Stranger than you dreamed it, can you even dare to look or bear to think of me?.Damn you! You little prying Pandora! You little demon! Is this what you wanted to see? Curse you! You little lying Delilah! You little viper! Now you cannot ever be free!.Since the moment I first heard you sing I have needed you with me to serve me, to sing for my music. You have come here for one purpose and one alone.Did you think that I would harm her? Why would I make her pay for the sins which are yours? So do you end your days with me or do you send him to his grave?.Start a new life with me! Buy his freedom with your love! Refuse me and you'll send your lover to his death! This is the choice.You alone can make my song take flight.A mask, my first unfeeling scrap of clothing. This face, which earned a mother's fear and loathing.You will curse the day you did not do all that the Phantom asked of you!.
Angel of Music, you denied me, turning from true beauty. Too long you've wandered in winter far from my fathering gaze. Wandering child, so lost, so helpless, yearning for my guidance. Look at your face in the mirror… I am there inside! 
Insolent boy! This slave of fashion, basking in your glory! Ignorant fool! This brave young suitor, sharing in my triumph!. I’m sure if Maria were still alive today she’d still be improving the show because she was just that kind of person. “Over time, we have done five different sculpts for the phantom mask itself because she kept wanting it to be more interesting. “She was interested in developing the show,” says Associate Costume Designer Sam Fleming. Despite variations and evolutions, every costume piece worn in Phantom today originated in Björnson’s design. Her designs were extravagant and yet simultaneously unsettling, as she perfected a unique idiom of romantic expressionism. When Björnson died suddenly at the age of 53, she was at the center of revelatory transformations in opera production. When Lloyd Webber introduced the musical to friends at his country home, Bjornson prepared a chandelier to plunge over the audience, a rousing effect that also appeared in the full production. “We used drapes swagging downwards and upwards,” Björnson once wrote, “dark Turkish corners leading off to nowhere, and candles rising out of the floor through mist.” Inspired by the subterranean glamour of Paris, she imagined a misty underground lake and studded the proscenium with gilded figures.
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