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| - Yeston and Kopit had just finished the musical Nine, winner of the Tony Award for Best Musical in 1982, when they were approached by actor/director Geoffrey Holder to write a musical based on Leroux's novel. Holder had obtained the rights to musicalize the novel in America from the Leroux estate, making Phantom the only Phantom of the Opera musical to do so. Holder planned to direct. Initially, Yeston was skeptical of the project. "I laughed and laughed.... That's the worst idea in the world! Why would you want to write a musical based on a horror story?.... And then it occurred to me that the story could be somewhat changed.... [The Phantom] would be a Quasimodo character, an Elephant Man. Don't all of us feel, despite outward imperfections, that deep inside we're good? And that is a char
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| abstract
| - Yeston and Kopit had just finished the musical Nine, winner of the Tony Award for Best Musical in 1982, when they were approached by actor/director Geoffrey Holder to write a musical based on Leroux's novel. Holder had obtained the rights to musicalize the novel in America from the Leroux estate, making Phantom the only Phantom of the Opera musical to do so. Holder planned to direct. Initially, Yeston was skeptical of the project. "I laughed and laughed.... That's the worst idea in the world! Why would you want to write a musical based on a horror story?.... And then it occurred to me that the story could be somewhat changed.... [The Phantom] would be a Quasimodo character, an Elephant Man. Don't all of us feel, despite outward imperfections, that deep inside we're good? And that is a character you cry for." In 1984, British producer Ken Hill produced a melodrama musical of The Phantom of the Opera in England. This was not a big threat to Holder, Kopit and Yeston, since their musical was intended to play on Broadway. The real threat emerged through an announcement in Variety, where an article was published concerning plans for a musical production of The Phantom of the Opera by Andrew Lloyd Webber. The rights to the novel were in the public domain in Great Britain. Holder only held the rights for two years in the United States and Europe before the property became public domain there as well. Yeston had completed much of the score to Phantom, and Yeston, Kopit and Holder were in the process of raising money for a Broadway production when the Lloyd Webber plans were announced. After The Phantom of the Opera became a smash hit in London in 1986, Lloyd Webber announced a Broadway production, and Yeston's Broadway investors backed out. Yeston, Kopit and Holder reluctantly shelved their plans for Phantom and went their separate ways for a time. When Kopit saw the Lloyd Webber version of The Phantom of the Opera in New York, he realized that the approach he and Yeston had taken was fundamentally different and that it could still work on the musical stage. A few years later, he rewrote his script outline into a teleplay for a 4-hour 2-part miniseries and sold it to NBC, with Yeston's blessing. It was filmed at the Opera Garnier, and the only music used was opera music. It starred Charles Dance, Teri Polo and Burt Lancaster and premiered on television in 1990. Kopit said, "I told Maury to hold on. There were Phantom musicals sprouting up all over the place by that time. Maybe someone would see the miniseries, think it would make a good musical and we'd be ready." The Yeston/Kopit musical was finally produced by Theater Under the Stars in 1991, and Phantom has since received over 1,000 productions around the world. Yeston refers to the musical as "the greatest hit never to be produced on Broadway." Yeston's Phantom is more operetta-like in style than Lloyd Webber's, seeking to reflect the 1890s period, and seeks to project a French atmosphere to reflect its Parisian setting.
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