Other than The Phantom of the Opera, what other musicals has Andrew Lloyd Webber produced and composed?
Andrew Lloyd Webber has also been the producer-composer of such renowned musicals as Jesus Christ Superstar, Evita, Cats, Joseph and the Amazing Technicolor Dreamcoat, Starlight Express, Aspects of Love and Sunset Boulevard.

What are some of the differences between the theatrical version and the film version of The Phantom of the Opera?
According to Andrew Lloyd Webber in press materials, “The film looks and sounds fabulous and I think it’s an extraordinarily fine document of the stage show. While it doesn’t deviate much from the stage material, the film has given it an even deeper emotional center. It’s not based on the theatre visually or direction-wise, but it’s still got exactly the same essence. And that’s all I could have ever hoped for.”

There are some notable differences. In the film version Raoul represents a more dynamic version of the character than audiences have seen in the theatrical production. Also the background history of Raoul and the Phantom are more fully developed in the film.

Madame Giry’s character is also further developed in the film. Director Joel Schumacher stated, “I wanted to tell the audience more about Madame Giry’s relationship with the Phantom, because it’s always been kind of a mystery.”

Musically there is a completely new song in the film and several major sections of underscore created to complement the screenplay. Working with his original collaborator, David Cullen, Andrew Lloyd Webber re-orchestrated large parts of the score and wrote more than fifteen minutes of new music for scenes describing the Phantom’s childhood, Christine’s coach ride to her father’s grave, and Raoul’s journey to the cemetery.

What is the name of the opera where the story takes place?
The film and theatre version of Phantom both take place at the fictional Opera Populiare, Paris’ premiere opera house. The Opera Populiare is loosely based on the famed Garnier Opera House in Paris.

Did all of the actors perform their own singing?
Gerard Butler, Emmy Rossum, Miranda Richardson, and Patrick Wilson all performed their own singing. Minni Driver did not perform her own singing for the film – her part was voiced by professional opera singer Margaret Preece, who has performed the role onstage. Driver did, however, create additional dialogue in Italian as improvisation during Carlotta’s rants. Lloyd Webber did however resolve that the cast be capable of singing their roles to a first class standard and recruited music supervisor Simon Lee to work with all the principal actors to ensure that their singing ability met Lloyd Webber’s standards.

What are some of the most notable songs from the stage show and film?
Think of Me, the aria that elevates Christine from chorus girl to soprano and star of the opera; Angel of Music, the heated duet between the Phantom and Christine; The Phantom of the Opera, the signature tune that the Phantom uses to seduce Christine in his lair under the opera house; All I Ask of You, Christine and Raoul’s serenade on the rooftop; Masquerade, the ensemble piece the begins the Phantom’s strongest campaign of terror; and the Point of No Return, the fierce duet between the Phantom and Christine that goes on during the performance of the phantom’s own opera composition, Don Juan Triumpahnt!.

How did the film creators create the gigantic chandelier, which the enraged Phantom sends crashing down into the audience?
Three versions of the chandelier had to be created: a “hero” piece for day to day filming, a “stunt” replica for shooting the crashing sequences, and a version outfitted for electricity for the scenes set in 1919. Based on the general shape and size of the chandelier that adorns the Garnier, the films chandelier is 17 feet high and 13.2 feet wide, weighing 2.2 tons. Valued at more than $1.3 million, the piece is covered with over 20,000 full cut Swarovski crystal chandelier pendants.

It took four months to construct and four days to assemble the chandelier at Pinewood studios. It was then raised to the domed ceiling of the Auditorium, which had to be reinforced to make up for the weight of the huge chandelier. The top of the set was built around the chandelier after it was hung.