The demons in The Phantom Tollbooth are named "The Terrible Trivium" and "The Gelatinous Giant." They are obstacles that Milo and his friends must overcome on their journey through the Kingdom of Wisdom.

It's actually based in France and written by Andrew Lloyd Webber, who is American.

The original Phantom of the Opera had come out in 1925 with Lon Chaney.

Andrew Lloyd Webber's Phantom of the Opera 1986 on London Stage with Michael Crawford and Sarah Brightman.

Because it's a story about a sociopath living under an opera house and who has created for himself an imago of a phantom and had everyone believe the opera house is really haunted.

La Carlotta lives. Her husband, however, is killed by the Phantom.

yes, she was Christine's friend

Well its all viewpoint but some would say that the phantom has had a troubled life and has never experienced love, also he was tortured as a child and put in a cage. lastly Christine the only person he loved abandoned him

are you sure it was the pantages? i know years ago he performed it at the Dorothy chandler pavilion with i believe Dale Kristien as Christine..not sure of the year though..

Love Never Dies is set roughly 10 years after the events in the Phantom Of The Opera.

However, in the 2004 film, it ends with a scene involving Christine's grave, which says that she died at the age of 63, but in Love Never Dies, Christine is shot by Meg, her best friend, so she dies considerably younger.

The Original London 1986 Michael Crawford, Sarah Brightman, Steve Barton

The movie 2004 Gerard Butler, Emma Rossum, Patrick Wilson

The Musical/Book "Love Never Dies" was written by Glenn Slater and Andrew Lloyd Webber.

Love Never Dies is the sequel to The Phantom of the Opera and is available on DVD and Blu-Ray now.

In the movie, Emmy Rossum played Christine. In The play with Michael Crawford (who, I might add, is the best male singer, in my opinion, that has ever set foot on stage) Christine was played by Sarah Brightman.

Hope this helps. :)

Christine Daa'e is supposed to be 20 years old at the time the story begins

Raoul is also supposed to be 20 or 21

However Christine's age is not directly quoted, but you can work out her age from the stories of her childhood

Acctually Christine Daae is more around her teen years being about 16-18. Christine is named younger than Raoul in the book.

the main female characters are Christine daae, meg giry, madame giry, and carlotta

The author of the original book, Gaston Leroux, has said that the Phantom of the Opera was a true story. But if it was, it probably wasn't a dramatic love triangle such as the movie/musical

Well, It depends on what version you are talking about. in the book written by, Gaston Leroux, he was born with a messed up face. but I've heard that in some of the stories it is something like he was burned. in a fire.

Christine becomes huge success but there is a catch, she must fall in love with her tutor the Phantom.

Themes Appearance and Reality The fact that The Phantom of the Opera takes place behind the scenes of the opera almost automatically draws readers' attention to the disparity between reality and appearances. Leroux gives backstage details, starting with the dancers who line up in the first chapter, gossiping, and continuing on to point out the backdrops and the business arrangements that few opera goers are allowed to see. Un-like most backstage stories, though, this novel also goes into details about the Paris opera house that few of the average workers would be aware of, such as the complicated system of tunnels underneath the building, with furnaces and prisons and hoards of rats and even a lake. Some of these details might be exaggerated from reality, but they are plausible as the reality of the novel. They clearly indicate that, as much as the sets and costumes create a false world on the stage, the opera house that visitors enter only reveals part of the story regarding what it takes to put on a grand spectacle. The phantom himself is also used as a symbol to represent the ways that reality and appearance differ. The most obvious example of this is, of course, the mask that he wears. When he is wearing his mask, Christine can believe that he is a poor, misunderstood man who has just not been given the attention he deserves. When he represents himself to her as the Spirit of Music, she responds to his musical gift and really does see him as angelic. Once she sees Erik without his mask, however, she is so horrified that she can never think fondly of him again. In addition to the phantom's looks, however, his whole existence is one big charade. He is greatly gifted, but his talents are in making voices seem to appear where no one is actually talking; in coming and going without being seen; in overhearing conversations that seem to be private; and in making people think that they see things that are impossible, as in when his torture chamber turns out to be a hall of illusions. He is known as a phantom for a reason: no one is ever really sure that he exists. Innocence The phantom's anger with the society that has rejected him is balanced in this novel with the simple innocence of the love between Christine Daaé and Raoul de Chagny. Christine's life story is surrounded by the sort of heartwarming and fantastic details that are common in fairy tales. Her father, for instance, is a kindly old soul and an incredibly talented musician. He fills her childhood with the sweet view of the world that is found in folk stories. Before he dies, he tells Christine that she will be watched over by the Spirit of Music, which at first serves to give her comfort but later, as is common with innocence carried into adulthood, causes her to fall victim to Erik, who uses his talent for ventriloquism to make her loyal to him. Mme. Valerius is another example of the innocence that surrounds Christine's life. She never questions that the younger woman is doing the right thing even when others doubt her, supplying a level of sweetness and naiveté that reflects on Christine's under-standing of the world. The romance between Christine and Raoul is particularly untouched by the harsher elements of reality. From their first meeting as children, when Raoul puts his life at risk in service to her as he swims out into the ocean to retrieve her scarf, to their chance meeting years later at the opera house when they recognize each other, they are true to each other. A few times, Raoul questions Christine about her purity, but he always accepts her word that such questions are misguided. Readers believe so firmly in the couple's innocence that, when the narrator has bystanders remark that it is scandalous for them to go into her dressing room together and close the door, it is the bystanders who seem ignorant of the reality of true love. Horror This book uses several standard horror elements to make the phantom threatening and mysterious. The most obvious of these is the opera house itself, with its high, shadowy ceilings and miles of tunnels beneath. When Raoul and Christine go up to the roof, they are among the swooping gables and heavy statuary that set the ominous mood in other works, such as The Hunchback of Notre Dame. In its cellars readers are introduced to fantastic sights that are hard to believe: legions of forgotten workers who never see the light of day or swarms of rats that are at the command of the Rat Catcher. The most distinct horror device is Erik's face. Though he is described as having a skin disease, its manifestation gives him the exact semblance of a skull, so that even as a young man he was able to travel to county fairs and bill himself as the living dead man. His eyes, too, are described as glowing in the dark, like a cat's. These details might be unlikely in the real world, but they are not at all out of place in a horror story. Topics For Further Study * Examine the history of the Paris Commune, which Leroux says lived in the jails upon which the Opera House was built. Find out how much the underground life led in the 1870s corresponds to the underground life that Raoul discovers while going to find the place where the phantom lives. * This story centers on the opera company's performance of Faust. Read a version of the Faust story and write a short play in which Erik and Faust meet, telling each other about their common experiences. * One of this story's conceits is that, through the use of ventriloquism, Erik is able to make it seem as if his voice is coming out of places that are far from where he is hiding. Prepare a report on ventriloquism: its capabilities, its shortcomings, and its greatest practitioners. In what ways would proficiency in ventriloquism help Erik in pretending to be the Opera ghost? * Study another opera house, either in person or on the Internet. Report on what areas behind and under the stage would be handy for this house to harbor its own phantom.

At the beginning of the movie (the auction scene) she is in her mid to late 70's. Then her age is mid to late 40's

The book was written by Gaston Leroux in France. The musical itself originated in Britain where it first premiered. The movie I have no idea where it was made but i am assuming it was in Britain because most of the cast and Andrew Lloyd Webber are all British.

Real but unnamed readers are phantom readers. They are "behind the scenes" and their presence is usually unknown to a writer. Phantom readers are included in communications that require a decision. A clue to phantom readers presence is that the person written to is not high enough in organizational hierarchy to make a decision. It is important to meet the needs of the phantom readers because they may be the most important reader.

The book (le phantome de l'opera) on which the musical is based was written in 1909 in France by Gaston Leroux - a French man who was from Paris.

The well known musical version by Andrew Lloyd Webber in London in October 1986.

Hope that helps