“The Phantom of the Opera” finally closed on Broadway last month after running more than 35 years and a record-setting 13,981 performances. Most of the musicals on the list of the longest-running shows are junk between “Phantom” and #17, “Fiddler on the Roof” (though not #7, “A Chorus Line”), but “The Phantom of the Opera” isn’t, though more for its staging and atmospherics than its music. I saw the show long ago at the West End in London, prepared to find it over-rated, but it really isn’t.
However, before it passes into history (and you’re not going to see a lot of high school, college and community theater productions of this monster), I have to mention something about the lyrics (by Charles Hart; Andrew Lloyd Webber composed the music) that bothered me the first time I heard the score, when I saw the show, and now. The ethics issue is integrity, and I know some readers are going to decide that the topic of cheating in hit Broadway show lyrics is too trivial to think about. Au contraire, as the Phantom might say (the show does take place in Paris, after all). Nothing involving ethics is too trivial to think about: that’s been the operating principle here from the beginning. Besides, I write song lyrics as part of what is laughingly called my job. I care about doing it right.
In the title song of “The Phantom of the Opera” (called, as I bet you could guess, “The Phantom of the Opera”) the rather central word “opera” is pronounced two different ways to fit with the music. “Opera” is generally pronounced in English as a two-syllable word (“op-ra”), and indeed it is in part of the song, as you will note in the ridiculous music video made with the show’s original “Christine,” Sarah Brightman, above. However, through most of the song, opera is sung as three-syllable word, “op-er-a.”
Ethics Alarms 