Theatre stage lighting design phantom
![theatre stage lighting design phantom theatre stage lighting design phantom](https://mir-s3-cdn-cf.behance.net/project_modules/max_1200/c497858777969.5602c6efe6b13.jpg)
![theatre stage lighting design phantom theatre stage lighting design phantom](https://d3s3zh7icgjwgd.cloudfront.net/AcuCustom/Sitename/DAM/186/6_Standard.-THE-PHANTOM-OF-THE-OPERA.-Masquerade.-Photo-by-Johan-Persson.jpg)
Alan Jay Lerner was then recruited, but he became seriously ill after joining the project and was forced to withdraw none of his contributions (mostly involving the song "Masquerade") are credited in the show. Lloyd Webber first approached Jim Steinman to write the lyrics because of his "dark obsessive side", but he declined in order to fulfill his commitments on a Bonnie Tyler album. Then with the Phantom, it was there!" Lyricists Later, in New York, Lloyd Webber found a second-hand copy of the original, long-out-of-print Leroux novel, which supplied the necessary inspiration to develop a musical: "I was actually writing something else at the time, and I realised that the reason I was hung up was because I was trying to write a major romantic story, and I had been trying to do that ever since I started my career. They screened both the 1925 Lon Chaney and the 1943 Claude Rains motion picture versions, but neither saw any effective way to make the leap from film to stage. He was aiming for a romantic piece, and suggested Gaston Leroux's book The Phantom of the Opera as a basis.
![theatre stage lighting design phantom theatre stage lighting design phantom](https://assets.dmagstatic.com/wp-content/uploads/2018/11/phantom-3.jpg)
In 1984, Lloyd Webber contacted Cameron Mackintosh, the co-producer of Cats and Song and Dance, to propose a new musical.