Phantom's Opera

A musical genius whose face bears scars from a childhood accident, Erik has spent years composing in seclusion, communicating with the opera management only through letters. His masterpiece 'Echoes of Eternity' is finally being performed, bringing him reluctantly into the public eye. Despite his brilliance, Erik is socially awkward and quick to anger when his art is criticized. He knows every secret passage in the Opera House and has been known to appear and disappear mysteriously, fueling rumors that he is the legendary Phantom. His devotion to music borders on obsession, and he believes true art requires suffering.

The temperamental prima donna of the Paris Opera, Carlotta has ruled the stage for a decade with her powerful soprano voice and commanding presence. Though her talent is undeniable, younger singers are beginning to eclipse her, and critics have been less kind in recent reviews. She despises Erik's new opera, which requires vocal techniques she struggles with, and suspects it was written specifically to humiliate her. Known for throwing spectacular tantrums and making impossible demands, Carlotta nonetheless has a loyal following among conservative patrons who appreciate traditional performances. She has threatened to quit numerous times but always returns, unable to imagine life away from the spotlight.

The young Vicomte de Chagny represents the new generation of arts patrons. Handsome, wealthy, and charming, Raoul has recently returned from naval service to take his place in society and on the Opera's board of directors. He has progressive ideas about modernizing the Opera House and making it accessible to more than just the elite. While genuinely passionate about music, Raoul is naive about the politics and dark undercurrents of the theater world. He's been seen paying particular attention to Christine Daae, a childhood friend now singing in the chorus, which has caused jealousy among other performers and patrons. Despite his title, Raoul feels most comfortable discussing sailing adventures and often seems out of place among the more sophisticated opera aficionados.

A rising star in the opera chorus with an ethereal soprano voice, Christine is the daughter of a famous Swedish violinist who died leaving her penniless. Quiet and otherworldly, she speaks often of an 'Angel of Music' who gives her private singing lessons but whom no one has ever seen. Her recent performances have shown remarkable improvement, leading to whispers of supernatural intervention. Christine is torn between her dedication to music and her rekindled feelings for Raoul, her childhood friend. She fears disappointing her mysterious mentor, who grows possessive of her talent. Though seemingly fragile, Christine possesses unexpected inner strength and a determined ambition to honor her father's legacy through her singing.

The stern ballet mistress and box keeper of the Opera House, Madame Giry has served there for over thirty years. A widow with a dancer daughter, she maintains strict discipline among the ballet corps and knows every rumor and secret within the opera walls. Madame Giry is the only staff member who openly acknowledges the Phantom's existence, leaving Box Five empty as instructed and delivering his letters to management. Her motivations remain enigmatic—some believe she is protecting the Opera Ghost out of fear, others suspect a deeper connection. Despite her severe exterior, she shows unexpected kindness to Christine Daae and other vulnerable young performers. Madame Giry's walking stick taps ominously against the floor as she patrols the corridors, ensuring order is maintained.

The talented lead dancer of the ballet corps and daughter of Madame Giry, Meg has grown up in the Opera House and knows its every corner. Bright, curious, and more worldly than her innocent appearance suggests, she is Christine's closest friend and confidante. Meg dreams of becoming a prima ballerina but secretly writes poetry and harbors ambitions beyond dance. She is fascinated by the Phantom legends and frequently leads expeditions of younger dancers to search for evidence of his existence. Unlike her cautious mother, Meg embraces risk and adventure, often finding herself in precarious situations due to her inquisitive nature. She has noticed her mother's unusual behavior regarding Box Five and suspects she knows more about the Opera Ghost than she admits.

One of the new co-managers of the Opera House, Firmin made his fortune in junk metal before purchasing the opera with his business partner André. Practical, profit-minded, and utterly bewildered by artistic temperaments, he views the opera primarily as a business investment and social stepping stone. Firmin is skeptical of the Phantom stories, dismissing them as attempts by the previous management to cover financial irregularities. He resents the mysterious salary demands and artistic interference but is too concerned with appearances to admit the financial strain these place on the opera. Behind his bluster, Firmin is increasingly anxious about the strange occurrences he cannot explain and the social embarrassment that would come from a failed season. His nouveau riche background makes him particularly sensitive to slights from aristocratic patrons.

The more artistic-minded of the Opera's new management team, André previously owned paper mills but has always fancied himself a cultural connoisseur. Eager to be accepted into Parisian high society, he drops names of famous composers and performers at every opportunity, though his knowledge is often superficial. André is more willing than Firmin to entertain the possibility of supernatural occurrences, especially after receiving several threatening notes. He has developed a particular appreciation for the ballet corps, especially their younger members, and spends an uncomfortable amount of time watching rehearsals. Though he projects confidence, André is completely overwhelmed by the demands of running an opera house and fears being exposed as an impostor in artistic circles. His rivalry with Firmin has intensified as the season's troubles mount.

The Opera House's chief stagehand and scene-shifter, Bouquet is a gruff, hard-drinking man with calloused hands and a talent for mechanical contraptions. He claims to have seen the Phantom face-to-face and delights in terrifying the ballet girls with increasingly elaborate descriptions of the ghost's hideous appearance. Despite his bravado, Bouquet is visibly nervous in the opera's upper catwalks and darker corners. He has worked at the Opera House for decades and knows secrets about many of the long-time employees, which he's not above using for blackmail after a few drinks. Recently, Bouquet has appeared increasingly paranoid, claiming to feel watched whenever he works alone. His knowledge of the building's architecture and mechanical systems makes him indispensable, despite his unsavory reputation and frequent clashes with Madame Giry over his behavior around the young dancers.

The opera's leading tenor and Carlotta's devoted companion both professionally and personally, Piangi is an Italian virtuoso whose vocal prowess is matched only by his appetite for fine food and flattery. Corpulent and vain, he refuses to perform any role that doesn't showcase his high notes or that requires him to appear less than heroic. Piangi is fiercely protective of Carlotta and echoes her complaints against Erik's new composition, which he finds technically challenging and undignified. Though often dismissed as merely Carlotta's shadow, Piangi has his own ambitions and resentments, particularly toward younger singers gaining prominence. He has been struggling with increasing breathlessness during performances—a fact he desperately tries to hide—and fears losing his position as the company's star tenor. Despite his bombastic public persona, Piangi is deeply superstitious and genuinely terrified of the Phantom rumors.

The prima ballerina whose technical perfection contrasts with Christine's emotional expressiveness, Sorelli has dedicated her life to dance with monastic discipline. Half-French and half-Japanese, she has overcome prejudice and scrutiny to reach the top of her profession, though the physical toll of ballet is beginning to show in her frequent pain and injuries. Sorelli practices traditional Japanese meditation techniques before performances and is rumored to possess second sight, having reportedly predicted several accidents at the Opera House. She maintains a cool rivalry with Christine, whose sudden rise threatens to overshadow the ballet in the new production. Though outwardly composed, Sorelli harbors deep insecurities about aging in a profession that worships youth and has been secretly meeting with potential patrons to secure her future. She is one of the few performers who isn't afraid of the Phantom legends, instead expressing a strange respect for the unseen presence.

A wealthy American industrialist and new patron of the arts, Percy has recently arrived in Paris with his fortune made in railroad construction and an eagerness to be accepted in European cultural circles. Loud, opinionated, and completely lacking in artistic knowledge, he compensates by spending lavishly and offering unwanted business advice to the opera management. Percy claims to have Apache heritage through his grandmother, though the truth of this is questionable, and frequently makes inappropriate comparisons between opera and what he calls 'authentic tribal ceremonies.' He carries a notebook in which he sketches inventions inspired by the opera's machinery and acoustics, seeing the arts primarily as a means to practical innovation. Percy is fascinated by the Phantom rumors, viewing them as excellent publicity that should be exploited rather than suppressed. His brash American ways both offend and intrigue Parisian society, and he's been making increasingly generous offers to showcase the opera company in New York, which some see as an attempt to steal their cultural treasures.