that theatre nerd !: primary and secondary sources within 'The Phantom of The Opera'

Primary and secondary Sources within ‘The phantom of the opera’

September 23, 1909, Gaston Leroux perepared his novel ‘Le Fantôme de l'Opéra’ for publication. Little did he know that this was to be his greatest achievement. EVER.

Set in Paris in the early nineteenth century, the stage show which opened in London in 1986. Brilliantly conveys the original novel and the messages and themes written within it. This makes the stage show itself a secondary source.

set design for Phantom http://www.youtube.com/watch?v=_gk2F0XuSkk

Primary sources are visible throughout 'the phantom of the opera' thanks to Maria Bjornson’s ingenious representation of the Paris opera house and the dark and gloomy spaces surrounding it.

One main setting within phantom is, of course, the Paris opera house, built in 1861 to house performances of art, drama and music. Maria Bjornson brings this extravagant setting to the stage in all its grandeur and beauty.

The staircase which features prominently within the Masquerade sequence is designed around the staircase inside the opera house in Paris. Bjornson's representation provides clear links to the original making her designs a secondary source and the staircase within the opera house in Paris the primary source.

one of the main objects in the show, and maybe the most memorable is of course the chandelier. originally installed when the building was first built, this enormous chandelier hangs gracefully above the audience in the 1,979 seat auditorium.

Maria Bjornson translated this almost exactly to the stage, keeping the glowing orbs, harps and multi level rings of lights. her design becomes a secondary source, leaving the original the primary source.

Perhaps the most technically complex scene in the show is the boat journey to the layer. This scene uses little scenery to create the setting of the underground lake located under the Paris opera house. (Top) Bjornson and her team of effects designers collaborated to adapt this setting for a theatre environment. Using dry ice, tilting bridges, candelabras rising from the stage floor and a boat, this underground lake is brought to life on stage. Making it a secondary source. (Bottom)