The Phantom of the Opera
The Phantom of the Opera
Music by Andrew Lloyd Webber | Lyrics by Charles Hart | Additional Lyrics by Richard Stilgoe | Book by Andrew Lloyd Webber and Richard Stilgoe | Based on

THE PHANTOM OF THE OPERA is composed by Andrew Lloyd Webber, with lyrics by Charles Hart, additional lyrics by Richard Stilgoe, and a book by Lloyd Webber and Stilgoe. Based on the classic novel “Le Fantôme de l’Opéra” by Gaston Leroux, THE PHANTOM OF THE OPERA tells the story of a masked figure who lurks beneath the catacombs of the Paris Opera House, exercising a reign of terror over all who inhabit it. He falls madly in love with an innocent young soprano, Christine, and devotes himself to creating a new star by nurturing her extraordinary talents and by employing all of the devious methods at his command. Its sensational score includes 'Think of Me,' 'Angel of Music,' 'Music of the Night,' 'All I Ask of You,' 'Masquerade' and the title song.

Run Time: Approximately 2 hours and 33 minutes.

It is 1911 and the contents of the Paris Opera House are being auctioned off. Present are the auctioneer, porters and bidders. Raoul, now seventy years old and in a wheelchair, buys a poster and a music box. As the auctioneer displays the Opera House chandelier, he explains that it is connected with the legend of The Phantom of the Opera. With a flash of light, the audience is flung back in time, when the Paris Opera was at its height.

Act I

We are thrust in the middle of a rehearsal for the opera Hannibal. Monsieur Lefvre, the retiring manager of the Opera, is showing the new managers, Monsieurs Firmin and Andr, the great stage. As the prima donna, Carlotta, is singing, a backdrop falls to the floor, nearly killing her. The cry is raised, "It's The Phantom of the Opera!" Upset, Carlotta refuses to sing.

Meg Giry, daughter of the ballet mistress, Madame Giry, suggests her friend, Christine Daa, take Carlotta's place. Christine has been taking lessons from a mysterious new teacher.

At her triumph in the Opera, is Raoul, a nobleman and patron of the Opera. Raoul recognizes Christine as a childhood friend. He comes backstage after the performance to escort her to dinner, but Christine tells him she cannot go, because her teacher, "The Angel of Music," is very strict.

When Raoul leaves Christine's room, the Phantom appears. Christine is lured into the bowels of the Opera House, where the Phantom will continue her lessons.

He leads her to his underground lair, where she sees a frightening vision of herself in a wedding gown. She faints, only to be awakened several hours later by the Phantom's music on the organ. Creeping up behind him, she rips off his mask. Horrified, he takes her back to the surface.

The Phantom has sent notes to both the managers of the Opera, as well as Raoul, Madame Giry and Carlotta, which give instructions that Christine will have the lead in the new opera, Il Muto. The manager's refuse to give in to the Phantom's demands.

Il Muto proceeds as planned, with Carlotta in the lead, and Christine in a secondary role. As promised, disaster strikes - the stage hand, Joseph Buquet, is killed, and Carlotta's voice is stolen.

In the confusion, Raoul and Christine escape to the roof of the Opera House. There, with all of Paris around them, they pledge their love to one another. They cannot see the Phantom overhearing their vows of love. Enraged at Christine's betrayal, the Phantom causes the final disaster of the night - the mighty chandelier comes crashing to the stage floor.

Act II

The second act opens at a grand Masquerade Ball, held on the steps of the Paris Opera. No one has heard from the Phantom in six months. Christine and Raoul are engaged, but are keeping it a secret; Christine keeps her engagement ring on a chain around her neck.

Suddenly, the Phantom appears, disguised as The Red Death, and delivers to the managers a score from his opera, Don Juan Triumphant.

At first, the managers refuse to perform the strange, disturbing opera. Then, with the help of Raoul, they devise a plan to trap the Phantom, using Christine as bait. Plans for Don Juan Triumphant, and the trap, are made.

Christine visits the grave of her father. There on the grave stands the Phantom, beckoning her to join him. Raoul appears and takes her away.

At last, the opening night of Don Juan Triumphant arrives. The theater is surrounded by guards and police, eager to catch the Phantom. As the opera comes to its end, the Phantom takes the place of Piangi, the lead singer. He confronts Christine on stage during the performance, and escapes with her once more to his labyrinth below the Opera House. In a last confrontation, the Phantom gives Christine a choice: stay with him forever, or he will kill Raoul. Her decision brings to an end the story of The Phantom of the Opera.

Participate in the R&H Online Community.Leave comments or talk with other fans in the forum!

About The Show

News for The Phantom of the Opera
History for The Phantom of the Opera

Production Info


Create/Order Merch for The Phantom of the Opera

To request the rights to make merchandise for this show email brian.sherman@rnh.com.

Fan Info:

News for The Phantom of the Opera

Lord Andrew Lloyd Webber joined Piers Morgan on CNN. Check out these great videos on THE PHANTOM OF THE OPERA and JESUS CHRIST SUPERSTAR. read more

The Phantom of the Opera will soon be haunting high schools and colleges nationwide. read more

Last week, Michigan's South Lyon East High School became one of the latest US high schools and colleges to stage their production of The Phantom of the Opera. We've heard from the show's Set Designer, leading actors, Pit Musicians, taken a glimpse at the final Dress Rehearsal and learned about how they financed their production. In their last blog South Lyon East High School's Vice President of East Parents of Performing Students, Stacie Bethel, reflects on the production.

  read more

In this blog Michigan's South Lyon East High School talks about financing their production of PHANTOM. read more

On 5th May 2011, the students at Michigan's South Lyon East High School became one of the latest US high schools and colleges to stage their own production of The Phantom of the Opera.The Phantom of the Opera. In earlier blogs, we heard from the show's Set Designerleading actors, andmusicians. read more

Trivia for The Phantom of the Opera

In 1988 THE PHANTOM OF THE OPERA opened on Broadway. To date it is the longest-running Broadway show and the second longest-running West End musical.
The birthday of Broadway director and producer Harold Prince. Prince directed the 1994 revival of SHOW BOAT, and the premieres of EVITA, THE PHANTOM OF THE OPERA, LOVEMUSIK, and CABARET. His hit collaborations with Stephen Sondheim include FOLLIES, COMPANY, and SWEENEY TODD.
In 2000, eighteen years since its Broadway opening at The Winter Garden, CATS closed after 7,485 performances. At this time it was the longest-running musical in Broadway history; a record only surpassed in 2006, when THE PHANTOM OF THE OPERA - also by Andrew Lloyd Webber - overtook its run.
In 1948 Andrew Lloyd Webber was born, composer of hit musicals CATS, THE PHANTOM OF THE OPERA, JESUS CHRIST SUPERSTAR, EVITA, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, BY JEEVES, ASPECTS OF LOVE, WHISTLE DOWN THE WIND, and SUNSET BOULEVARD.
The birthday of lyricist Richard Stilgoe. He collaborated on lyrics for THE PHANTOM OF THE OPERA, CATS, and THE STARLIGHT EXPRESS.
The birthday of Arthur Kopit; award-winning Broadway writer whose play WINGS was adapted into a musical version by the same name.
The birthday of writer Charles Hart, who collaborated with Andrew Lloyd Webber on THE PHANTOM OF THE OPERA and ASPECTS OF LOVE.
In 1997 CATS broke the record for longest-running musical in Broadway history when it hit its 6,138th performance. This was only surpassed in 2006 by THE PHANTOM OF THE OPERA - also by Andrew Lloyd Webber.

 Press for The Phantom of the Opera

  • Quotes
  • Articles
"Four words sum up the unstoppable success of Andrew Lloyd Webber's triumphant re-working of this vintage spine-tingling melodrama. Stars, spectacle, score and story. ... Together they add up to that old magic ingredient: theatricality. There is simply nothing on earth to transport you so quickly or so far into phantasy than a feast of illusions." — Jack Tinker, Daily Mail, October 10, 1986
"soaring ballads and sensational stage effects. ... this is as spectacular a piece of true theatre as London has seen in years." — John Barber, Daily Telegraph, October 11, 1986
'A gorgeous operatic extravaganza that is a thrill to the blood and a sensual feast for the eye.' — Richard Barkley, Sunday Express, October 10, 1986
"A gorgeous operatic extravaganza that is a thrill to the blood and a sensual feast for the eye." — Richard Barkley, Sunday Express, October 12, 1986
"It's a major achievement in the musical theater and a high water mark in the phenomenal Lloyd Webber career. The bonus this time is that the glittering technical wizardry and pop-opera music have been wedded to a strong story and characters. gloriously old fashioned romantic musical spectacle." — Richard Hummler, Variety, January 01, 1988


A SYNOPSIS The story behind the most successful show ever It is 1911 and the contents of the Paris Opera House are being auctioned off. Present are the auctioneer, porters and bidders. Raoul, now seventy years old and in a wheelchair, buys a poster and a music box. As the auctioneer displays the Opera House chandelier, he explains that it is connected with the legend of The Phantom of the Opera. With a flash of light, the audience is flung back in time, when the Paris Opera was at its height. Act I We are thrust in the middle of a rehearsal for the opera Hannibal. Monsieur Lefèvre, the retiring manager of the Opera, is showing the new managers, Monsieurs Firmin and André, the great stage. As the prima donna, Carlotta, is singing, a backdrop falls to the floor, nearly killing her. The cry is raised, 'It's The Phantom of the Opera!' Upset, Carlotta refuses to sing. Meg Giry, daughter of the ballet mistress, Madame Giry, suggests her friend, Christine Daaé, take Carlotta's place. Christine has been taking lessons from a mysterious new teacher. At her triumph in the Opera, is Raoul, a nobleman and patron of the Opera. Raoul recognizes Christine as a childhood friend. He comes backstage after the performance to escort her to dinner, but Christine tells him she cannot go, because her teacher, 'The Angel of Music,' is very strict. When Raoul leaves Christine's room, the Phantom appears. Christine is lured into the bowels of the Opera House, where the Phantom will continue her lessons. He leads her to his underground lair, where she sees a frightening vision of herself in a wedding gown. She faints, only to be awakened several hours later by the Phantom's music on the organ. Creeping up behind him, she rips off his mask. Horrified, he takes her back to the surface. The Phantom has sent notes to both the managers of the Opera, as well as Raoul, Madame Giry and Carlotta, which give instructions that Christine will have the lead in the new opera, Il Muto. The manager's refuse to give in to the Phantom's demands. Il Muto proceeds as planned, with Carlotta in the lead, and Christine in a secondary role. As promised, disaster strikes - the stage hand, Joseph Buquet, is killed, and Carlotta's voice is stolen. In the confusion, Raoul and Christine escape to the roof of the Opera House. There, with all of Paris around them, they pledge their love to one another. They cannot see the Phantom overhearing their vows of love. Enraged at Christine's betrayal, the Phantom causes the final disaster of the night - the mighty chandelier comes crashing to the stage floor. Act II The second act opens at a grand Masquerade Ball, held on the steps of the Paris Opera. No one has heard from the Phantom in six months. Christine and Raoul are engaged, but are keeping it a secret; Christine keeps her engagement ring on a chain around her neck. Suddenly, the Phantom appears, disguised as The Red Death, and delivers to the managers a score from his opera, Don Juan Triumphant. At first, the managers refuse to perform the strange, disturbing opera. Then, with the help of Raoul, they devise a plan to trap the Phantom, using Christine as bait. Plans for Don Juan Triumphant, and the trap, are made. Christine visits the grave of her father. There on the grave stands the Phantom, beckoning her to join him. Raoul appears and takes her away. At last, the opening night of Don Juan Triumphant arrives. The theater is surrounded by guards and police, eager to catch the Phantom. As the opera comes to its end, the Phantom takes the place of Piangi, the lead singer. He confronts Christine on stage during the performance, and escapes with her once more to his labyrinth below the Opera House. In a last confrontation, the Phantom gives Christine a choice: stay with him forever, or he will kill Raoul. Her decision brings to an end the story of The Phantom of the Opera.

Musical Numbers for The Phantom of the Opera

Song #
Song Name
Character Name
Play
Other Versions

Gaston Leroux, the author behind the original novel. The man who created the Phantom By Peter Haining, September 1986 Gaston Leroux, the versatile French author who created The Phantom of the Opera, was a man with an abiding passion for the theatre and it seems appropriate that after years of struggle, writing newspaper reviews and a number of unsuccessful plays, he should have left his mark on literature with a novel about an extraordinary episode in the history of France's greatest opera house. Admittedly, it has taken the magic of the cinema, and the art of the dramatist to familiarize the public with The Phantom of the Opera, but Leroux also managed to capture in his pages the atmosphere of the times he was writing about - the latter part of the nineteenth century when France was rampant with belief in the supernatural and the spirit world. Born in Paris in 1868, Gaston Leroux is himself as interesting as his story. Photographs reveal him to have been a big, rather plump man with slicked back dark hair and a moustache, who dressed fashionably and sported a gold pince-nez. He was evidently a flamboyant character and once claimed that his family were directly descended from William the Conqueror. Although his literary inclinations put him at the top of his class, when his father decided that he was to become a lawyer, Gaston changed from an energetic pupil to an idle student. The theatre was obviously gripping his imagination and, it is not surprising that after he finally completed his legal study and was called to the bar as a probationer, he continued to write in his spare time. However, the course of his life was changed when his father died suddenly and left him heir to a fortune of almost one million francs. At once, Gaston abandoned the law and flung himself into a round of gambling, (poker was his particular vice) and pleasure in the colorful society of Paris. In less than a year he had squandered his inheritance. Not downhearted, Leroux begged a job on L'Echo de Paris in 1890 and was asked to combine his knowledge of the law and love of the theater as court reporter and drama critic! It was as an investigative reporter that Leroux found the greatest satisfaction at this period of his life. His paper allowed him to probe suspected malpractice in the local police force and public administration and his hard-hitting reports not only exposed several corrupt officials but also made his name as a journalist. This passport to adventure took him from Finland, south to the Caspian Sea, through Italy, Egypt and Morocco, frequently disguising himself in order to be able to witness events at first hand. The strain on his health and a natural enough desire to settle down with his family made him give up the footloose life of a roving correspondent and become a novelist. His first books were unashamed pot-boilers, full of blood and thunder. Then, in 1907, he used his admiration for Edgar Allan Poe and Sir Arthur Conan Doyle to develop a young detective, Joseph Rouletabille, who solved a seemingly impossible crime committed in a locked room. The book was called The Mystery of the Yellow Room. In 1911 he published Le Fantôme de l'Opéra, introducing it to his readers by explaining how he carried out his own enquiries into the strange events that had occurred in the famous Opera House in the 1880s. He tells of how he visited the huge underground lake where the Phantom hid and even stumbled upon the skeletons of 'some poor wretches who had been massacred under the Commune in the cellars of the Opera.' However, sales of the book were only moderate and the reviews - such as they were - were disappointing. The only kind of public interest seems to have been generated by the serialization of the story in French, English and American newspapers with suitably graphic illustrations of the Phantom stalking the dimly lit caverns of the Opera House. It was to be the reading of this serial by a researcher for Universal Pictures which set in motion the chain of events which were to bring The Phantom of the Opera to the screen for the first time in 1925 and make a star of Lon Chaney Snr. Tragically, Leroux did not live to see the full triumph of his Opera story, though it is believed he did visit the cinema in Paris to see the Universal film in 1926. He was by then in failing health and died of uraemia on 15 April 1927. He was 59 years old and had written over sixty novels, none of which had made him rich. Today, copies of most are difficult to find aside from The Phantom of the Opera and The Mystery of the Yellow Room. In the three quarters of a century of his existence, the Phantom had undeniably over-shadowed his creator and, at the same time, become a familiar term in everyday use. What a wry smile that would surely have given the former journalist and theatre lover after all these years!

Awards for The Phantom of the Opera

Drama Desk Awards

January 01, 1986 — 7 Awards for the Original Broadway ProductionBest Direction - Hal PrinceActor in a Musical - Michael CrawfordBest Music - Andrew Lloyd WebberBest Orchestration - David Cullen and Andrew Lloyd WebberSets - Maria BjornsonCostumes - Maria BjornsonLighting - Andrew Bridge

Olivier Awards

January 01, 1986 — Audience Award for Most Popular Show
January 01, 2002 — Audience Award for Most Popular Show

Evening Standard Award

January 01, 1986 — Best Musical

Vocal Range of Characters:

NameVocal TypeLow NoteHigh Note
ChristineSopranoAbE
Mme. GirySopranoBbAb (D)
CarlottaSopranoCbA (C)
MegMezzo-SopranoBEb
PhantomBari-TenorGAb
RaoulTenorAbG
PiangiOperatic TenorC#A#
BuquetBassDD (E)
AndreHigh BaritoneAG
FirminBaritoneAF#
Don AttiloBari-TenorGA (B)
Don JuanBari-TenorDG#
PassarinoBaritoneDF#

Vocal Range notes for The Phantom of the Opera:

Phantom Vocal Ranges Staff

Shop for The Phantom of the Opera

Photos for The Phantom of the Opera

// Photos

Shows similar to The Phantom of the Opera

Writers Notes for The Phantom of the Opera

Performance Tools for The Phantom of the Opera

Artwork and Marketing Materials:
 ARTWORK: This show now has artwork available, bringing the professional look of Broadway straight to your theater. Show posters, print ads, Facebook graphics, and marketing materials  are all available in customizable formats.

KeyboardEase:

This unique resource is designed specifically to meet the needs of productions that want convenient, cost-effective access to these hard to find keyboard sounds. We have carefully assembled all sounds required for a given show. Everything is laid out in correct sequential order, so you can easily progress through each song in each keyboard book with professional, authentic, show-specific sounds. All you have to do is connect any standard keyboard (or multiple keyboards) to your laptop and you'll be ready to perform. And we'll help you every step of the way.

Demo KeyboardEase for Mac or PC.


Contact Realtime Music Solutions for more information: www.keyboardease.com, via email: info@rms.biz, or via phone: 212-620-0774.



AccompanEase:
 This product is a rehearsal tool that allows for unlimited teaching, training and practice of individual vocal parts or dance sequences. Contact Realtime Music Solutions for more information: www.accompanease.com, via email: info@rms.biz, or via phone: 212-620-0774.

InstrumentalEase:
 This product is an orchestra enhancement instrument capable of augmenting a traditional ensemble of any size. Contact Realtime Music Solutions for more information: www.rms.biz, via email: info@rms.biz, or via phone: 212-620-0774.

Playbill VIP:

MAKE YOUR OWN PLAYBILL! Playbill VIP allows you to create your very own Playbill Program. We have provided Playbill with all of the credits, song listings, musical numbers and more so that most of the work is already done for you. Just add your productions details, photos of the cast and share it with all of your friends. Learn more: www.playbillvip.com


Rental Materials for The Phantom of the Opera

ADDITIONAL

  • The Phantom Of The Opera-Full Score (1 Act I, 1 Act II)
    • 1 – Full Score, Act 1
    • 1 – Full Score, Act 2
  • Libretti & Vocal, 10 Pk (10 Bks)
    • 10 – Libretto-Vocal Book
  • The Phantom of the Opera-Pre-Production Package (3 Books)
    • 1 – Libretto-Vocal Book
    • 1 – Audition Material
    • 1 – Piano Vocal Score

ARTWORK

  • The Phantom of The Opera Layered Bundle
    • 1 – Layered Banners
    • 1 – Layered Facebook Tabs
    • 1 – Layered Poster
    • 1 – Layered Print
  • The Phantom of The Opera Flat Bundle
    • 1 – Flat Banners
    • 1 – Flat Poster
    • 1 – Flat Print

Cast Requirements for The Phantom of the Opera

PRINCIPALS
1 Woman
2 Men

FEATURED
3 Women
4 Men

CHARACTERS

PRINCIPAL AND FEATURED
Christine Daaé – a chorus girl (soprano)
The Phantom – a composer and magician known as the Opera Ghost (baritone/tenor)
Raoul, Vicomte de Chagny –patron of the Opera, childhood sweetheart of Christine (baritone/tenor)
Monsieur Firmin – co-manager of the Opera (baritone)
Monsieur André – co-manager of the Opera (baritone)
Carlotta Giudicelli – the Prima Donna of the Opera (soprano)
Madame Giry – the ballet Mistress (mezzo-soprano)
Ubaldo Piangi – leading tenor of the Opera, Carlotta’s husband (tenor)
Monsieur Reyer – the chief répétiteur/director of the Paris Opera (spoken role)
Meg Giry – Madame Giry’s daughter, member of the ballet chorus, Christine’s best friend

ENSEMBLE CHARACTERS
Monsieur Lefèvre – the previous owner of the Opera (spoken role)
Joseph Buquet – chief stagehand of the Opera (baritone/bass)
Madame Firmin
Auctioneer
Porter/Marksman/Fop (in “Il Muto”)
Don Attilo (in “Il Muto”)/Passarino
Slave Master (in “Hannibal”)
Flunky/Stagehand
Policeman
Page 1 & 2 (in “Don Juan Triumphant”)
Porter/Chief Fire Officer
Wardrobe Mistress/ Confidante (in “Il Muto”)
Princess (in “Hannibal”)
Innkeepers Wife (in “Don Juan Triumphant”)
Two Fire Marshals
Two Epicene Men (a hairdresser and Jeweler)
Ensemble: The Ballet Chorus of the Opera, Stagehands, Policemen, Attendants

Original Broadway cast doubling is indicated, but these parts may be split among the ensemble

Set Requirements for The Phantom of the Opera

THE PHANTOM OF THE OPERA takes place in and around the Paris Opera House, 1881.

SPECIFIC LOCATIONS
The stage of the Paris Opera House, 1911
The stage of the Paris Opera House, during a rehearsal for “Hannibal”, 1881
Christine’s Dressing Room
The Labyrinth Underground
Beyond the Lake
Backstage of the Paris Opera House
The Manager’s Office
Stage of the Opera House, Box Five and opposite box
18th Century Salon, a canopied bed center stage; the boxes
The Roof of the Opera House
The stage of the Paris Opera House
The Staircase of the Opera
Backstage
The Manager’s Office
Rehearsal for “Don Juan Triumphant”
A Graveyard
The Stage of the Opera House before the premier of “Don Juan Triumphant”
The Opera stage: Don Juan Triumphant
On Stage, Reverse View
The Labyrinth Underground
The Phantom’s Lair

Materials Notes

Featured News

Andrew Lloyd Webber on Piers Morgan

Lord Andrew Lloyd Webber joined Piers Morgan on CNN. Check out these great videos on THE PHANTOM OF THE OPERA and JESUS CHRIST SUPERSTAR.

Read More
PHANTOM OF THE OPERA Now Available to High Schools and Colleges

The Phantom of the Opera will soon be haunting high schools and colleges nationwide.

Read More

Media Rights

Promotional Video Right

1. The Promotional Video shall be recorded and shown for the sole purposes of advertising your licensed production of the Play.

2. The Promotional Video may not include more than (i) 1 minute from any song or (ii) 3 minutes, in the aggregate, of footage of copyrighted material from the Play.

3. With respect to advertising on YouTube, you may only produce one (1) Promotional Video.

4. The Promotional Video may not include any sponsorship or underwriting without the prior consent of all R&H.

5. The Promotional Video must be submitted to R&H by sending the source video and video link to editor@rnh.com.

6. The Promotional Video must include the following: "Rights courtesy of Rodgers & Hammerstein, www.rnh.com"

7. Upon approval by R&H of the Promotional Video, you agree not to make any alterations in the approved copyrighted material used therein and you agree to obtain the prior written approval of R&H for any other use of the Promotional Video not specifically granted herein.

8. In the event you shall breach any of the provisions set forth herein, the rights herein granted to you shall automatically terminate, without prejudice to our right to recover damages and obtain such other relief as we may be entitled to including, without limitation, a penalty of not less than $600.00 for each such occurrence.

9. Upon termination of the Term, you shall cease to have any rights to use the Promotional Video including, without limitation, in connection with a future production of the Play, and shall immediately remove its content from any and all websites on the Internet.

10. You may not use a commercially available recording.

11. Any additional promotional rights must be approved by R&H by contacting Theatre@rnh.com.

*Promotional Video Right video rights can only be granted once a performance license for The Phantom of the Opera has been secured. Please contact customer service if you have any questions. If you have not yet applied for The Phantom of the Opera, you can do so here. LOG IN to learn more.
Select artwork to see description. Learn About Our Artwork  
Banner Ads - Flat Graphics
Format: .JPG
Price: $60.00

Display customized, eye-catching banner ads to promote your production.

Don't worry about reshaping banners to fit different websites: This package already includes 4 standard banner sizes - vertical, horizontal, and rectangular.

Don’t worry about optimizing the color format, size and resolution. These files are already optimized for online viewing.

Don't worry about needing a designer to convert static banners into rotating, animated ads. We’ve taken care of this for you! Text and video instructions are provided to help you animate your ads with ease – using free programs and apps.

Don't worry about needing fancy design programs – these flat .JPG files are ready to use with any free paint or photo editing program. Demos show you how to customize graphics with your theater's text.

Included:

  • 160x600 - Wide Skyscraper
  • 300x250 - Medium Rectangle
  • 468x60 - Full Banner
  • 728x90 – Leaderboard

Login to Select