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The KenNetti entertainment database
P h a n t o m
The Kopit & Yeston Musical
A Little Tribute by KenNetti

The 2004 motion picture version of Andrew Lloyd Webber's "The Phantom of the Opera" resembled very little of his own original 1986 musical. The younger, less violent, more humane and sexy title character was nothing new to the endless Phantom interpretations - it had already been created in the early 1980s by Arthur Kopit and Maury Yeston. If stars would have been on the side of playwright Kopit and composer Yeston, the world would have fallen in love with a very different Phantom than the megalomanic musical by Lloyd Webber & company. Here KenNetti pays homage to the Kopit & Yeston Phantom - the most passionate of them all.

Index for This Page

Preface
The 1983 Initiation
A Phantom Discovered

Chapter Two
The 1990 Miniseries
A Phantom Developed
including
Cast & Credits

Chapter Three
The 1991 Musical
The World Premiere
A Phantom Perfected

The 1993
Premiere Cast Recording
Cast, Credits &
Track List

Chapter Four
The 1993 Finnish
Premiere Production
A Phantom Translated
including
Cast, Credits,
Songs & Scenes
with Score

The Phantom
Image Gallery
& Links

The Tribute
Credits

Please Notice:
This Tribute may contain
some spoilers!

Preface
The 1983 Initiation
The Kopit & Yeston Musical
A Phantom Discovered

"In the beginning
there were no Phantom of the Opera musicals.
There was just a void."

The above witty quote starts Arthur Kopit's liner notes of the original Phantom cast recording (released in 1993). The quote is so very true. Even though Gaston Leroux's original 1911 novel is regarded as one the Gothic masterpieces, it has never been extremely original; the novel loans quite heavily from George L. Du Maurier, Bram Stoker and Arthur Conan Doyle, among others. Neither is Leroux's novel a significantly great piece of literature. As the original tale leaves so many questions unanswered, it is no wonder that the novel has inspired so many different adaptations.

The Hammer Films 1962 movie was the first true sympathetic and romantic take on the phantom tale. What Arthur Kopit did was taking the heart and soul of the Hammer version and expanding it to something that hadn't been done ever before in phantom adaptations. Jacques le Sourd of Gannett Newspapers summarized it all splendidly in his review of the 1991 musical: "It's about fathers and sons, lovers and mothers, and also how music connects to the deepest parts of the soul."

The first collaboration of Arthur Kopit and Maury Yeston was the musical Nine (which was transformed into a screen musical by Rob Marshall in 2009). The original Nine won the Tony Award in 1982 for best musical. Actor and director Geoffrey Holder had obtained the American rights for Leroux's original The Phantom of the Opera. He approached Kopit and Yeston in 1983 to write a musical based on the book. Yeston had somewhat serious reservations about the idea. It may have been the more excited Kopit who made Yeston realize that their Phantom would not be a mere gothic thriller. Kopit wanted the audience to care for the title character.

Unfortunately the Leroux novel was already in the public domain in Great Britain. While Kopit and Yeston were developing their musical - and were in the process of raising money for the Broadway production - Andrew Lloyd Webber announced his own plans for a musical of The Phantom of the Opera. (Some sources claim that Maury Yeston retreated entirely from the project initiated by Holder, forcing Kopit to contact, among others, Stephen Sondheim, Leonard Bernstein and even Lloyd Webber in search for another composer). Thus the musical by Kopit and Yeston was put on a shelf while the Lloyd Webber version premiered in London in 1986 - and became a smash hit.

The Lloyd Webber musical was soon announced for Broadway, making it nearly impossible to raise money for the version Holder had initiated. All this seemed like a deathblow to the Phantom Kopit and Yeston had created.

Chapter Two
The 1990 Miniseries
"The Phantom of the Opera"
A Phantom Developed

After adapting Hands of a Stranger (1987) for NBC television, Arthur Kopit got a new opportunity with his phantom script. NBC financed a two-part television miniseries, The Phantom of the Opera (1990), featuring Charles Dance as the Phantom, with Kopit working also as a co-producer. This television production led very quickly to the resurrection of the musical project by Kopit & Yeston.

The Kopit miniseries (that should be called as a two-part television movie) is the only Phantom of the Opera production filmed at the authentic Paris Opera House, Palais Garnier. Of course the production needed also some studio sets, such as the underground lake beneath the Opera House. The miniseries was directed by Tony Richardson, an Oscar-winning director of the movie Tom Jones (1963). American actor Burt Lancaster starred as Gerard Carriere, the fired Opera House manager with deep dark secrets. A longtime Richardson collaborator, Oscar-winning composer John Addison conducted his own original music score as well as authentic opera segments for the miniseries. (Addison is probably most known for his bouncy theme music for Murder She Wrote television series).

Since there has been other television productions of The Phantom of the Opera, the 1990 miniseries is usually regarded as "just another obscure take" on the Gaston Leroux original. Fans of the original book may regard it as on outrage that this gentle and kind 1990 Phantom kills very little and does not even show his face. However, these changes were bold and justified in Arthur Kopit's reimagining of the Opera Ghost. Nearly all other movie and stage versions contain the iconic unmasking scene inspired by the 1925 Lon Chaney silent movie - a scene that has significantly less emphasis in Leroux's original book. The Lloyd Webber version goes to ridiculous extremes by unmasking the Phantom twice. Whether the decision of not showing the Phantom's face in the 1990 miniseries was made by Arthur Kopit or by director Tony Richardson, it is nevertheless a bold and original decision - underlining both tolerance and compassion. Furthermore the face of the Opera Ghost has always presented a huge problem for filmmakers and make-up artists; not a single movie version has done it like Leroux described it. Luckily in the 1990 miniseries they left the Phantom's face behind the mask and, during the most dramatic unmasking ever, revealed the face only to Christine - concentrating solely on the girl's reaction seeing it. Thus the horror of the Phantom's face depends entirely on the viewer's own imagination. This new unmasking tradition continued into the Kopit & Yeston stage musical.

And if we are totally precise, the miniseries does show the Phantom's face in two flashbacks about his childhood - but you will need a magnifying glass to see the face properly. Showing the disfigured face on a small child, without actually emphasizing it, was surely an intentional and intelligent decision by director Richardson.

For all those fans who drooled over Gerard Butler in the 2004 Lloyd Webber movie, the 1990 incarnation - as portrayed by Charles Dance - is the actual original embodiment of the young, passionate and erotic Phantom. The humane quality that Herbert Lom managed to express with one eye in the Hammer 1962 movie transforms into fiery passion in the 1990 miniseries with Dance's two expressive eyes and a masculine chin with beautiful mouth. His accent, however, is quite bizarre to say the least. But so is Christine's. And Carriere's. Although the miniseries was shot mostly in Paris, France, the end result is definitely more American than French.

Many of the character names in the Kopit & Yeston stage musical (such as the stage door man Jean-Claude and the girl trio Flora, Fleure & Florence) are already established in the cast list of the 1990 miniseries. One particular name difference does stand out: in the miniseries the character of Count Philippe is still named de Chagny, as in the original novel (although purists may find it a sacrilege that Kopit makes a hero out of the wrong brother). In the later stage musical Philippe's surname was changed, for reasons unknown, to de Chandon. The miniseries also includes a very minor character named Madame Giry; in the original book (and in Lloyd Webber musical) she had a significant role. The Kopit musical adaptation, however, has the Madame Giry character completely fused in the fatherly figure of Gerard Carriere, "the company manager". It should be also mentioned, that Christine's surname was changed in the Kopit treatment from the original Daaé to Daeé (but also Daee, without the emphasis, is sometimes used).

The length of this miniseries is often notified inccorrectly. With interrupting commercials the length can be 4 hours, but the actual miniseries duration is only 3 hours. However, these particular three hours may not fly as smoothly as the three wonderful hours of the later Kopit & Yeston stage musical. The miniseries version does include many favourite scenes from the musical - the picnic in Phantom's "forest" being the absolute highlight - but for a viewer who has fallen in love with the Kopit & Yeston stage musical, the miniseries may not be as powerful and enchanting experience. Without Maury Yeston's spirited songs, and the more compact storytelling of a stage musical, the miniseries gives the feeling that it has been unnecessarily stretched. The opera sequences and other operatic singing do give the miniseries an air of authenticity, but (with the exception of a climactic surprise duet) these sequences do not complement the Kopit script as greatly as the songs by Yeston.

Despite of the wittiness and bold decisions, Tony Richardson's direction concentrates too much on sloooooowly-developing realism. Kopit's caricature characters work well in the stage musical format, but in this miniseries they clash quite severely with Richardson's notably gloomy vision. The horror elements have been toned down so heavily that the result is undoubtedly the most horror-free version of The Phantom of the Opera. While the serene quality doesn't hurt the beautiful essence of Arthur Kopit's script, it does affect the whole, transforming these three hours into the most longest in Phantom movies. In the later 1991 musical version the Phantom was believable as an unstable human being - totally capable of killing - but in the miniseries he is simply too sweet.

The KenNetti Rating
for the 1990 Miniseries

The 1990 Miniseries
"The Phantom of the Opera"

Directed by Tony Richardson
Adaptation and teleplay by Arthur Kopit
Original music by John Addison
Excerpts from "Faust" (1859)
composed by Charles Gounod
Music performed by The Hungarian
State Opera Orchestra,
conducted by John Addison
Produced by Ross Milloy
Executive producers: Haim Saban,
Edgar J. Scherick & Gary Hoffmann
Associate producers: Mitch Engel
& William W. Wilson III
Co-Producer: Arthur Kopit
Cinematography by Steve Yaconelli
Production design by Timian Alsaker
Art direction by Jacques Bufnoir
& Gary Constable
Set decoration by Philippe Turlure
Costume design by Jacqueline Moreau,
Jacques Bufnoir & Timian Alsaker
Mask designs by Timian Alsaker
Makeup supervision by Sophie Landry
Hair stylist: Cedric Chami
Opera consultant: Isabelle Cardin
An NBC Presentation
A Co-production of Saban/Scherick
& Hexatel, in association with
Starcom, TF1, Reteitalia

C A S T
Christine Daeé....Teri Polo
Christine (singing voice)....Michèle Lagrange
Erik, the Phantom....Charles Dance
Erik (singing voice)....Gérard Garino
Gerard Carriere....Burt Lancaster
Count Philippe de Chagny....Adam Storke
Carlotta....Andréa Ferréol
Carlotta (singing voice)....Helia T'Hezan
Alain Cholet....Ian Richardson
Inspector Ledoux....Jean-Pierre Cassel
Joseph Buquet....André Chaumeau
Jean-Claude....Jean Rougerie
Flora....Marie-Christine Robert
Fleure....Anne Roumanoff
Florence....Marie Lenoir
Madame Giry....Marie-Thérèse Orain
Alfredo / Faust....Jean Dupouy
Oroyeso / Mephisto....Jacques Mars
Opera Singers....Anne Julia Goddet,
Franckie Pain & Frédéric Darie

Miniseries actual duration:
183 minutes (3h 3min)

Chapter Three
The 1991 Musical
The World Premiere of
" P h a n t o m "
A Phantom Perfected

Less than a year after the NBC miniseries, in January 1991, Houston's Theater Under the Stars presented the world premiere of Phantom the musical. Maury Yeston had returned to finalize the gorgeous music and the beautiful lyrics. The original production was directed by Charles Abbott, conducted by Kay Cameron, and starred baritone Richard White as the passionate, sympathetic Phantom and Glory Crampton as the breathtaking Christine. (White voiced also Gaston in Disney's original animated Beauty and the Beast). Next summer Yeston and Kopit made a few changes into the show, resulting in a revised version presented in Seattle and San Bernardino in the fall of 1991. Ever since Phantom the musical has spread all over the world - from Japan to Finland, from Estonia to Germany to Australia - in more than thousand individual productions.

Compared to Andrew Lloyd Webber's 1986 musical, the original 1991 Kopit & Yeston Phantom was more authentic in presenting the 1890s French spirit. Yeston's music has often been described as more operetta-like than opera, but neither can Lloyd Webber's pop-rock-symphony be compared to serious opera. While Yeston's melodies and chansons are simply too beautiful, bouncy and accessible for an opera, Richard White as the original Phantom sounded totally believable as a music-loving young man who has lived all his life underneath an opera house - listening, absorbing and embracing the true operatic style in his own singing. Compared to the great eunuch-like Michael Crawford in the Lloyd Webber musical, Richard White became the real Phantom of the Opera.

The revised 1991 version of Phantom includes 16 individual songs (the mini-songs of the "Bistro" scene included), several dramatic reprises, and one fictional - though unfortunately brief - opera segment ("The Fairy Queen" in which Christine sings the role of Titania). In addition to these Yeston also composed excellent underscore pieces for scenes such as the chandelier crash and the epic climax. (Complete list of all these songs, reprises and scenes is found in Chapter Four: The 1993 Finnish Premiere Production).

In the fall of 1992 the Bertelsmann Music Group (BMG) produced the Premiere Cast Recording of Phantom, which was released on CD in 1993 under the labels of RCA Victor and BMG Classics. The Premiere Cast Recording apparently featured most of the original Houston cast. Jonathan Tunick (the long-time orchestrator of Stephen Sondheim) conducted this Premiere Cast Recording. The orchestra included more than 30 players, while the ensemble chorus featured 20 singers. Even though the recording is a great testimony of a magnificent musical, the album does not include the most powerful segments of Yeston's score - the two reprises of "Where in the World" and the ferocious underscore for the climax. However, excerpts of The Fairy Queen opera and the chandelier crash are presented in the album's "Overture". We hope that someday there would be a complete recording of this epic Maury Yeston masterpiece.

It is very unlikely that the motion picture version of Nine (2009, by Rob Marshall) would be followed by another screen version of Kopit's and Yeston's collaborations. A fact remains, however, that their Phantom would transform easily into an excellent movie version. Andrew Lloyd Webber apparently knew this because the younger, less violent, more humane and sexy title character in his 2004 motion picture version was stolen straightly from the Arthur Kopit adaptation. We demand satisfaction for Kopit & Yeston.

Premiere Cast Recording
" P h a n t o m "

Music and lyrics by Maury Yeston
Book by Arthur Kopit
Arranged and conducted by Jonathan Tunick
Produced for records by Steve Vining,
Bill Rosenfield & Maury Yeston
Photos by Craig Hartley
and John Vecchiolla
Liner notes by Arthur Kopit
Released on RCA Victor / BMG Classics
© 1993 BMG Music

C A S T
Christine Daee....Glory Crampton
Erik, the Phantom....Richard White
Count Philippe de Chandon....Paul Schoeffler
Gerard Carriere....Jack Dabdoub
Carlotta....Meg Bussert
Alain Cholet....Lyle Garrett
Inspector Ledoux....James Van Treuren
Joseph Buquet....Allen Kendall
Ensemble....Donald E. Birely, Elaine Buegeler,
Stephen Brice Bogardus, Sharmane Davis,
Sandra DeGeorge, Jim Gricar, Kim Lindsay,
Michael Mark, Melony Matthews,
Bess Morrison, Tom Polum, Victoria Reed,
Lenny Roberts, Marguerite Shannon-Clancy,
Melinda Thompson, Ed Walker, Lyle Garrett,
James Van Treuren, Allen Kendall
and Helene Miles (contractor)

T R A C K S
(Titles revised by Kenneth Sundberg)

1. Overture (1:54)
(including excerpts of
"The Fairy Queen" sequence
and the chandelier crash)
Instrumental

2. Mélodie de Paris (4:56)
(including "Mélodie de Paris"
and a dark passage with dialogue)
Crampton, Schoeffler, Ensemble
and Bussert & Kendall

3. Paris Is a Tomb (1:03)
(including the death of
Joseph Buquet)
White, and Kendall

4. Dressing for the Night (2:27)
Ensemble, Crampton, Bussert,
Dabdoub & White

5. Where in the World (2:33)
Richard White

6. This Place Is Mine (3:26)
Meg Bussert

7. Home (6:09)
Crampton & White

8. Phantom Fugue (3:11)
(including "The Music Lessons"
and a dialogue intro to the "Fugue")
Crampton, White, Schoeffler,
Dabdoub & Ensemble

9. You Are Music (3:02)
Crampton & White

10. The Bistro (4:29)
(including "Sing",
"Paree Is a Lark",
"Christine's Obligato",
"As You Would Love Paree"
and "Mélodie de Paris")
Bussert, Crampton & Ensemble

11. Who Could Ever
Have Dreamed Up You (4:06)
Schoeffler & Crampton

12. Entr'acte (1:58)
(including "Where in the World",
"My Mother Bore Me" and
"You Are My Own")
Instrumental

13. Without Your Music (3:04)
Richard White

14. My True Love (3:18)
Glory Crampton

15. My Mother Bore Me (5:08)
(including "Christine")
Richard White

16. You Are My Own (3:39)
Dabdoub & White

17. Finale: You Are Music (2:55)
(including an instrumental
of "You Are My Own"
and the finale version of
"You Are Music")
Glory Crampton

The KenNetti Rating
for the 1993 Premiere
Cast Recording

Chapter Four
The 1993 Finnish
Premiere Production of
" P h a n t o m "
A Phantom Translated

When the Helsinki City Theatre (HKT), in the capital of Finland, announced in 1993 their new musical production, many people - including some of the actors - thought that it was going to be Andrew Lloyd Webber's The Phantom of the Opera. Luckily it was not. With their passionate production of the Kopit & Yeston Phantom, the Helsinki City Theatre created an experience that became highly influential for many viewers. Although more than 15 years have passed since its last performance, the undersigned still remembers all the magic, all the music, all the emotion of the HKT production - (and unfortunately compares it to every new musical the theatre has produced).

One of the great assets of the HKT production was that the actors weren't professional singers. Too often people are trained to sing but not act. Especially a musical like the Phantom needs songs to be interpreted, not just sung. In the HKT 1993 production great young actors such as Sanna Saarijärvi (as Christine), Santeri Kinnunen (as Count de Chandon) and Oskari Katajisto (as the Phantom) indeed interpreted the songs through their acting skills and natural charisma. The incomparable Kristiina Elstelä was a riot as the scene-stealing Carlotta, while veteran actor Esko Nikkari, who wasn't much of a singer, created one of the most touching Gerard Carrieres ever. All the five lead roles featured equal alternate cast starring Riitta Havukainen (as the more "motherly" Christine), Kari Mattila (as the musically more talented Phantom), Esa Latva-Äijö (as another dashing Count de Chandon), Rea Mauranen (as another hilarious Carlotta), and Jyrki Kovaleff (as a more gentle Carriere). The lead actors were to appear in certain "official" combinations (for example Saarijärvi with Mattila), but especially in the spring of 1994 the lead actors alternated in no particular order - with unforgettable results.

The HKT 1993 Phantom was a very low-key production with humble sets (and, perhaps, with a most ridiculous chandelier crash) - but all this ensured that the heart and soul of Yeston's music and Kopit's script was not lost underneath overwhelming visual splendour. And yet, when the Phantom carried Christine into the gorgeous blinding light emitting through two huge opening doors at the end of Act I, there was probably no heart unaffected in the entire audience. The HKT production was directed by Ritva Holmberg with choreography by Marjo Kuusela, sets designed by Reija Hirvikoski, and lighting design by Claude Naville. The musical was translated in Finnish by Juha Siltanen.

When compared to the Premiere Cast Recording, the most significant change in this 1993 HKT version was splitting the song "My Mother Bore Me" into two separate parts. Originally the Phantom sang the entire song right after the fateful mask removal, but in the Finnish version the first part of the song (during which the Phantom emulates the poetry of William Blake) was sung in the picnic sequence in the underground "forest". This was followed by Christine's song "My True Love" and the mask removal, which led directly into the second part of "My Mother Bore Me" (that is called "Christine" even by Arthur Kopit in the liner notes of the original Premiere Cast Recording). Other changes included the repositioning of "Entr'acte" music into the end of the show to underscore the actors' bows. The introduction dialogue of "Melodie de Paris" was removed with the exception of one single line (a woman yelling "who is she?" in Christine's direction). The very brief "Music Lessons" was also toned down. The two different Christines of the production (Riitta Havukainen and Sanna Saarijärvi) sometimes only hummed the gentle reprise version of "You Are Music" during the finale.

The HKT version continued the 1990 miniseries' tradition of not showing the Phantom's face during the mask removal - and concentrating solely to Christine's reaction. However, in the beginning of the musical, during the song "Paris is a Tomb", the Phantom's face was shown to the audience through a magnifying glass. This rather clumsy detail was totally unnecessary. The humble Phantom make-up, designed by Pekka Helynen, was more in the style of "The Elephant Man" instead of the too-often seen acid abomination. Actors Kari Mattila and Oskari Katajisto poured all their charisma into the title role; especially the last-mentioned made an everlasting impression with his particularly expressive eyes and incomparable body language. The youthful appeal of the Kopit adaptation was emphasized in this Finnish version by dressing the Phantom in tight, black jeans with blood-red vest that left much of his bare chest and muscular arms visible. If you thought Gerard Butler was sexy, you would be drooling all over this 1993 Finnish Phantom.

It is a pity that no commercial recording exists of the Helsinki City Theatre 1993 production of the Phantom. The music supervisor and conductor Hannu Bister created a magnificent sound for this Finnish version. An orchestra of more than twenty players sounded breathtakingly symphonic through the magic of the sound team. The chorus included seven singers, but sounded much bigger. We hope that someday someone would transform the HKT archival videos on DVD and possible recordings into an album - or bring the magic of Ritva Holmberg's Phantom back to the stage.

To conclude this nutshell of Kopit's & Yeston's magnificent Phantom, here is another quote from Arthur Kopit: "The reception has been spectacular ever since [the 1991 premiere]. And audiences do care for the Phantom."

KenNetti is glad to be one of those who do care.

- Kenneth Sundberg -

The 1993 Finnish
Production of "Phantom"
("Oopperan Kummitus")

Premiere: October 20, 1993
Helsingin Kaupunginteatteri
(The Helsinki City Theatre, Finland)
Music and lyrics by Maury Yeston
Book by Arthur Kopit
Translation by Juha Siltanen
Directed by Ritva Holmberg
Music conducted by Hannu Bister
Choreography by Marjo Kuusela
Production design by Reija Hirvikoski
Costumes by Pekka Ojamaa
Lighting by Claude Naville
Make-up and hair by Pekka Helynen
Sound team: Jyrki Sandell,
Tapani Karejoki, Antero Mansikka
and Eradz Nazimov

Photos by Patrik Pesonius
and Paula Kukkonen
Program booklet editors:
Kristiina Lyytinen
& Ritva Holmberg

C A S T
Alain Cholet....Juha Muje
Inspector Ledoux....Jarkko Rantanen
Joseph Buquet....Matti Olavi Ranin
Jean-Claude....Matti Mäntylä
Flora....Rinna Paatso
Fleure....Marjatta Raita
Florence....Virpi Uimonen
Ensemble....Anja Haahdenmaa,
Jukka Pitkänen, Rinna Paatso,
Marjatta Raita, Virpi Uimonen,
Matti Mäntylä, Jarkko Rantanen
and Matti-Olavi Ranin

Alternate
Leading Roles # 1
Christine Daeé....Riitta Havukainen
Erik, the Phantom....Oskari Katajisto
Philippe de Chandon....Santeri Kinnunen
Gerard Carriere....Jyrki Kovaleff
Carlotta....Kristiina Elstelä

Alternate
leading roles # 2
Christine Daeé....Sanna Saarijärvi
Erik, the Phantom....Kari Mattila
Philippe de Chandon....Esa Latva-Äijö
Gerard Carriere....Esko Nikkari
Carlotta....Rea Mauranen

Alternate Dancers
Marjatta Jaatinen / Raisa Punkki,
Kirsi Karlenius / Minne Jorasmaa,
Riikka Korppi-Tuomola / Tarja Tuominen,
Kaisa Torkkell / Titta Korhonen,
Harri Kuorelahti / Jarkko Lievonen,
Unto Nuora / Sebastian Kaatrasalo,
Ville Sormunen / Sami Vartiainen,
Jyri Pulkkinen / Juha Jokela

Alternate Chorus
Lise Holmberg, Laura Leisma,
Timo Huikuri, Ilkka Hämäläinen,
Raimo Mero / Petri Myllymäki,
Mervi Rinne / Leena Sainio,
Arvo Isohanni / Timo Ojala

S O N G S -&
SCENES WITH SCORE
(Finnish title in pink)
(Titles revised by Kenneth Sundberg)

ACT ONE

Alkusoitto
Overture
(including excerpts of
"The Fairy Queen" sequence
and the chandelier crash)
Instrumental / Orchestra

Melodie de Paris
Mélodie de Paris
Christine, Philippe & Ensemble

Kellariin johtava käytävä oopperatalossa
"The dark passage to the cellars"
(Underscore; "Mélodie de Paris")
Carlotta & Joseph Buquet
/ Orchestra

Pariisi on yö
Paris Is a Tomb
(including the underscore for
the death of Joseph Buquet)
Phantom & Buquet

Aika lähteä näyttäytymään
Dressing for the Night
Ensemble

Haarniskavarasto
"Carriere Meets Phantom"
(Underscore)
Phantom & Carriere
/ Orchestra

Kummituksen laulu
Where in the World
Phantom

Tää ooppera on mun
This Place Is Mine
Carlotta

Täyttynyt haave
H o m e
Christine & Phantom

Salainen musiikkihuone
The Music Lessons
Christine & Phantom

Kummitusfuuga
Phantom Fugue
(including intro to the "Fugue")
Carlotta, Cholet, Ledoux
& Ensemble

Oi, kuulen äänen
You Are Music
Christine & Phantom

L e -B i s t r o :
Avausnumero
On taas se hetki
Paris on kuin puu
Christinen soolo
Tämä on Paris
Melodie de Paris
The Bistro
(including "Sing",
"Paree Is a Lark",
"Christine's Obligato",
"As You Would Love Paree"
and "Mélodie de Paris")
Carlotta, Christine & Ensemble

Ken sut maailmaan unelmoi?
Who Could Ever
Have Dreamed Up You
Philippe & Christine

Tää ooppera on mun (Kertaus)
This Place Is Mine (Reprise)
Carlotta

Aika lähteä näyttäytymään (Kertaus)
Dressing for the Night (Reprise)
Ensemble

T i t a n i a
(The Fairy Queen)
ja "Kattokruunukatastrofi"
"The Fairy Queen"
"The Chandelier Crash"
"The Pursuit"
(Underscore)
Ensemble / Orchestra

Hän minun on
(Kummituksen laulu; Kertaus)
Where in the World (Reprise)
Phantom

ACT TWO

T he Finnish
HKT 1993 version
did not start Act Two
with the Entr'acte

Ilman sua
Without Your Music
Phantom

Kummituksen laulu (Kertaus)
Where in the World
("Vengeance" Reprise)
Phantom

"Tarina Erikistä"
"The Story of Erik"
(Underscore)
Christine & Carriere
/ Orchestra

"Rangaistus" ja
Kummituksen Metsä
"Retribution" and
The Phantom's Forest
(Underscore)
Phantom, Carlotta
& Christine
/ Orchestra

Mä synnyin alle kuuman auringon
My Mother Bore Me (Part 1)
Phantom

Rakkaimpain
My True Love
Christine

Christine
My Mother Bore Me (Part 2)
(the "Christine" segment)
Phantom

Kummitusfuuga (Kertaus)
Phantom Fugue (Reprise)
Ensemble

Sä olet mun
You Are My Own
Carriere & Phantom

"Loppuhuipentuma"
"Climax"
(Underscore)
Phantom, Philippe,
Carriere, Ledoux, Christine
& Ensemble
/ Orchestra

"Finaali"
Oi, kuulen äänen (Kertaus)
Finale: You Are Music
(including an instrumental
of "You Are My Own"
and the finale version of
"You Are Music")
Christine

"Kumarrukset"
"Bows"
(using the Entr'acte music)
Instrumental / Orchestra

The KenNetti Rating
for the 1993 Finnish
Premiere Production

The Kopit & Yeston
P h a n t o m
Image Gallery

The 1990 Miniseries
The Import DVD Cover
Charles Dance (Expanded)
The Import DVD Back Cover Photos
The "Picnic" (Black & White)

The 1991 Musical
World Premiere
& The 1993 Premiere
Cast Recording
Original Poster
CD Booklet Photos # 1
CD Booklet Photos # 2
Phantom & Christine
Richard White Combo

The 1993 Finnish
Premiere Production
The Katajisto Phantom
Promotional Combo Image
The Chandelier
Phantom & Carriere # 1
Phantom & Carriere # 2
Santeri Kinnunen Tap Dance
Carlotta's Drink
Cholet and the Divas
Act I Ending (Expanded)
Act I Ending (Original Photo)
The Slumber (Expanded)
The Slumber (Original Photo)
The Masks
Sanna & Oskari with Ken
Original Saarijärvi Tribute
Original Katajisto Tribute

The KenNetti Main Page

P h a n t o m
The Kopit & Yeston Musical
A Little Tribute by KenNetti

Research, analyse, text,
and image processing
by Kenneth Sundberg

Photos from the 1993
Helsinki City Theatre production
© Helsingin Kaupunginteatteri

Warmest Thanks to
L e a - I r e n e
(who paid the tickets
to 12 performances)
and to the very bold
Oskari Katajisto '94
(for the countless little moments
I will never forget)

P r i n c i p a l
information & image sources
Gaston Leroux: The Phantom of the Opera
(Wordsworth Editions Limited, 1995)
The program booklet of the Helsinki
City Theatre 1993 production of
"Phantom" (program editors:
Kristiina Lyytinen & Ritva Holmberg,
Helsingin Kaupunginteatteri)
Cult Movies magazine (The article
by Frank J. Dello Stritto / Cult Movies)
Cinema / Kino magazines
(Kino Verlag GmbH)
John Addison: Torn Curtain
- The Original Soundtrack
(1966, MCA Records, Inc. /
Re-released by Varese Sarabande
Records Inc. with liner notes
by Kevin Mulhall)
www.imdb.com / wikipedia.org
and Kenneth Sundberg

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KenNetti is a totally non-commercial website by Kenneth Sundberg to pay tribute and to honour the work of the talented people behind some of the most wonderful things found on this planet. All the material is gathered here only to inform, to promote things that need to be noticed, and to entertain people all over the world. KenNetti and Kenneth Sundberg are not affiliated to any of the companies, theme parks, movies, people, ghosts or other things appearing on this site. No rights of reproduction have been granted to KenNetti or Kenneth Sundberg, except where indicated. If You feel that some image or material whatsoever should not appear on this site, please CONTACT Kenneth Sundberg so that we can quickly resolve the problem.

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