The worlds of comics and musical theatre collide in the upcoming book release of The Phantom of the Opera by Titan Comics. We spoke to Editor David Manley-Leach about the creative process and the decision making behind the project.

What made you want to recreate Andrew Lloyd Webber’s musical masterpiece in comic form?

We were talking one day in a New Projects Meeting about potential future projects and the idea of adapting a stage play or musical came up. We realised no one had ever tried adapting one before, so we made a list and at the top was The Phantom of the Opera, it was the perfect. So we approached the Really Useful Company and the rest is history!

Did you look to the original novel for inspiration or is it purely based on the musical?

No, we didn’t look to the original book. Because we always set out to adapt the stage musical, we avoided the book and the numerous film incarnations. We stuck to the original libretto and used that as our basis. Also, we had to make sure that our version of the Phantom was, visually, completely original and not based on any visual aspect of the show or the movies that had come before. 

Could you describe the creative process from conception to finished product?

The first stage was adapting the libretto. 

Cavan Scott, the writer, and I created a list of key moments from the libretto that we wanted to feature in the book, like the chandelier drop, the Phantom’s mask reveal, and the gondolier ride through the catacombs, which we knew were going to be our key-beat moments. Cavan then plotted out the whole 96 page book and wrote the first part of the script. For ease, we decided to split the script into three parts.

Meanwhile I conducted an artist search. I knew I needed an artist whose work would appeal to both non-comic book readers and comic fans alike and someone who could handle detailed backgrounds and architecture. The best artist for the job was José María Beroy. He set about designing the main characters and most importantly the Phantom’s mask. Once approved, José produced a series of thumbnails, which are small sketches showing how each page will look. Once approved, José pencilled the pages at full size, which in this case meant drawing at twice the size of the finished book. These pencils were then sent off for approval before being inked, coloured and lettered before a final series of approvals.

While all that’s happening, the cover was designed and drawn, and the other editorial matter written. A project like this took over 18 months to complete! 

What was the biggest challenge in adapting the libretto to graphic novel?

Finding the right creative team for the project was the biggest challenge. I knew I needed a versatile artist who wasn’t just a ‘superhero artist’, I needed someone who could not only draw believable people, but also beautiful buildings and backgrounds and José María Beroy was the perfect choice. I wanted artwork that could be easily accessible by those who don’t read comics, and also enjoyed by hardcore comic fans alike. Finding the right writer was much easier, I’d worked with Cavan before and really enjoyed working with him and I liked his approach, plus he had a history of adapting licensed material for comics and that made him a natural pick for this project. We went to see a performance of the show together with our wives and right afterwards we were so excited, we started planning the book right there and then. He was so enthusiastic about Phantom and I knew I needed creators who loved the show because their passion ends up in their work.

How did creating this compare with your other comic works?

The main difference with Phantom was in the subject matter, I’d never edited a comic strip based on a musical before and I relished the challenge. So editing this was a lovely and exciting change of pace from the usual science fiction, or action/adventure strips I usually work on.  

Are you a Phantom fan?

I only came to the modern musical in preparation of the graphic novel. Indeed, Phantom was the first piece of musical theatre I’d ever seen and I have to say, I loved it! The music, the staging, the live performance, I was captivated. I’d like to see more now. Do you have any suggestions?

I am a huge film fan and I’ve been a fan of the various Phantom of the Opera movies for most of my life. I can vividly remember watching the silent 1923 Lon Chaney version as an art student and being mesmerised by it and surprised by just how scary it was. I loved the 1962 Hammer version with Herbert Lom and the rock ‘n’ roll 1974 Brian DePalma version, Phantom of the Paradise.  

Who do you feel is your main target market with this piece?

I think the main audience for the book are the millions of Phantom fans who adore the show, I always imagined them picking up the book and hearing the music and the songs as they read the book. I wanted to give them the experience of reliving the show in comic strip form. But I also wanted to create something that comic book fans could enjoy too. 

Would you consider giving any other musicals the comic treatment? If so, which one(s)?

I think that Love Never Dies, the sequel to Phantom, would be high up there on my list. I also think The Woman in White, Joseph and the Amazing Technicolor Dreamcoat, and The Wizard of Oz would all work very well in a comic strip format.

How would you encourage people to buy your book?

I think the book almost sells itself. The artwork is so inviting, so sumptuous, so beautiful, it draws you in. And if you’re a fan of the show then this book will come alive, you’ll hear the music as you read it, and be swept along with the classic story. This isn’t just a straightforward adaptation of the libretto it’s something much more than that, it’s a deeply moving and wonderful romance with a gothic sense of foreboding and horror and the artwork just makes it sing.

The Phantom of the Opera is released by Titan Comics on 7 December 2021 in the UK and 11 January 2022 in the US, and is available to order on Amazon or Forbidden Planet, or via digital download.