical, and the 2004 film. Answer: It is conceivable, I suppose, but extremely unlikely.
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