Vie Parisienne) - Faust, Carlotta, Richard, Remy, Jammes, Debienne, Christine What Do I See (Music: Gounod, Faust) - Christine (as Carlotta) To Pain My Heart Selfishly Dooms Me (Music: Offenbach, Les contes d'Hoffmann) - The Phantom, Raoul, Christine Act II The Entr'Acte Ah! Do I Hear My Lover's Voice? (Music: Gounod, Faust) - Faust, Christine No Sign! I See No Sign! (Music: von Weber, Der Freischütz; and Verdi, Un Ballo in Maschera) - Debienne, Richard, Raoul, Remy, Dominique, Faust, Jammes, Madam Giry Somewhere Above The Sun Shines Bright (Music: Verdi, Il Corsaro) - Christine Born With A Monstrous Countenance (Music: Verdi, Attila) - The Persian In The Shadows, Dim And Dreary (Music: Verdi, Il Trovatore) - Raoul, The Persian 'What An Awful Way To Perish (Music: Donizetti, Lucia di Lammermoor) - Faust, The Persian, Madam Giry, Richard, Jammes, Raoul The Final Drama Ne'er Forsake Me, Here Remain (Music: Gounod, Faust) - The Phantom Ne'er Forsake Me, Here Remain (Reprise) - The Phantom, Christine He Will Not Go Without A Friend - (Music: Mozart, Don Giovanni) Company "All Of My Dreams Faded Suddenly", sung by the character Christine, was added to the show in 1992 for the first Japanese tour, based upon an aria by Antonín Dvořák. It replaced "Love Has Flown, Never Returning", but not before the latter had been recorded onto the West End cast recording of Phantom of the Opera. The newer song has never been recorded and released. History As Ken Hill rummaged through a used bookstore, he picked up a copy of The Phnatom of the Opera and eventually produced it as a stage musical. The show started off as a production at Morecambe Pier as the first staged musical version, and then when Hill was working as Director of Productions for the Newcastle Playhouse. This first production was produced at The Duke’s Playhouse in Lancaster on 26 July 1976, where it proved to be a hit. It was directed by John Blackmore, designed by Clare Lyth, with musical direction by Gary Yershon. It differed from the later version of Ken Hill’s musical, in having a modern musical score by Ian Armit (who also worked with Hill on his production of The Curse of the Werewolf) in addition to excerpts from the opera Faust by Charles Gounod. In 1984, Hill revived his musical version of The Phantom of the Opera. This time though, he wanted to