phantomoftheoperaforever

[phantomoftheoperaforever]

Imagine if you had a neighbour who keeps performing songs from Phantom of the Opera in his apartment every night, by himself but accompanied by a parrot, which he has taught to sing Christine's part. Admittedly it's kind of obnoxious but you are far too baffled to even be properly annoyed. And also you don't want to confront someone with that kind of power and determination. So every once in a while you just hear this guy dramatically bellow

"SING FOR ME!"

[ASTONISHINGLY HIGH-PITCHED PARROT SHRIEK]

[phantomoftheoperaforever]

...just follow the lantern...

Rob Pitcher, Hamburg

Ben Crawford and Emilie Kouatchou, Broadway

John Cudia, US Tour

Peter Karrie, Toronto

Glenda Balkan and Peter Karrie, Toronto

Peter Karrie, Toronto

Hugh Panaro and Sam Hill, Broadway

Norm Lewis and Mary Michael Patterson, Broadway

Valerie Link and Mathias Edenborn, Hamburg

[phantomoftheoperaforever]

THE PHANTOM'S MASK IN TECHNICOLOUR!

Joshua Robson, Sydney Harbour (non-replica)

Yuichiro Yamaguchi and Kyoko Suzuki, Japan (replica)

Masachika Ichimura (?), Japan (replica)

Unidentified, Hiroshima, Japan (replica)

Richard Woodford, Restaged Tour (non-replica)

Derrick Davis, Restaged Tour (red death, non-replica)

Ben Forster, Greece (red death, non-replica)

Joa Helgesson (Finland/) Sweden (non-replica)

Raphael Wong, Restaged Tour (red death, non-replica)

Promo poster for POTO Norway (non-replica, and this specific mask was never seen on stage)

Preben Kristensen, Copenhagen (replica)

Raphael Wong, Restaged Tour (non-replica)

Ivan Ozhogin, Moscow (replica)

Joshua Robson, Sydney Harbour (red death, non-replica)

Ciaran Sheehan, Toronto (replica, but not stage worn - the green mask was made for St. Patrick's Day)

Gerónimo Rauch, West End (replica, but not stage worn - the glitter masks are worn for Christmas curtain call)

Ben Forster, West End (replica, same as Rauch's mask)

Uwe Kröger, Essen (replica, but not stage worn - the flag mask was worn to celebrate the 2006 FIFA World Cup, held in Germany during the Essen production's run)

[phantomoftheoperaforever]

Red Death in non-replica productions

ROW 1: Hungary

ROW 2: Poland (two slightly different versions)

ROW 3: Restaged Tour (two quite different versions)

ROW 4: Estonia

ROW 5: Czech Republic

ROW 6: Romania (prototype) and Norway (redesigned)

ROW 7: Greece, Middle East (same as Norway, with variations)

ROW 8: Serbia

ROW 9: Bulgaria (left) and Sweden (right)

ROW 10: Sydney Harbour

ROW 11: New Romanian production

ROW 12: Italy/Monaco/Spain

[phantomoftheoperaforever]

(Sketch) the phantom of the opera

[phantomoftheoperaforever]

Ayesha and Christine, if only🥺

[phantomoftheoperaforever]

The rose 🌹

A speedpaint video of this will be available at my Patreon on october 1st!

[phantomoftheoperaforever]

PHANTOM

for @gallerynucleus

[phantomoftheoperaforever]

Something that always confused me when I read TPOTO was why The Phantom chose box five out of all the private boxes to be his.

Out of all the seats in the house, box five is among the worst and would be (and still is) sold cheaply (average 65 francs at cheapest in 1880, now sold a between 10-25 euros nowadays) on general sale. A higher profit would've been made from a year-long booking, especially since there are multiple seats, so it would be 65 francs per person on a yearly booking no matter how many people are in there at once, but still not as much as other seats.

Visual wise, a good chunk of the left side of the stage is cut off and parts of the performance that would occur in the higher wings would be completely unseen, so, why choose it? Isn't the main point of going to go watch an Opera is to actually see the performance?

(A screenshot from the Palais Garnier's seat listing stating the best seats for viewing and the view from the box five via this video)

Having been there myself in late May, I found an answer to my own question and I'm gonna share it with you guys because maybe someone else was asking the same thing!

Although yes, the stage is half cut off, it's one of, if not the, best seats acoustic wise. You're a perfect distance from the orchestra as well as the stage for everything to sound just right. As much as The Phantom would've loved the operatic performance, I don't doubt he would've been more focused on the music itself as well as the vocals, and, mainly, Christine.

Further, although going to the opera was more of a social thing than an entertainment thing, so the boxes were built for aristocracy to be seen above all things, you can disappear from public view quite easily in that box. There are two to three rows of seats going backwards to the door, so all one would have to do to disappear from sight of anyone on stage or in the audience would be to just move a seat backwards (which means he wouldn't have been able to see the stage at all, but would still be able to hear everything perfectly well).

Plus, the box is located right at the end of the row of private boxes, as well as very close to entry and exit stairs, both public ones and private ones meant for stage hands and general workers.

All in all, those three reasons are why the box was chosen and kept in high priority for The Phantom, because he could quite literally disappear, like a ghost, by just moving himself in the box, as well as disappear out of the box and hear Christine almost perfectly.

[phantomoftheoperaforever]

Not enough jobs are willing to do training anymore, no matter what the situation. Grocery stores won't teach you to work a cash register, businesses won't teach you how to use their programs, even the arts won't teach you anything

Everyone wants a triple threat, expects you to just have those skills. In the old days? you could show up to a random theater barely able to dance and they'd teach you, and then the incel living in the walls would make you a world class singer and actor and you'd be headlining your own show in a few years

[phantomoftheoperaforever]

concept I’d like to see more:

Erik’s facial disfigurement making him disabled. Maybe certain wind instruments are too painful to play, he can’t eat very well, can’t smell very well, has senstive skin, etc.

A disfigurement such as the one in the book or in the musical would absolutely cause some kinda disability or health issues.

[phantomoftheoperaforever]

not to be a middle aged mom but the phantom of the opera is really a perfect musical. its pure melodrama and 100% sincere about it. how the central conflict looks to be absolutely unsolveable as all three core characters sing to the extent that they just want to be with the person they love but only one person can get what they want and then!! Christine doesn’t choose anything she chooses to show the phantom she does care about him and he’s not alone!! love is the answer!! and then you think wow that was very cathartic that was excellent as the phantom lets raoul and christine go but then christine comes back to give him the ring and all i ask of you reprise starts and they wring just the last bit of emotion they can out of you for good measure. and then when you’re utterly spent Christine runs away and the Phantom brokenly sobs “I love you” as she and Raoul sail off I feel emotionally spent just writing this

[phantomoftheoperaforever]

New from @cookiepianos donatbook

[phantomoftheoperaforever]

I was summoned on this post 👹 @brendadaaedestler

A quick scuffle later…

Relevant pic:

[phantomoftheoperaforever]

*cue the sound of a chair falling and Erik screaming*

[phantomoftheoperaforever]

How funny would it be if one of the Phantom of the Opera cast members decided to stay... under the stage... and torment every other production ever performed there...?

[phantomoftheoperaforever]

"Kill them with kindness" WRONG. drop the opera house chandelier on them.