Jun 5, 2025 11:00 EST
Stage & Screen
526
The silver mask worn in the final Broadway performance of Phantom
Estate / Collection: Property of Technical Production Manager Jake Bell
THE PHANTOM OF THE OPERA
The silver mask worn in the final Broadway performance of The Phantom of the Opera. The silver mask designed for Emilie Kouatchou as Christine, and worn in the dramatic bridal scene by the Phantom's Christine double reflected in the mirror in the catacombs of the Paris Opera House. Some minor wear from stage use and slight crack mid-mask; Together with a similar white mask, previously worn in the Broadway production before the pandemic shutdown.
An important artifact from the longest-running show in Broadway history, the silver mask worn by Emilie Kouatchou's Christine Bride double in the final Broadway performance of The Phantom of the Opera. The mask is important for being stage used in the final performance, but perhaps more critically, it is the first time the costume was changed upon the role of Christine being played by a Black woman. The silver mask was introduced on October 27, 2021, when the show reopened after being closed for over a year due to COVID. The mask was designed specifically for Emilie Kouatchou, the first black woman to perform the role, who performed as Christine until the show's epic final performance on April 16, 2023.
Technical Production Manager Jake Bell's memories of The Phantom of the Opera:
The silver mask present here was worn on stage in the final Broadway performance of Phantom on April 16th, 2023. The masks comes from the collection of Jake Bell, Technical Production Manager from the show's first year 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.
Sold for $608
Estimated at $400 - $600
Includes Buyer's Premium
Estate / Collection: Property of Technical Production Manager Jake Bell
THE PHANTOM OF THE OPERA
The silver mask worn in the final Broadway performance of The Phantom of the Opera. The silver mask designed for Emilie Kouatchou as Christine, and worn in the dramatic bridal scene by the Phantom's Christine double reflected in the mirror in the catacombs of the Paris Opera House. Some minor wear from stage use and slight crack mid-mask; Together with a similar white mask, previously worn in the Broadway production before the pandemic shutdown.
An important artifact from the longest-running show in Broadway history, the silver mask worn by Emilie Kouatchou's Christine Bride double in the final Broadway performance of The Phantom of the Opera. The mask is important for being stage used in the final performance, but perhaps more critically, it is the first time the costume was changed upon the role of Christine being played by a Black woman. The silver mask was introduced on October 27, 2021, when the show reopened after being closed for over a year due to COVID. The mask was designed specifically for Emilie Kouatchou, the first black woman to perform the role, who performed as Christine until the show's epic final performance on April 16, 2023.
Technical Production Manager Jake Bell's memories of The Phantom of the Opera:
The silver mask present here was worn on stage in the final Broadway performance of Phantom on April 16th, 2023. The masks comes from the collection of Jake Bell, Technical Production Manager from the show's first year 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.
Auction: Stage & Screen, Jun 5, 2025
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Popular Stage & Screen Auction on Thursday, June 5, 2025 at 11am
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Memorabilia, Autographs, Artwork & Photographs of the Theater, Hollywood, Music and Dance
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Hosted in Collaboration with the Entertainment Community Fund (Formerly the Actors Fund)
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Consignments Are Currently Being Accepted for Future Auctions
NEW YORK, NY -- Doyle hosted the popular Stage & Screen auction on June 5, 2025. Fans and collectors around the world vied for exciting offerings celebrating the performing arts of Theater, Hollywood, Music and Dance.
The Glass Menagerie
Highlighting the sale was an extraordinary script of The Glass Menagerie, inscribed by Tennessee Williams to Jo Mielziner, the celebrated set and lighting designer. Mielziner’s annotated carbon copy, it sold for $11,520, many times its $1,500-2,500 estimate. His notes reveal early design ideas, including “wonderful!” beside Williams’ lighting suggestions. This script predates rewrites and was issued before rehearsals began in late November 1944. Their first collaboration, Menagerie became a theatrical milestone, with Mielziner’s visionary designs playing a crucial role in its success and in later Williams-Meilziner productions, A Streetcar Named Desire and Summer and Smoke.
The Entertainment Community Fund
Recognizing the importance of the performing arts to the fabric of New York, Doyle is proud to collaborate on this auction with the Entertainment Community Fund (formerly The Actors Fund), a 501(c)(3) charitable organization. Lots 501 through 519 were auctioned to directly benefit the Fund, and Doyle will donate 100% of our Buyer's Premium on these lots. Featured are stylish costumes from The Marvelous Mrs. Maisel. For further information on the Entertainment Community Fund, visit EntertainmentCommunity.org
Property of Technical Production Manager Jake Bell
Jake Bell has had a legendary career in the theater as Technical Production Manager for Sir Cameron Mackintosh's iconic musicals. Bell managed some of the most dazzling and technologically advanced stage elements in theater history: the famous falling chandelier in The Phantom of the Opera, the flying helicopter in Miss Saigon, the barricade of Les Misérables and so much more. Among the collection's highlights are annotated production books, scripts, props and memorabilia from Cats, Les Misérables, Miss Saigon, A Chorus Line and Phantom of the Opera, including a stage-worn Phantom mask presented to Bell at the April 2023 closing performance. View Lots
The Estate of Tony Roberts
New York native Tony Roberts (1939–2025) was a prolific stage and screen actor with a career spanning over six decades. A two-time Tony award nominee, he appeared in 23 Broadway productions, among them David Merrick’s Barefoot in the Park, Arsenic and Old Lace, and Promises, Promises, for which he won the London Critics Poll Award for the West End production. Among his numerous screen credits are six Woody Allen films, including Annie Hall, Play It Again, Sam and Star-Spangled Girl. He performed in New York City Opera's Brigadoon and South Pacific, and played Scrooge in A Christmas Carol at Madison Square Garden. Collection highlights feature original illustrations by Al Hirschfeld depicting Roberts in Arsenic and Old Lace and Doubles, his script from Star Spangled Girl, and a large group of awards and memorabilia. View Lots
“Costume Bibles” of Barbara Matera
Barbara Matera (1929-2001) was one of the foremost costume designers and creators of costumes on Broadway, working on more than 100 shows between the 1970s to the early 2000s. It was her invariable practice to create a costume bible for every show, with copies of the original designs, specimens of the fabrics used, and notes on the sources of those fabrics. This enabled repairs and new copies of costumes to be consistently assembled over the course of a show. Featured in the sale are costume bibles for Angels in America, Evita, La Cage aux Folles, Phantom of the Opera, RENT and even the Rolling Stones 1994 Voodoo Lounge Tour. View Lots
