Estate / Collection: Property of Technical Production Manager Jake Bell

THE PHANTOM OF THE OPERA

The Broadway stage used poster for "Hannibal" presented in the opening scene of The Phantom of the Opera. Color printed on a thick canvas and with wooden rollers, the poster is approximately 72 x 48 inches. Some edge wear from the intentional rolling and unrolling on stage.

An important stage used prop from Phantom of the Opera, the poster for "Hannibal" unfurled in the show's evocative first scene, the auction of relics of the Paris Opera. The musical opens with the serious voice of an auctioneer:

"Lot 663, then, ladies and gentlemen: a poster for this house's production of 'Hannibal' by Chalumeau. Do I have ten francs? Five then. Five I am bid. Six, seven. Against you, sir, seven. Eight. Eight once. Selling twice. Sold, to Raoul, Vicomte de Chagny."

The auction scene is pivitol in establishing the setting and drama of the musical, and the sale of the poster precedes the auction of the monkey music box, also bought by Raoul, Vicomte de Chagny, who hints at his connection to the history of the Opera by his instant nostalgia for the piece. The scene concludes with the auctioneer's haunting description of lot 666:

"A chandelier in pieces. Some of you may recall the strange affair of the Phantom of the Opera: a mystery never fully explained. We are told, ladies and gentlemen, that this is the very chandelier which figures in the famous disaster. Our workshops have restored it and fitted up parts of it with wiring for the new electric light, so that we may get a hint of what it may look like when reassembled. Perhaps we may frighten away the ghost of so many years ago with a little illumination, gentlemen?"

When Act I of the musical begins, the audience is transported back to 1881, to the rehearsals for "Hannibal" that first introduce us to Madame Giry, Christine, and the "Angel of Music" who Christine confides to Raoul has visited her secretly and tutored her in singing. In this scene, the Phantom appears in Christine's mirror, and she first visits his lair.

Technical Production Manager Jake Bell's memories of The Phantom of the Opera:

This "Hannibal" poster was used on stage in many Broadway performances of The Phantom of the Opera and retired before the show's closing in 2023. The poster comes from the collection of Jake Bell, Technical Production Manager from the year the show opened on Broadway to its closing in April 2023 as the longest running musical in Broadway history at 13,981 performances. Jake Bell had been with Phantom from the beginning, having been first hired by British Producer Cameron Mackintosh for the Broadway production in 1988 and continuing through decades of national and international tours. The show’s technical requirements were so advanced that many theaters had to undergo extensive renovations to accommodate it. An excavator was brought in to dig the basement 10 feet deeper, allowing the candles and candelabras—212 in total—to rise seamlessly from the stage floor. The expanded basement also provided space for a trap door, a retractable staircase, and the rising Paris Opera House roof dome. Further, steel support structures were installed to hold the massive proscenium and chandelier, both of which hung over the audience. Suspended above the audience, the chandelier dramatically crashed onto the stage in one of the show’s most spectacular effects. The original Broadway chandelier remained in use throughout the show’s 35-year run. It was never replaced, thanks to meticulous maintenance, including rewiring, re-welding, replacing globes, repainting, and continuous cleaning. The chandelier was named “Ruthie II” after its London counterpart, “Ruthie I.” The name was in honor of Ruth Mitchell, Hal Prince’s formidable assistant, who was known for her strong personality and unmatched dedication.

At the Majestic Theatre on 44th Street, Phantom was one of the first major productions to incorporate a fully computer-automated system. With 52 computer-operated automated effects controlling both the deck scenery and fly system, manual operation would have been impossible due to the sheer volume of simultaneous cues. Computerization became essential.

The show’s costumes were equally legendary. The beading, fabric selections, and intricate designs were breathtaking. The Masquerade Ball scene alone featured 50-60 costumes, with some discreetly placed on mannequins to enhance the grandeur. Christine’s wedding dress bustle weighed nearly 35 pounds. The U.S. National Tour required 1.5 full 48-foot tractor-trailers solely for transporting costumes. With its technical achievements, Phantom became a global phenomenon, captivating audiences across the world.