In 98-06-29 MMD Joyce Brite wrote:

> Recently, I submitted a question to the MMD concerning the monkey music
> box used in "Phantom of the Opera."  I was very disappointed that there
> was no response, especially since my question was in response to a plea
> for more discussion about music boxes.

> When you take into account the number of theatrical companies who are
> presenting "Phantom of the Opera" worldwide, the monkey music box is
> seen and heard by thousands of people each day -- even if it is only a
> prop.  I'm stunned that there is little interest in it.

Joyce, and all:  Simply noting that the musical box is incorporated in
the play is of great interest.  I have noted quite a few posts to MMD
describing mechanical music in the movies.  All of this serves to bring
mechanical music to the attention of the general public.  And that is a
good thing.

For example, I saw a re-run of Maverick, the movie, where a disc
musical box was stolen from the lead female character, and retrieved by
Maverick (Bart?).  Of note is that musical box was incorporated into
the story and not merely a prop.  If someone is keeping a list of
automatic music in the movies, add that one to the list.

I am not moved to research it to find out what kind of music box was
actually used, however, or why the writers chose to incorporate it into
the plot.  That is of less importance to me than the fact that it was
used at all.  Maybe someone else has the time to do that, though.  Has
that been done for any of the myriad of movies that have been cited as
having mechanical musical instruments in them?

That aside, I recently had the pleasure of seeing this play in New
York.  It was a fabulous production!  Of course I took note of the
musical automata used as a prop...a seated monkey playing cymbals on a
musical box playing one of the themes used in the play ('Masquerade').
I could not tell for sure, but I don't believe it was actually playing
a musical box.  It sounded more like a synthesizer than an (amplified)
music box.

The automata is auctioned off at the beginning of the play which is
then all flash back.  It seems that the Phantom owned the automaton and
played it often in his dungeon living space.  I'm not clear who it was
that purchased it, but I think it was Christine's boyfriend as an old
man.

There are 'models' for such an automaton -- by late 1800's French
makers such as Roullet & Decamps, Vichy and others.  These were
high-end toys, not within the financial reach of most families, but
expensive presents or souvenirs for (wealthy) travellers to Paris.

I haven't seen any that looked specifically like the one in the
Phantom, but Leopold Lambert made a standing cymbal player and Vichy
often used a monkey as the character for his automatons.  Other makers
used seated figures, such as Lambert's Hookah Smoker.  Perhaps Webber's
prop staff combined several of these designs to make the prop.

Joyce asks some good questions in her post.  One is:

> - The music box plays the song "Masquerade."  Are there any
> music boxes currently on the market that play the song?

There are many modern musical boxes that have the 'masquerade' tune in
them.  This is the age of commercialization, and one must capitalize on
anything one can, especially popular movies and plays such as Phantom,
Cats, Aladdin and others.  I have seen inexpensive and simple automaton
dolls in the form of Phantom Dolls sold by San Francisco Music Box
Company, a national chain of (mostly novelty) music boxes.

Reuge makes several musical movements of Webber's Phantom themes.
Among them are 'All I Ask Of You', tune #6245 (1.18) #1987 (1.36),
The Music Of The Night (1.18 tune #6309, 1.36 tune #1988 and 1.50 tune
#7702) and Masquerade (1.18 tune #6394 and 1.36 tune #2000).

The three tunes together are incorporated on a 3.50-note movement
(tune #350210) and in a 3.72-note movement (tune #37292) as well as
in a 3.144 Sublime Harmony movement (tune #314424).

The tune 'All I Ask Of You' is also available on the 4-1/4-inch discs,
suitable for Thorens and Reuge disc-playing boxes (tune #1663).

Now, who has access to Andrew Lloyd Webber and can research Joyce's
other questions?   It would be interesting to interview Mr. Webber or
one of his production people and ask about the origin and rationale for
using the musical automaton in the play.

Musically yours,

Bill Wineburgh
http://members.aol.com/mboxmuseum/museum.html