Phantom
Maury Yeston and Arthur Kopit’s musical adaptation of Gaston Leroux’s novel The Phantom of the Opera. Filmed live in 2021 at the Charlotte Theatre in Seoul, South Korea.
Where to watch
Cinema (Worldwide)
🇺🇸 USA (Presented in Korean with English subtitles)
🇲🇽Mexico/Latin America (Presented in Korean with Spanish subtitles)
🇮🇩Indonesia (Presented in Korean with Indonesian subtitles.
- For current cinema screenings check Art Seen Films. Presented in Korean with local-language subtitles.
🇺🇸 USA (Presented in Korean with English subtitles)
🇲🇽Mexico/Latin America (Presented in Korean with Spanish subtitles)
🇮🇩Indonesia (Presented in Korean with Indonesian subtitles.
theatrical history
Le Fantôme de l'Opéra
Inspired by real-life events at the Paris Opera, Gaston Leroux’s novel Le Fantôme de l'Opéra (The Phantom of the Opera) was published in 1911. The novel became a popular work to adapt into other mediums, including seven films, multiple stage shows, and at least four musicals — Phantom by Ken Hill (1976), The Phantom of the Opera by Andrew Lloyd Webber (1986), The Phantom of the Opera by David H. Bell and Tom Sivak (1991), and Phantom by Arthur Kopit and Maury Yeston (1991).
“The Other Phantom”
American writers Arthur Kopit and Maury Yeston (Titanic) had immense success with their musical Nine, which opened on Broadway in 1982 and won the Tony Awards for Best Musical, Best Original Score, Best Featured Actress in a Musical (Liliane Montevecchi), Best Costume Design (William Ivey Long), and Best Direction of a Musical (Tommy Tune). Kopit and Yeston’s next musical Grand Hotel opened on Broadway in 1989 and played over 1000 performances. It also won multiple Tony Awards, including Best Direction of a Musical (Tommy Tune), Best Featured Actor in a Musical (Michael Jeter), Best Costume Design (Santo Loquasto), Best Lighting Design (Jules Fisher), and Best Choreography (Tommy Tune). Grand Hotel also toured nationally to much success.
Arthur Kopit and Maury Yeston began working on a musical adaptation of The Phantom of the Opera in 1983. Two years later they learned about Andrew Lloyd Webber’s adaptation, which opened in the West End to much fanfare and acclaim in 1986. Following the success of the Webber adaptation, funding for the Yeston/Kopit version was pulled.
Arthur Kopit adapted his script into a television miniseries, The Phantom of the Opera, starring Charles Dance (The Phantom), Teri Polo (Christine Daaé), and Burt Lancaster (Gérard Carrière). The 2-part miniseries was broadcast on NBC in 1990 and won two Primetime Emmys – Outstanding Hairstyling for a Miniseries or a Special and Outstanding Art Direction for a Miniseries or a Special.
Frank Young, the founder of Houston’s Theatre Under the Stars reportedly saw the miniseries and encouraged Kopit and Yeston to continue working on the musical.
In January 1991, The Los Angeles Times announced that Theatre Under the Stars would host a $1.5million production of Phantom. It was noted that the Yeston/Kopit musical differed from Andrew Lloyd Webber’s version as it was closer to Leroux’s original novel, and presented a deeper exploration of the characters.
Directed by Charles Abbott, Phantom received its world premiere at Theatre Under the Stars in Houston, Texas in January 1991. The production team included scenic designer David Mitchell, orchestrator Jonathan Tunick, lighting designer Clarke W. Thornton, and sound designer Abe Jacbs.
The cast of 42 included New York City Opera’s Richard White (The Phantom), Glory Crampton (Christine Daaé), Jack Dabdoub (Carriére), Stan Rouben (Cholet), and Patti Allison (Carlotta).
The Theatre Under the Stars production was popular with audiences and was extended by a week.
It was announced in the Fort Worth Star-Telegram that following the Theatre Under the Stars run, the production would close temporarily to allow for re-writes before commencing a tour. According to MasterWorks Broadway, Yeston and Kopit opted not to compete with another Phantom on Broadway and chose to tour their version instead.
Press for the production noted that the Yeston/Kopit musical did more to develop the characters and tell the Phantom’s back story than the Lloyd Webber version.
Critics had mixed feelings about the musical, stating that Kopit’s book was too melodramatic, but that Yeston’s score had moments of true beauty. The reviews almost always compared the musical to Lloyd Webber’s version, noting the successful way in which Kopit and Yeston had fleshed out the characters and the different style of music.
After seeing Phantom on tour at the 5th Avenue Theater in Seattle, Freddie Brinster, writing for Everett’s Daily Herald, gave high praise to the visual elements of the production, however was less inspired by the book and score. Brinster noted the production was “a visually stunning one. The settings of the huge, opulent Paris Opera, and its deep gloomy catacombs are awesome. The costumes are extravagantly awesome.” Brinster described the book as “flabby”, the story “poor developed,” and the score as “lukewarm generic operetta music.”
Los Angeles Times critic Sylvie Drake noted that the character Erik, or the Phantom, had “a lot more understanding…than Lloyd Webber’s,” but ultimately felt the show hadn’t “found a stylistic identity.” Drake concluded “There are touching, even deeply moving scenes, but no fresh air… The Kopit-Yeston version may have been written before Lloyd Webber’s, but it was not produced first, and it may be stuck with playing an impossible game of catch-up.”
Writing for The New York Times, Alvin Klein dismissed the book, stating “Kopit's florid writing is as shamelessly sentimental as it is coy, straining for humor in the oddest places and winding up with revelations mired in murky melodrama…” but had higher praise for Yeston’s score. Klein described the score as “purposeful, as opposed to the arbitrariness and interchangeability of much of Lloyd Webber's score,” and noted “In the end it is Mr. Yeston's attractive, often rhapsodic music that entrances and remains the one thing about this "Phantom" that sustains, moves and haunts.”
In a short article for the The San Bernardino County Sun, Owen Sheeran was effusive in his praise of Phantom, describing the musical as “masterful and wondrous,” and concluded that although it was wasn’t Webber’s version “It is a beautiful creation all of its own and for that reason alone, go see it.”
A studio cast recording was released in 1992.
According to Maury Yeston’s website, since its world premier Phantom has been performed in over 1000 productions around the world including the United States, Japan, South Korea, the UK, Germany, Poland, Australia, Finland, Estonia, and The Philippines.
2004 Takarazuka Production
In 2004, the all-female Japanese musical theatre troupe Takarazuka produced Phantom. The production was filmed live and was released on DVD. The DVD appears to be out of print, however the film is currently available on Internet Archive and YouTube.
South Korean Productions
In 2015, Phantom premiered in South Korea starring Park Hyo Shin.
The Korean production was reprised in 2018, and again in 2021 (see Film History below).
Licensing
Phantom is currently available for licensing via Concord Theatricals.More info coming soon.
Inspired by real-life events at the Paris Opera, Gaston Leroux’s novel Le Fantôme de l'Opéra (The Phantom of the Opera) was published in 1911. The novel became a popular work to adapt into other mediums, including seven films, multiple stage shows, and at least four musicals — Phantom by Ken Hill (1976), The Phantom of the Opera by Andrew Lloyd Webber (1986), The Phantom of the Opera by David H. Bell and Tom Sivak (1991), and Phantom by Arthur Kopit and Maury Yeston (1991).
“The Other Phantom”
American writers Arthur Kopit and Maury Yeston (Titanic) had immense success with their musical Nine, which opened on Broadway in 1982 and won the Tony Awards for Best Musical, Best Original Score, Best Featured Actress in a Musical (Liliane Montevecchi), Best Costume Design (William Ivey Long), and Best Direction of a Musical (Tommy Tune). Kopit and Yeston’s next musical Grand Hotel opened on Broadway in 1989 and played over 1000 performances. It also won multiple Tony Awards, including Best Direction of a Musical (Tommy Tune), Best Featured Actor in a Musical (Michael Jeter), Best Costume Design (Santo Loquasto), Best Lighting Design (Jules Fisher), and Best Choreography (Tommy Tune). Grand Hotel also toured nationally to much success.
Arthur Kopit and Maury Yeston began working on a musical adaptation of The Phantom of the Opera in 1983. Two years later they learned about Andrew Lloyd Webber’s adaptation, which opened in the West End to much fanfare and acclaim in 1986. Following the success of the Webber adaptation, funding for the Yeston/Kopit version was pulled.
Arthur Kopit adapted his script into a television miniseries, The Phantom of the Opera, starring Charles Dance (The Phantom), Teri Polo (Christine Daaé), and Burt Lancaster (Gérard Carrière). The 2-part miniseries was broadcast on NBC in 1990 and won two Primetime Emmys – Outstanding Hairstyling for a Miniseries or a Special and Outstanding Art Direction for a Miniseries or a Special.
Frank Young, the founder of Houston’s Theatre Under the Stars reportedly saw the miniseries and encouraged Kopit and Yeston to continue working on the musical.
In January 1991, The Los Angeles Times announced that Theatre Under the Stars would host a $1.5million production of Phantom. It was noted that the Yeston/Kopit musical differed from Andrew Lloyd Webber’s version as it was closer to Leroux’s original novel, and presented a deeper exploration of the characters.
Directed by Charles Abbott, Phantom received its world premiere at Theatre Under the Stars in Houston, Texas in January 1991. The production team included scenic designer David Mitchell, orchestrator Jonathan Tunick, lighting designer Clarke W. Thornton, and sound designer Abe Jacbs.
The cast of 42 included New York City Opera’s Richard White (The Phantom), Glory Crampton (Christine Daaé), Jack Dabdoub (Carriére), Stan Rouben (Cholet), and Patti Allison (Carlotta).
The Theatre Under the Stars production was popular with audiences and was extended by a week.
It was announced in the Fort Worth Star-Telegram that following the Theatre Under the Stars run, the production would close temporarily to allow for re-writes before commencing a tour. According to MasterWorks Broadway, Yeston and Kopit opted not to compete with another Phantom on Broadway and chose to tour their version instead.
Press for the production noted that the Yeston/Kopit musical did more to develop the characters and tell the Phantom’s back story than the Lloyd Webber version.
Critics had mixed feelings about the musical, stating that Kopit’s book was too melodramatic, but that Yeston’s score had moments of true beauty. The reviews almost always compared the musical to Lloyd Webber’s version, noting the successful way in which Kopit and Yeston had fleshed out the characters and the different style of music.
After seeing Phantom on tour at the 5th Avenue Theater in Seattle, Freddie Brinster, writing for Everett’s Daily Herald, gave high praise to the visual elements of the production, however was less inspired by the book and score. Brinster noted the production was “a visually stunning one. The settings of the huge, opulent Paris Opera, and its deep gloomy catacombs are awesome. The costumes are extravagantly awesome.” Brinster described the book as “flabby”, the story “poor developed,” and the score as “lukewarm generic operetta music.”
Los Angeles Times critic Sylvie Drake noted that the character Erik, or the Phantom, had “a lot more understanding…than Lloyd Webber’s,” but ultimately felt the show hadn’t “found a stylistic identity.” Drake concluded “There are touching, even deeply moving scenes, but no fresh air… The Kopit-Yeston version may have been written before Lloyd Webber’s, but it was not produced first, and it may be stuck with playing an impossible game of catch-up.”
Writing for The New York Times, Alvin Klein dismissed the book, stating “Kopit's florid writing is as shamelessly sentimental as it is coy, straining for humor in the oddest places and winding up with revelations mired in murky melodrama…” but had higher praise for Yeston’s score. Klein described the score as “purposeful, as opposed to the arbitrariness and interchangeability of much of Lloyd Webber's score,” and noted “In the end it is Mr. Yeston's attractive, often rhapsodic music that entrances and remains the one thing about this "Phantom" that sustains, moves and haunts.”
In a short article for the The San Bernardino County Sun, Owen Sheeran was effusive in his praise of Phantom, describing the musical as “masterful and wondrous,” and concluded that although it was wasn’t Webber’s version “It is a beautiful creation all of its own and for that reason alone, go see it.”
A studio cast recording was released in 1992.
According to Maury Yeston’s website, since its world premier Phantom has been performed in over 1000 productions around the world including the United States, Japan, South Korea, the UK, Germany, Poland, Australia, Finland, Estonia, and The Philippines.
2004 Takarazuka Production
In 2004, the all-female Japanese musical theatre troupe Takarazuka produced Phantom. The production was filmed live and was released on DVD. The DVD appears to be out of print, however the film is currently available on Internet Archive and YouTube.
South Korean Productions
In 2015, Phantom premiered in South Korea starring Park Hyo Shin.
The Korean production was reprised in 2018, and again in 2021 (see Film History below).
Licensing
Phantom is currently available for licensing via Concord Theatricals.More info coming soon.
Film history
The highly successful Korean production which had first premiered in 2015, was reprised in 2018 and 2021.
Phantom opened at Seoul’s Charlotte Theater on June 10, 2021. The revival featured K-Pop star Kyuhyun with Park Eun-tae, Kai, and Jeon Dong-seok alternating the title role.
Writing for The Korea Herald, Im Eun-byel was impressed by the spectacle of the production, and noted how the book gave a better insight into the character of the Phantom, but found the score lacking. She noted that the production was “eye-dazzling and ear-pleasing… [but] the songs do not captivate.”
The 2021 production was filmed by Wys en Scene during its run at the Charlotte Theater,
Distributed by Art Seen Films, Phantom received a limited release in cinemas across North America in the late spring of 2022. The film was dedicated to book writer Arthur Lee Kopit, who passed away in 2021.
The North American film screenings were reportedly attended by tens of thousands of movie goers.
In March 2023, it was announced that Phantom would be available to stream online in the United States via the Art Seen Films Vimeo channel. The film is also currently available to stream on Amazon. The musical is presented in Korean with English subtitles.
In Mexico and Latin America, Phantom is available via Teatrix, RMV, and Totalplay. The musical is presented in Korean with Spanish subtitles.
In Indonesia, Phantom is available via Catchplay. The musical is presented in Korean with Indonesian subtitles.
Phantom opened at Seoul’s Charlotte Theater on June 10, 2021. The revival featured K-Pop star Kyuhyun with Park Eun-tae, Kai, and Jeon Dong-seok alternating the title role.
Writing for The Korea Herald, Im Eun-byel was impressed by the spectacle of the production, and noted how the book gave a better insight into the character of the Phantom, but found the score lacking. She noted that the production was “eye-dazzling and ear-pleasing… [but] the songs do not captivate.”
The 2021 production was filmed by Wys en Scene during its run at the Charlotte Theater,
Distributed by Art Seen Films, Phantom received a limited release in cinemas across North America in the late spring of 2022. The film was dedicated to book writer Arthur Lee Kopit, who passed away in 2021.
The North American film screenings were reportedly attended by tens of thousands of movie goers.
In March 2023, it was announced that Phantom would be available to stream online in the United States via the Art Seen Films Vimeo channel. The film is also currently available to stream on Amazon. The musical is presented in Korean with English subtitles.
In Mexico and Latin America, Phantom is available via Teatrix, RMV, and Totalplay. The musical is presented in Korean with Spanish subtitles.
In Indonesia, Phantom is available via Catchplay. The musical is presented in Korean with Indonesian subtitles.
cast & creative credits
Theatre: Charlotte Theatre, Seoul
Stage Executive Producer: Honghyeon Eum
Stage Producer: Sophy Jiwon Kim
Film Producer: Kanghyun Lee
Film Editor: Son Editing Studio
Book: Arthur Lee Kopit
Music and Lyrics: Maury Yeston
Director: Robert Johanson
Co-Director & Korean Lyrics: Eunah Kwon
Music Arrangement Supervisor: Shiota Akihiro
Music Arrangement & Orchestrator: Takeuchi Satoru
Korean Lyrics: Chunwi Park
Film Director: Jaeseok Park
Music Director & Conductor: Moonjeong Kim
Choreography: Jayme McDaniel
Scenic Design: Michael Schweikardt
Costume Design: Gregory A. Poplyk
Lighting Design: Jack Mehler
Projection Design: Seungkue Song
Wig/Hair & Make-Up Design: Yoosun Kim
Sound Design: Jihyun Kim
Stage Manager: Pilsoo Kang
Cast:
Kyu Hyun (The Phantom)
SunHae Im (Christine Daaé)
Youngseok Yoon (Gérard Carriére)
Youngsook Shin (Carlotta)
Enoch (The Count de Chandon (Philippe))
Gihong Im (Cholet)
JooWon Kim (Belladova)
Jeonil Yoon (Young Carriér)
Simok Lee (Young Erik)
Ensemble
Wongjon Choi
Hojun Jeon
Jahee Jung
Yeeun Kim
Daeseung Lee
Sungjoo Lee
Wonhyeop Lee
Hyungjun Lee
Junghwee Lee
Kang Lee
Hyeseong Lim
Sovin Park
Inmo Seok
Jooyoung Song
Junsik Um
Nari Youn
Ballet Dancers & Acolytes
Hun Ko
Shalrom Jin
Hyunjoong Kang
Gyuli Kim
Jiwon Park
Hana Lee
Domin Seo
Dabeen Yang
The M.C. Orchestra
Mihyun Chaie (Associate Music Director and Conductor)
Leerae Kim (Violn I)
Hana Kee (Violin II)
Hana Lee (Violin III)
Sohyun Jung (Viola)
Nare Lee (Cello)
Joowon Lee (Flute)
Sodam Park (Oboe)
Junghwan Eoum (Clarinet)
Gunil Lee (Trumpet I)
Junghoon Chun (Trumpet II)
Gyusung Lee (Horn I)
Hoyoung Jeong (Horn II)
Sungjoong Byeon (Trombone)
Soojin Shin (Keyboard I)
Juwon Lee (Keyboard II)
Yoonjae Oh (Keyboard III)
Geunjoo Seo (Bass)
Byonghak Jung (Drums)
Sungwon Yoon (Percussion)
Stage Executive Producer: Honghyeon Eum
Stage Producer: Sophy Jiwon Kim
Film Producer: Kanghyun Lee
Film Editor: Son Editing Studio
Book: Arthur Lee Kopit
Music and Lyrics: Maury Yeston
Director: Robert Johanson
Co-Director & Korean Lyrics: Eunah Kwon
Music Arrangement Supervisor: Shiota Akihiro
Music Arrangement & Orchestrator: Takeuchi Satoru
Korean Lyrics: Chunwi Park
Film Director: Jaeseok Park
Music Director & Conductor: Moonjeong Kim
Choreography: Jayme McDaniel
Scenic Design: Michael Schweikardt
Costume Design: Gregory A. Poplyk
Lighting Design: Jack Mehler
Projection Design: Seungkue Song
Wig/Hair & Make-Up Design: Yoosun Kim
Sound Design: Jihyun Kim
Stage Manager: Pilsoo Kang
Cast:
Kyu Hyun (The Phantom)
SunHae Im (Christine Daaé)
Youngseok Yoon (Gérard Carriére)
Youngsook Shin (Carlotta)
Enoch (The Count de Chandon (Philippe))
Gihong Im (Cholet)
JooWon Kim (Belladova)
Jeonil Yoon (Young Carriér)
Simok Lee (Young Erik)
Ensemble
Wongjon Choi
Hojun Jeon
Jahee Jung
Yeeun Kim
Daeseung Lee
Sungjoo Lee
Wonhyeop Lee
Hyungjun Lee
Junghwee Lee
Kang Lee
Hyeseong Lim
Sovin Park
Inmo Seok
Jooyoung Song
Junsik Um
Nari Youn
Ballet Dancers & Acolytes
Hun Ko
Shalrom Jin
Hyunjoong Kang
Gyuli Kim
Jiwon Park
Hana Lee
Domin Seo
Dabeen Yang
The M.C. Orchestra
Mihyun Chaie (Associate Music Director and Conductor)
Leerae Kim (Violn I)
Hana Kee (Violin II)
Hana Lee (Violin III)
Sohyun Jung (Viola)
Nare Lee (Cello)
Joowon Lee (Flute)
Sodam Park (Oboe)
Junghwan Eoum (Clarinet)
Gunil Lee (Trumpet I)
Junghoon Chun (Trumpet II)
Gyusung Lee (Horn I)
Hoyoung Jeong (Horn II)
Sungjoong Byeon (Trombone)
Soojin Shin (Keyboard I)
Juwon Lee (Keyboard II)
Yoonjae Oh (Keyboard III)
Geunjoo Seo (Bass)
Byonghak Jung (Drums)
Sungwon Yoon (Percussion)
REsearch Sources
Articles
Websites
Written by Luisa Lyons (May 2024)
- Freddie Brinster, “Musical can’t mask flaws,” The Daily Herald (Everett, Washington) (Oct 20, 1991) p.7E
- Richard Christiansen, “A new ‘Phantom’ arises at Drury Lane,” Chicago Tribune (Sept 5, 1991), Section 5, p.1 and 3
- Sylvie Drake, “Another ‘Phantom’ in the Southland,” Los Angeles Times (Nov 4, 1991), p.F9
- Im Eun-byel, “‘Phantom’ focuses on tragic character, fails to be memorable,” The Korea Herald (March 22, 2021)
- Murray Frymer, “‘Phantom’ Formula for Success,” Asbury Park Press (Sept 10, 1991), p. B6
- Andrew Gans, “Korean Production of Maury Yeston and Arthur Kopit’s Phantom Starring K-Pop Artist Kyuhyun Will Screen in the U.S.” Playbill (April 19, 2022)
- Alvin Klein, “Yet Another 'Phantom' in Elmsford,” New York Times (Sept 13, 1992) p. 13
- Alvin Klein, “Substance Behind Mask Of Latest 'Phantom'” New York Times (Oct 11, 1992), p. 13
- Beth Klein, “Stage: Phantom Strikes Again,” Los Angeles Times (Jan 17, 1991), p. F4
- Chloe Rabinowitz, “Yeston And Kopit's PHANTOM Starring Super Junior's Kyuhyun Now Available For Streaming,” BroadwayWorld (March 24, 2023)
- Christopher Rawsom, “The 3 faces of ‘Phantom’,” Pittsburgh Post-Gazette (April 16, 1991), p.27
- Owen Sheeran, “Civic Light Opera’s ‘Phantom’ phantasic,” The San Bernardino County Sun (Nov 2, 1991) p.A2
- Don Shirley, “Another ‘Phantom’ Surfaces, This Time from Kopit’s Trunk,” Los Angeles Times (June 2, 1991), p.39
- Perry Stewart, “New ‘Phantom’ has a ghost of a chance here,” Fort Worth Star-Telegram (Feb 10, 1991), p.7
- Uncredited, “New ‘Phantom’ premiers at Opera: Civic Light Opera opens musical stage thriller,” Daily Press (Victorville, CA), (Nov 1, 1991) p. 3
- Peter Vaughan, “Theater,” Star Tribune (Minneapolis, Minnesota), (Feb 8, 1991), p. 10E-11E
Websites
- Art Seen Films, “Phantom,” Accessed via: https://www.artseenfilms.com/phantom
- Concord Theatricals, “Phantom,” Accessed via: https://www.concordtheatricals.com/p/2753/phantom-yestonkopit
- IMDb, “The Phantom of the Opera: TV Mini Series,” Accessed via: https://www.imdb.com/title/tt0100361/
- Masterworks Broadway, “Phantom: The American Musical Sensation 1991,” Accessed via: https://www.masterworksbroadway.com/music/phantom-the-american-musical-sensation-1991/
- Maury Yeston, “Phantom: The American Musical Sensation,” Accessed via: https://mauryyeston.com/works/phantom
- Maury Yeston, “EMK’s Show Opened March 17,” Accessed via: https://mauryyeston.com/news/emk_show_opens_marxh_17
Written by Luisa Lyons (May 2024)