Gaston Leroux's Phantom of the Opera: A Play in Two Acts

by Chris Cook

Glut your soul upon his accursed hideousness! Prepare for a phantasmagoric evening at the theatre! Master of horror, Chris Cook has penned a non-muscial version of Gaston Leroucx's Phantom of The Opera. This rendition is a faithful re-telling of the story of horribly deformed Erik and his abduction of reluctant soprano, Christine Daae. At plays' opening, a suspenseful ride of terror begins. . . The Paris Opera House has long been reported as a portal for hauntings, disturbances, and sightings of mysterious shapes and shadows. Disembodied voices emanate from the rafters and echo throughout the halls and cavernous sewers. Aftern an innocent man is killed, the two managers of the company are issued threats of continued murders. A self-described 'Opera Ghost' reveals his true identity and toturous mayhem ensues in a shocking climax. Lyricism abounds in this frightening portrait of unrequired love and adoration-turned-obsession. Bereft of commercial show-tunes and glitzy folderol, there is nothing Broadway about this Phantom. It is pure, unadulterated horror! "Chris, thanks for the book. This is great. Stay scared!" -George Romero, Director Night of the Living Dead

188 pages, Paperback

First published October 31, 2012

Reviews

[Elena · Rating 2 out of 5]

It's a play in two acts, and it was staged with Mr. Cook himself as Erik the Phantom.

There are a lot of characters in this play, and some of them appear just once (for ex., Mamma Valerius), which I find quite annoying.

Well, I enjoyed the first act a lot. Directors were such brilliant trolls comediants, their lines are full of jokes. Both Raoul and Christine (the main heroes in the novel!) are very plane and pale. Persian makes his appearance in both acts, but it never is explained, who is he or what role he has in Phantom story.

The biggest disappointment is the Phantom himself. He has the longest monologues among all characters. He's boring, annoying, and there is nothing mysterious, danger, or crazy in him. Well, OK, crazy, a little. While reading, I didn't care of him at all, sad but true.

And where was the main and essential scene of the book? Where was unmasking?!.

There were some misprints in book, as well as some problems with lay edit. Sometimes there were no character lists before next scene, it was quite hard to imagine, who's onstage, who's offstage, who enters, what he/she brings in hand, etc. The play must be reread carefully, I think, to add some remarks for production director.

I wish I could see the play onstage, maybe onstage it improves.