#I wish Phantom were still be on broadway

[flagbridge]

Q&A: The Phantom Broadway Proshot

Happy 36th Birthday to Phantom of the Opera's opening night on Broadway! We should be celebrating at the Majestic. The show never should have closed.

In order to create "new" ish POTO Broadway content, @or-what-you-will and I promised to answer your questions about the proshot on POTO Broadway's birthday. Find our summary of the Proshot here.

We got dozens of questions, which we've consolidated into 14 questions. Read them all past the cut!

Wait, what’s the Phantom Proshot?

The Phantom Proshot is an archival copy of the original Broadway cast and production of Phantom of the Opera, filmed at the evening performance with a live audience on May 25, 1988. The New York Public Library, Theatre on Film and Tape Archive at the Performing Arts Library at Lincoln Center has archival copies of Broadway, Off-Broadway, and Regional theater going back to 1970. You can’t view currently running shows, so since Phantom ran for so long, it was under lock and key.

2. How do I see the Pro-Shot? 

Pretty simple how to guide here on the NYPL website. 

We are both NYPL cardholders and made a reservation in advance. You are required to state why you are accessing the recording as they exist for archival and research purpose. Both of us are published authors and researchers under our real names. 

Here's a picture of the room we were in from NYPL's website. We had an appointment and were set up in a room with lots of monitors. We were seated at monitors next to each other with two sets of headphones and had one set of controls to pause/rewind etc. There are 20 monitors in the room and it was pretty full that day. This was not my first time at the TOFT and it’s always had a good number of people around. 

3. Can someone get a boot of it/send me the link to it? Pleeeeease? 

No. Seriously, stop asking about this. Stop joking about this. It’s not online, and never will be. All of the recordings are on digital media (videodiscs or DvDs) in the basement and only library staff get to touch them. Don’t be the person who tried to do this and ruins the archive for everyone else. You can’t even bring electronic devices into the room.

4. Why won’t they release it to the public? And who the heck does it benefit to keep this locked away?

It isn’t. It was locked away when the show was actually running. It is available to the public. We are the public! We have library cards and went to a public library and watched it for $0! It’s owned by the library so the public can see it! At the library! 

The availability of us to access it now that the show has closed is what constitutes public release. There were several other phans, members of the public there to see it after us, and the library allowed them to max out the number of monitors the library allows people to view on. They had a later appointment and were watching disc one when we were on disc two. I’m sure there was someone after them too. Were we all wearing Phantom gear? Also yes. 

(@or-what-you-will here) The library is not allowed to show recordings of anything currently running on Broadway, presumably because of fears about economic loss from those who own the rights to the musicals. The library does not own the rights to the musicals in the archive, and there are likely a lot of stipulations the library has to follow to be able to have recordings like this. 

As someone who works in a library doing digitization work, libraries and the media they contain are very complicated. TOFT likely has the rights to show it under a very limited license, and to make copies for preservation purposes only, but things like this mean they would not be able to do anything like put it online or charge for it or do anything that would be them acting as though they owned the copyright (as opposed to the physical media). This is why when a library or archive has a book or tapes they don’t usually have the right to photocopy the entire book or digitize the entire tape and put it online (unless it is in public domain), however, if you go in person you can see it all you want. Someone else (usually the creator) owns the right to distribute or copy, and libraries and archives can get in a lot of trouble for violating it. 

The copyright is still owned by the holders of each respective musical’s copyright. It’s essentially like when you buy a DVD and you are technically not supposed to copy that DVD but you can invite your friends over to watch it at your house. Copying it and distributing it violates copyright. Putting it online violates copyright. If the library violated copyright it would likely lose the ability to archive musicals altogether. If you copied the DVD it would be a lot harder to find out who put it up because the DVD is owned by lots of people, though you could still be prosecuted by the law. If the library did, they would know immediately who did it because they are presumably the only ones with a copy of this recording. 

Likewise if someone took a bootleg recording of a show and distributed it, the copyright holders wouldn’t know it existed. If they found out that individual would then be eligible to be prosecuted under the law. Because the library is a public institution, if they were found out to be doing this, it would be the library itself that would get in trouble and it would damage their reputation, their funding, and quite possibly the funding and reputation of libraries around the world. A lot of this is done on trust. The copyright holders trust the library as a public institution and the library has a lot more stakes in the game than a single person recording the show and distributing it.

It’s a very tenuous agreement at times, and likely the library is only allowed to even record because there are so many protections in place and they have a history of enforcing these rules. These agreements also usually cover digitization and preservation, but again, violating them could have those abilities taken away as well. It’s all tied up in copyright law and the library has no control over that. I have talked to archivists where I live who have to record performances with tape over the lens because it’s considered for preservation and they want to make sure it cannot be possible to profit off of it in any way. 

When the show goes into public domain they will be able to put it online all they want without fear of repercussions, but until then, unless those agreements change, we are all limited by the whim of the copyright holders.

5. Hello! Is the pro shot you watched what this clip is from https://www.instagram.com/reel/Cp2_80CJqI3/?igsh=MWNja2wwYWw4OHUwbw== ?

I know all of us here on Tumblr were freaking out that they maybe had a copy of the pro shot when this came out. Thank you! (@imstillhere-butallislost)

Not the proshot, it's a press reel. It has its own cool story though! Answered this here.

6. How good of a shot was it? I know you said ProShot but is it a ProShot like Hamilton or just a camera recording the whole stage at once?

I’d definitely say it was Hamilton pro-shot quality as to what was available at the time between image quality and mixing up of close ups and wide shots. I’ve watched other proshots and many just park a camera in the back of the orchestra and call it good. Cats in particular had multiple cameras but just did close-ups when they felt like it, not when it made sense or added anything. As @or-what-you-will explained in their re-blog, Phantom was one of the first proshots where they had a soundboard plug in, and let me tell you, with the exception of a few moments in Act 1 where Sarah Brightman maxes out her mic, the sound was delicious. Have we talked about how Judy Kaye is singing over the overture (yes, that’s Judy Kaye, original Carlotta, warming up!)? Or that you can hear every single word of Notes I and Prima Donna and Notes II, which usually just sounds garbled because everyone is singing over one another? Actually hearing words that I sort of know exist changed my experience of the show for me. 

7. How did the tempo seem, compared to the pace of the show at the end of its run? I saw the show a few times in the last few years, and the music seemed significantly faster in person than it sounded on the London cast recording. I’ve always wondered if that was just a difference between the London and NY productions, or if the tempo just sped up over the years.

Uh…normal pace??? I’ve watched a lot of boots and most solidly clock in 2:15 of run time. This was no different. There are definitely some that run a little faster. London during Earl Carpenter’s 2023 run was notorious as he had to catch a train. It does seem to have settled back out. I will say, the music does always feel more intense in person because the whole place just vibrates. 

8. I'm curious about the comment about the Ratcatcher? I think I remember that character from a film adaptation, but was he ever in the ALW musical? (@lord-valery-mimes)

Yes, Ratcatcher is still in the musical, even now. It’s a blink or you miss it type of moment. If you hear a thud and a scream right before Madame Giry tells Raoul “He lives across the Lake, Monsieur”, the thud is the ratcatcher running across the travelator.

9. Does Christine really recognize the Phantom in PONR from his boner? 

No, but at this point she probably already know it’s him and has been trying to get through the scene, but definitely acts surprised because, well, that’s surprising. But it’s definitely the moment where the Vibes Are Officially Off. 

10. Can Sarah Brightman act? 

Yes! All three of the trio have far more nuanced performances on stage. Sarah doesn’t act the way that we do see many later Christines (including late 80s and early 90s Christines), but she absolutely created the blueprint for the role. Her “Wishing You Were Somehow Here Again” is missing some soul, but at the end of the day she was one of a kind, and she made some very strong acting choices. 

11. there anything unexpected? Any interpretation that stood out to you and particularly striking but didn’t stick around as others took on the roles and put their own spin on things?

Guys, I want to talk about Steve Barton as Raoul. The man made choice, after choice, after choice. And yet we have had so many Raoul’s that are kind of just strutting about looking pretty. Some seem to even forget they’re onstage during Final Lair. It can be such a juicy role if the actors choose to make it that way but so few do. 

Besides some small details I mentioned, the show did maintain its integrity through its 35 year run, which is truly remarkable. 

(@or-what-you-will here) Seconding what Flag said, Steve Barton brought so much more to the role than I’m used to seeing, and it really opened my mind to what Raoul could be. 

The blocking in PONR did surprise me, I knew they had changed it but I hadn’t realized how much. I always found the kind of pinwheeling arm thing Christine does with the phantom strange, so it was a pleasant surprise to find that they didn’t do that at all, the embrace from behind made more sense to me.

I also found after she took his hood off no one really ran out, the phantom and Christine got to have their moment. The blocking where they (the managers and Raoul) run out and tell Christine to stay makes no sense with their motivations to stop him. The more recent blocking where Christine motions them to stay in place as the phantom sings the All I Ask of You Reprise makes way more sense with the characters’ motives and matches this original blocking much more. 

12. Also are you truly working on a research project? If so, how is progress and where might we find your final results when it’s complete?

To quote Dr. Who, “Spoilers.” Yes, always. Both of us have day jobs that have us doing research, but I can’t promise I’ll put it on here when complete since I keep fandom and real life separate. Sorry to dodge this one but getting into specifics about this starts to identify us. 

(@or-what-you-will here) Seconding what Flag said. 

13. Hi there, I was wondering if I could ask you a general question about the NPL’s archive. Something about the language on their website made it sound like viewers could only watch a recording “once”. I wasn’t sure if that meant “once per visit” (i.e. you can’t sit there for 8 hours restarting the tape every time it ends) or “once” as in forever (like, once you’ve watched a recording you are never allowed to request it again). Did you have any clarification? I wasn't sure if the librarians explain the policies when you arrive at your appointment. Thank you for providing so many details about the Phantom pro-shot and offering to answer our questions! That's really kind of you!

You’re welcome! So if there’s nobody after you, you can hang out with the media as long as you want. However, we did have another group come in about 90 minutes after us. That gave us enough time to watch both acts with all the rewinds we wanted. We watched PONR and parts of Final Lair like five times. On a previous TOFT trip I watched two shows and was there for like six hours.  The prohibition is on coming back and watching the recording again. I have no idea how strict they are about this, although I suspect it’s to keep people from monopolizing certain media. Would I want to try to watch the proshot again in the future? Probably! I know there’s stuff I missed, or I’d see something different depending on what I’m working on. The TOFT is also an absolutely incredible resource and I have so many other shows I’d like to check out. 

(Will here) They do log on your library account when you visit that you visited and what you saw. However, if you have accessibility needs that would require you to watch in multiple viewings or something along those lines, I would talk to them about it, because I’m sure they’d be able to work with you to figure out something so you wouldn’t have to sit through the whole thing in one shot.

14. > Barton Raoul’s “There is no Phantom of the Opera” comes off more as “Christine this is just some dude” vs “he doesn’t exist at all.” 

Could you elaborate on this part? I'm having trouble imagining how that would be conveyed. (also, thanks for sharing your notes on the procast!) @clutzyangel

You're welcome! Yes, he's telling Christine that the Phantom is a human, flesh-and-blood man, not some fantastical creature. I've seen many Raouls who seem to try to convince Christine that the Phantom doesn't exist at all. Barton's Raoul seems to understand that he's a man with ulterior motives possibly duping Christine.

And he's not wrong.

#phantom of the opera #poto #alw phantom #phantom proshot #happy birthday phantom broadway #phantom broadway #michael crawford #sarah brightman #steve barton #judy kaye #andrew lloyd webber #nypl #research #I wish Phantom were still be on broadway #we should all be wilding out at the majestic

[apocalypse-shuffle]

THE PHANTOM | ERIK (multi iteration)

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“An Amati to be Worshipped” (Erik Destler |The Phantom of the Opera x Fem!Reader)

| Erik just can’t keep that mysterious demeanor about him when it comes to you. Or his temper. Or his lust.

| NSFW, 18+, minors dni, violinist!reader, (TW: stalker!erik, non con voyeurism, masturbation) questionable history/depictions of 1800’s French culture (I tried)

| picture source: shots from Ben Crawford & Emilie Kouatchou’s run as The Phantom & Christine on broadway

| 1k+ words

In one word Erik was miserable.

His truest obsession, his sweet violinist, was out sick and as such he didn’t get to peer down upon her from box five as she drew those elegant fingers across her bow and string.

He missed her sun worshipped skin like a starving man missed food. She stood out like the brightest star from the pit. Playing her violin like it came as easy as breathing, much in the way Erik himself played his many well versed instruments.

Watching the performance earlier that night had been truly disappointing. Not even Christine’s voice could make up for the lack of the melodic rises and falls that came from his violinist’s strings. It was a clear missing puzzle piece in the whole show. One that irked him down to his soul and made him vow to gut the hapless fool in your place while you recovered.

And he wanted to curse that too.

The newest stage hand had forgone cleaning up the stage after pre-rehearsal a few days ago and you, his greatest muse, had slipped and fallen.

Your decent from the stage to the pit had almost made him reveal himself from his elevated position in the rafts. You’d dropped so abruptly, so thoroughly, that you’d screamed. A wretched sound forced from your mouth that had made even Erik gasp and want to reach for your fallen form.

Erik himself, with that fear and fury still thriving through his very spirit, had only just come from doing what he promised when he saw the tears tracking down your face. He’d gutted DuBoi within an inch of his life, the worm wasn’t worth being taken to his torture chamber, and left him to rest for his remaining hours as he chocked on his own tongue.

He stomped through his passage ways now, in search of you of course. After avenging your ails he was near giddy to get back to what he’d taken up doing since your most unfortunate injury.

He rounded the narrow corner to your bed chambers in the sick bay and hummed lightly as his eyes finally lay upon your form.

You were exquisite.

He could watch you for hours, and did. With the opera house quieting down after the night’s lackluster show and Christine not being due for a lesson, his presence was not needed anywhere else as twilight descended.

You mostly read, books from Senegal that were in a French dialect he was too unfamiliar with to read easily, and worked on your music. That was always his favorite part of the night.

Whenever everyone retired to their shared quarters you would sneak off, usually to the roof, lean against the Angel statue and pull out your beaten pieces of sheet music to write on. You’d hand draw the measure lines with steady hands and the finest ink you owned and then you’d be off.

Many a night Erik had watched as you embarked on the painstaking, and very familiar, process of writing your own music. You wrote, playing on your violin to check your song, until your eyes started to droop and the sun began to peak in the horizon.

You’d cringe, sigh, laugh and celebrate on the roof at your melodies, good and bad, and Erik would watch and wish to celebrate alongside you. To help guide you into finding your musical voice. To embrace you in your combined cheer.

He longed like no other to feel the touch of another. Of companionship.

There’d been many nights that he’d fantasized of stealing you away. As far as he was concerned the light of mundane people didn’t deserve to be blessed by your darkness. A darkness that he’d cherish. That he’d compliment, even.

Your songs weren’t amazing by any measure, you were clearly a beginner, but they were yours and he lived to hear you.

He’d read you music, even hummed your baby masterpiece in his free time. Tweaked little bits and sung it to you until the subtle change in tune got stuck in your head and you’d put the tweaks to paper. Even twisting them again yourself to fit your song more preferably. He always liked your changes immensely, and was honored that you mixed parts of him into that bit of your soul.

You were doing that tonight, in fact. Last night he played a new idea on his own violin. Behind the walls as you’d slept he’d had the pleasure of serenading you and now that his melody had sneaked into your subconscious mind you were writing away.

Erik closed his eyes as you began to play. Even bedridden without an audience, and your own choppy tune being strung together, you were amazing.

He listens to you for hours. Ear practically up against the wall Erik stays up and then subsequently falls asleep with you.

When he wakes he can tell the sun hasn’t risen yet by the dead silence that meets him but he knows you’re asleep. When he rises from his seated position in the cramped pathway and looks through the peephole to the sick room he confirms his guess. The area is still lit but you yourself are passed out, having seemingly been in the midst of playing until the moon’s siren song pulled you under.

He watches you silently. Eyes tracing your figure. Your dark skin just about twinkles under the harsh lights. The yellow lighting of the gas lamp doesn’t do you justice and yet somehow you manage to enrapture him still.

Your shut eyes flutter as he looks upon you. A smile graces his lips; you're enchanting. He wants to be able to speak with you. To mark the creases of your smile up close. To trust you with the secrets of why he hides in the shadows. To feel what it'd be like to have and to hold you.

To feel you succumb to him.

Completely.

He can’t help it. Almost against his wishes his mind turns to thoughts of you beneath him. To the way your skin would yield to his hands and his to yours.

To the arch of your bodies pressed together and the sounds he would siphon from your plush lips.

It makes him squirm in place as he watches you with different eyes. Sinful ones.

His eyes travel down your body and instantly Erik knows how he’s going to spend the rest of the opera’s still hours. You’re allure too strong and Erik too weak for you.

Unable to tear his eyes away from your breasts, Erik can only desire the pleasure of the flesh having his sweet violinist would bring. Your satisfaction has long been made a priority of his after all. It would only make sense for him to satisfy your more…sexual needs.

Even though he could only dream of it currently.

He imagines himself in there now. How he’d start by putting his hand to your cheek, the first touch of another’s skin he’d have in decades. He closes his eyes as his breath stutters out of him.

He would challenge the very God Christine prays to every night, a fool's errand perhaps -but one he would happily embark on, for the chance to see the stark contrast of his skin against yours.

Once more he opens his eyes to gaze upon you. He imagines after he touches your cheek he’d let his fingers trace down your throat and sternum before pausing just above your breasts. Trembling slightly, Erik thinks of caressing and cupping them, of running his thumbs over your dusk nipples. Marveling at how lovely they felt in his hands. Of the gentle sounds you’d give him in return.

Not letting himself think, he lets his hands travel over his own body, cape falling to the floor as he unclips it. He pictures leaning down, putting his lips around your right nipple, and beginning to circle it with his tongue while gently pinching the left one.

He imagines the way your eyes would flutter as he stimulates you with his mouth. Tongue gently sweeping over the stiff peaks of your nipples as you sighed your satisfaction.

Thereafter is when he allows himself to fully succumb to his rampant imagination. All his dreams of whimsy coming through in his mind's eye.

He thinks of you waking up, of skilled dark fingers moving to gently lift his head up, of the smile you’d give him.

“Was last night not enough? Have you come back for more?”

“Whatever you will give me.” Erik sends his own smile back. An action his face is largely unused to but that he is happy to make happen for you.

Your fingers run over the top of his head, through the few skant hairs there.

“Then give me your full devotion,” you say and Erik’s heart sours before he’s going back to your chest.

He says, "With pleasure," and lightly bites your nipple, pleased to feel you shudder.

He’s had the pleasure of learning recently that you were extremely responsive to touch and by god does he wish to apply that knowledge.

Erik then allows himself to fully be given to conjured images of you giving way beneath him. To him delving between your folds and the heavenly noises you make for him.

The thought of you crying out his name is what finally has him spurting into his hands, stuttering gasps falling from his mouth.

When Erik next opens his eyes, the scene of you so beautifully coming undone seared behind his lids, there are tears stuck to his lashes and pooling in his eyes.

His breath hiccups from his chest as he relaxes his hold on his cock. The spent organ flopping onto his thigh.

Erik allows himself to gaze upon you once more, something near shame threatening to claw through him as a few droplets cascade down his cheek, before the morning settles and he is once again back to the reality of being known no longer.

A monster forever bound to his faith hidden in the looming loneliness of shadows as his only company.

Its only shining light being you.

NOTES: Ohhhhhhhh. I hope y’all liked this. I just live for Erik being a needy pathetic simp.

P.S: I won’t respond cause this is a side blog but I do like comments, you can leave one.

#erik poto #erik destler #black!reader #black y/n #the phantom of the opera #erik destler x black!reader #phantom x black!reader #the phantom of the opera x black!reader #erik destler x reader #phantom x reader #poto imagines #the phantom of the opera x reader #18+ #phantom of the opera smut

[operafantomet]

This question might be in the realm of "stating the obvious" and I'm sorry if you've answered this before, but is there a reason why costumes in replica productions tend to be different in the details from one another? Does it have to do with which fabrics are available in Europe or in the US, or is it something else entirely?

It's not really an obvious answer, or rather: there are many parallelle answers. I can try to offer some of them. All of course exemplified with Christine costumes :D

One, even if the costume design is pretty detailed, many components is still up for interpretation. It means that one costume maker may see one thing, while another see another thing. I would say that both these Elissa tabs - 2000s West End to the left, 2006 US to the right - reflect on Maria Bjørnson's design (middle), even if they maybe don't look too alike when compared to eachother:

In the same vein, Maria Bjørnson supervised every new production worldwide and also every cast change in West End. At times she wanted to try out new details. For example, the Elissa gala skirt went from only tabs and apron in the initial design, to a plain green skirt with tabs and apron in the early West End production, to full-blown gala skirt with pleated hem around the world. This created some very different skirts in the early days.

Also, she was rarely satisfied with the Rooftop costumes, and constantly urged costume makers to try out new patterns, colours and effects. This means that new takes on the costumes was also initiated by the designer now and then. It also means the main costume has been made in white, blue, green, pink, purple and multi-coloured versions, and the cloak in pale mint, dark mint, sky blue and royal blue. All to try and convey a sense of moonlight in a dress!

Third, whereas the Wishing dress was almost always been made of the same stripy/floral blue silk from the UK (with a handful of exceptions in the US), the idea of a replica fabric for all costumes quickly collapsed. The early European and Japanese wedding bodices were made of the same silvery white ribbed fabric, but this was discontinued in the mid 1990s.

Same for the Rooftop costume, where the same beaded lace was used as the top fabric of the dress in both Stockholm, Hamburg and Toronto, but this too was discontinued in the 1990s. So it was up to Bjørnson, local costume makers and various supervisors to find the materials reflecting best on the design. It should also be mentioned that the materials preferred in the late 1980s and early 1990s often favoured colourful, highly patterned fabrics in the vein of chintz and Laura Ashley. The later 1990s and 2000s went for more subdued fabrics, while the current trend is thicker and colourful metallic and floral fabrics. So the current trends is also a factor.

Speaking of the blue silk for the Wishing dress, it seems an original idea was that the Christine alternate would wear a slightly different costume than the principal Christine. In West End it meant Claire Moore's main dress was made of the replica silk, but the petticoat was made of a blue taffeta with numerous horizontal navy velvet trims. On Broadway it meant Patti Cohenour's whole dress was made of a floral blue fabric.

Apart from these two and some 5 more Wishing dresses in the US, all versions of this replica costume has however been made of the stripy/floral blue silk. It remains probably the only current replica fabric, along with the Phantom's tailcoat. That black diamond patterned silk is from Savile Row in London, and identical all over the world. In other words, two absolute signature costumes!

A last thing that should be mentioned is that sometimes the BASE of the costume might be done in (for example) the UK, while the final fit and decorations is done locally. That can create quite different expressions even if the base and main fabric is the same. This was the case with Copenhagen, it is the case in the current South Korean production, and it was the case in the World Tour revival - to mention some. Add different wigs, accessories and/or underpinnings, and it can be hard to tell that the main costume is more or less the same:

(The South Korean base on the left and the West End base on the right is both made of the same fabric in the UK, but the decorations and the petticoat differs)

So yeah, not necessarily one obvious answer, but many overlapping practices that at times can affect the exact look of a specific costume. I hope that made sense!

#maria bjørnson #phantom of the opera #costume nerding #christine wardrobe

[bibluebutterfly]

(New) Cannon/ Mostly Cannon Facts About Ozzie.

JMI's new livestream was today, and you can guess who watched it lol. Anyway, here's Part One if y'all want to check it out.

DISCLAIMER: Take all of this with a pinch of salt because most of this is just what JMI thinks. Also I came in 12 minutes late so I may have missed something. Now let's get to it.

Ozzie and bee get along relatively well. In JMI's words, "they have their moments" and "they know how the hierarchy SHOULD work." Interesting...

If Oz could play a role in a broadway musical he would probably be the Moulin Rouge ringleader. Though JMI thinks it funny if he played George Washington from Hamilton and he wish's Ozzie could've played Phantom, but he's too sexy. (Ozzie as Phantom? TAKE MY MONEY AND TAKE IT NOW.)

Oz could squish mammon in full form just because he is way taller. (but that's likely WITHOUT them using magic.)

Fizz and Oz wedding? JMI has no clue but if there was it would be fire.

The song Oz would listen to and repeat would be (and he sings this part so I don't know if it a song or lyric) "can't get enough of your love, baby" because in his words, Ozzie "can't get enough of his love". The SWEETNESS AAGGGHHH.

Ozzie and Lucifer PROBABLY get along well. As long as Oz does his job and they don't mess with each other, they really don't have a reason to hate.

Ozzie probably likes Xmas carols cuz they're catchy.

Fizz is an awful cook. In JMI's words (in the Ozzie voice), he's "so cute, so sexy, but can't cook worth a damn." I mean we knew that but the way I bust out laughing XD.

Ozzie's fav food is may be barbecue ribs and wings (cannibalism??) But that may be (and most likely is) JMI projecting.

If Oz were to give Fizz Flowers, they would be white and blue roses (JMI admits that is cheesy. Which yes, but it's oh so in character for the both of them XD).

JMI SAID IT'S CANNON THAT OZ DOES NOT HOW TO USE ELECTRONICS THAT IS SO FUNNY.

(NOT RELATED IN ANY WAY BUT HE SAID HI TO MEEEE AAAGGHHHHH.)

Oz probably likes cheese (though JMI DOESN'T.)

Not a fact but a fan said Ozzie brand cereal would be called Ozzie-O's and I love that.

If the Ozzie liking barbecue wings is NOT cannon, then he may be horrified to see his workers eating Chicken.

Oz still not big on valentines.

He and Fizz WOULD sing "Baby It's Cold Outside" but Fizz would likely change it to (and I once again quote) "nasty, nasty lyrics".

And that's it folks. Once again, JMI is awesome, we love him, and Ozzie still remains one of my favorite characters.

#helluva boss #fizzarolli #helluva boss asmodeus #helluva asmodeus #ozzie helluva boss #helluva ozzie #fizz x ozzie #helluva boss ozzie #ozzie #asmodeus helluva boss #asmodeus x fizzarolli #fizzmodeus #fizzarozzie #helluva fizzarolli #helluva boss fizzarolli #fizzaroli helluva boss #fizarolli

[thegettingbyp2]

Also continuing the last request of Musiccal theatre actress reader! Going to phantom, Austin and the cast of Elvis being invited to the final dress rehearsal! (Also maybe a special appearence of Ramin Karimloo playing the phantom. You don't have to add that my lovely!)

You Did This!

You spent your closing night in Les Mis with tears clouding your vision. It had been a dream come true that your first ever professional West End job had been your dream role in your dream show, so it was bitter sweet that you were leaving but you were leaving for a job you’d never thought you’d get; Christine in The Phantom of the Opera.

There wasn’t anyone prouder of you than your boyfriend, Austin; he spent the entire time you were having celebratory drinks with his arm around your waist, bragging to anyone and everyone about how you were moving from one big West End show to another West End show and that him and his cast mates from Elvis had been invited to watch your final dress rehearsal tomorrow before taking to the stage.

The next day you found yourself performing in front of the small crowd, knowing that this was going to be your last chance to get anything wrong before your run as Christine started. It seemed to be going well, you hadn’t messed up, but you were acutely aware of the excited smile that Austin was trying to keep down and it took everything you had to focus on what you were doing and not wonder what was going on with Austin.

It was going so well.

Until it wasn’t your co-star that came on for the title song.

Your breath caught in your throat as you heard an all-too familiar voice as the screen onstage drew back to reveal one of your Broadway heroes dressed as the Phanton; Ramin Karimloo. The song went by in a blur and the moment the song was over, the house lights came up to reveal your small audience on their feet applauding and you looked to the side to see Ramin applauding also.

‘What’s going on?’ you asked, a confused laugh coming from your lips as Austin made his way up onto the stage, wrapping his arms around you and pressing a kiss to the top of your head.

‘It’s nice to meet you,’ Ramin stepped forward, and pressed a kiss to the back of your hand, ‘Austin’s told me great things.’

‘You did this?!’ You gasped, spinning back around to face Austin who was currently sporting a smug grin.

‘(Y/N), you watch the 25th Anniversary recording of the show at any possible opportunity, I think we’re almost in triple digits for how many times we’ve watched it,’ he teased, quickly stepping backwards when you lightly smacked his stomach, your cheeks turning bright red.

‘Austin messaged me a few weeks ago and told me you were going to be coming into the show so I thought that I’d come by and wish you luck.’

‘Yeah! And then I’ve got to go and do a couple of bits of press with this lot,’ Austin said, gesturing behind him to where his cast mates were talking amongst themselves, ‘so, Ramin had the idea that the two of you could go for coffee and you can pick his brain about anything you need before opening night and I can meet you guys at the coffee shop later?’

You looked between Austin and Ramin, in shock and awe of what was going on right now. You looked to Ramin to see him nodding along with what Austin said and you found yourself agreeing right away, still not quite believing that it was happening.

‘Yeah, that would be great! Thank you so much!’ you said before turning back to Austin, wrapping your arms around his waist and balancing your him on his chest, looking up at him. ‘And thank you for doing this, I love you,’ you said quietly, reaching up to press a gentle kiss to his lips, making Austin hum happily.

‘I love you too,’ he said quietly, tucking a strand of hair behind your ear, ‘now, go,’ he said, pushing you away slightly, ‘I can’t wait to hear all about it.’ He pressed an over exaggerated kiss to your lips, pulling away with a loud smack, making you laugh as he watched you walk back offstage to get changed.

#austin butler #austin butler imagine #austin butler x reader

[glassprism]

HELLO! I've started noticing random lyric changes in bootlegs of Broadway/West End Phantom... is there a timeline to why these changes occurred? Randomly? Is there any rhyme or reason? i.e. "Christine are you alright" in 2023 or the order of Masquerade lyrics switching in 2014 (?) or Bravi vs Brava. Just curious!

That's a pretty tall order, but I'll do my best! But there is definitely a rhyme and reason to it all, you just have to follow the timeline while taking into account that there will also be differences between productions and between actors as well. Keep in mind too that especially in its early days, it's not uncommon for a show to be tinkered with and it's lyrics altered as they get it running.

The first difference (if we don't count the Sydmonton production which was more of a concept production, but you can read about some lyric differences here) come between the original London production when it opened and the original London cast recording. There's already a difference in the 'Think of Me' lyrics, with the production opening with the lines, "Fly away, but when you lie awake" while the cast recording simply repeats, "We never said our love was evergreen", among other things. Furthermore, the London production had an extra line for Raoul in 'Little Lotte', where he says, in response to Christine talking about the Angel of Music, "No one could have sung the way you did tonight without a little help from him." By 1987 this line was cut, I assume because it's a tad redundant.

Many of the initial lyric changes came from 1988 Broadway transfer, such the changes to 'Think of Me', adding more lines for Piangi in 'Notes I', changing 'Wandering Child' from a trio to a duet, altering some lines in 'Point of No Return', flipping a line or two in 'Down Once More', and so on and so on. None of them make massive changes to the story or plot, but they are alterations all the same. You can read about all those changes here.

One more important addition was made in 1989, either for the opening of the Los Angeles sit-down production or the Toronto one, and that was the reprise of the line, "Help me to say goodbye" in 'Wishing You Were Somehow Here Again', which was added to end the song on a more powerful note. Since this was added in 1989, if you listen to any international productions that began before this period (such as Japan, Vienna, or the original Stockholm production), they will not have that additional lyric.

From here things start to get funky. Starting as early as 1990 in the London production, the production began using alternate lyrics for 'Wishing You Were Somehow Here Again', which began with the line, "Three long years..." There were used up until around mid-2002, when they were changed back to the more common, "Passing bells and sculpted angels". However, one or two productions that based their libretto off of London's would also use it, such as the Dutch production, and it would make a surprise return in the restaged US tour.

One other change I can think of came in 2006 with the Las Vegas production. Most of the changes in Vegas were because the show was cut down to a 90-minute, one act show, so most of them did not apply to other productions, but they did alter two words in 'Think of Me', going from, "Think of August when the trees were green" to "Think of August when the world was green". This is notable mainly because the line started showing up sporadically in other productions, such as the 25th anniversary concert (probably because SIerra Boggess was an original Vegas Christine) and Broadway.

From 2014 onward, another change: the song 'Wandering Child', which had been sung as a duet everywhere in the world except London, some of the UK tours, and some non-replicas, was changed back to the trio, and this was enforced across all productions except non-replicas, which can probably do what they want. That being said, there were still some lyric differences between London and other productions worldwide, which I go over here.

Finally, when the show was revived in London and reopened on Broadway after the COVID shutdown, there were multiple lyrics changed. The most famous is the one for 'Angel of Music', done to accommodate Christines of color but which underwent several changes in the first few months, but there are changes scattered everywhere, though some were reverted a few months later, which was just very funny to me. I go over it a bit here.

All right, got all the major timeline changes down? Great! Because now we're going to add another layer of complexity: production differences! Because as you might have noted, some productions have different lyrics between them, or will omit or add lyrics. The most notable are the differences between London vs. Broadway, and this is where you get things like the different 'Masquerade' lyrics (London has one version, Broadway has another that tends to be used worldwide), the use of "viper" vs. "vixen", Christine's hopes lying "shattered" or "murdered", and many others. I go over quite a bit of it here. Unfortunately, when the London production was revived, most of these differences were lost.

More changes came with the 25th anniversary concert, most of which were to accommodate the changed setting. These were then used in the restaged UK and US tours, but with even more alterations, with some again being done because of differences in the staging or props but others just because. I go over it here, and an additional one here, and I also discuss an old line being brought back to the concert here.

And finally, once you have all the timeline and production differences down, you have to account for the fact that in a few places, actors have a choice in what lyrics they can sing. One of the most famous is whether the Phantom chooses to sing "far-reaching gaze" or "fathering gaze" in 'Wandering Child', something that goes back all the way to the 1990s. Heck, some actors, like Hugh Panaro, will switch the word depending on their run or their mood.

And then when you get into "bravo" vs. "bravi" vs. "brava" (or "bravissima" vs. "bravissimi"), I can only assume it's a whole combination of the above. Keep in mind that both Raoul and the Phantom say variations of those words so it gets pretty complicated pretty fast. Officially, Raoul should say "bravo" and most do, but then in the Canadian production, whether due to direction or tradition, they almost all say "brava". Meanwhile, some librettos, such as the original and the Las Vegas one, state that the Phantom should sing, "Bravi, bravi, bravissimi", but later librettos, the 2004 film, or the RAH concert states it should be, "Brava, brava, bravissima". I wondered if they might be a little more consistent in the Romance-language productions (Brazil, France and the French dub, Italian dub, Mexico, Romania, Spain), but nope, it's all over the place there, which leads me to think that they don't actually care that much - except, naturally, for the Italian dub, which has Raoul congratulating Christine with, "Brava!" and the Phantom congratulating Christine with, "Brava, brava, bravissima".

So we'll see what they do in the actual Italian production! Don't let us down, Bradley Jaden and Ramin Karimloo.

#GP gets asks #anonymous #oh hey POTO Italy starts today #so I guess we'll soon see

[nerdywriter36]

(Belated) Notes - Phantom Broadway - Saturday, March 11 - Matinee

These are so late, but better late than never, right?

The main trio was Ben Crawford, Julia Udine, and Paul A. Schaefer, and this was my first time seeing the show on Broadway! The only other time I've seen it was the restaged tour in Toronto in January 2020, so I was so excited to see the brilliant original

I loved Julia's Think of Me, so beautiful. She hadn't been my favourite Christine purely based on audio, but seeing her live, I now have a newfound love for her

I've seen some people say that Paul looks really bored during Think of Me, but to me, at least at my show, it seemed like an intense focus. People complain about him being more focused on his program than on the show, but it definitely came across as an intense focus on Christine before he checked his program, then scrambled for his opera glasses to see if it was indeed her. A detail I very much enjoyed

Ben's acting during the descent to the lair did it for me (and this might be blocking, but I loved it). The way he held the lamp closer to Christine for her to see better, the reassuring hand squeeze. Good stuff

He also stroked his hand down Julia's arm just before they exited the ramp. I lost it.

Three good almost kisses during MOTN - the first one, on "turn your thoughts away from cold, unfeeling light" came very close, Ben ducked away so last minute.

Ben did a thigh stroke. That's all I can say. I have no words.

He may as well have been singing into her mouth at the portcullis, their faces were VERY close together for a moment before Julia ran off.

Ben's reaction to STYDI honestly looked almost more frustrated that she had disturbed his composing initially - there was no shout, he just seemed a bit startled before he begrudgingly stood up, and he didn't run, but walked with purpose. Still threatening, though.

I'm pretty sure I could see the top of Ben's fedora when he was hiding in the angel during AIAOY from where I was sitting. Almost 99% sure.

Julia's Wishing was just as gorgeous as people had said it was. Her voice, her acting, the desperate clutching of the scarf and the kisses she pressed to it were all just beautiful.

Wandering Child was great, so surreal to hear that live, it's one of my favourite songs. That trio did such a lovely job - Ben definitely dominated vocally.

Also, people laughed when the Phantom came out of the cross? I had been so relieved when they didn't laugh at him in the angel, but then they laughed as he appeared at the mausoleum and I was very confused.

PONR was great and very sexy. Ben's crotch grab seems to be a thing for him these days; he did it just before Julia put a hand on his mask, his hand practically flew to his crotch. No hovering, there was definite contact.

The kiss in Final Lair did me in. Ben's hands just sort of hovered with the first one, then he pressed the deformed side of his face against her hair during the hug. He cupped her face for a second during the second kiss—again, contact, not just hovering—and then touched her waist briefly before pulling away.

The "take her, forget me" etc, etc portion definitely came across as Ben just barely holding it together and managing not to break down crying while they were still there - he sounded choked up, his voice was a little strained, etc.

Julia hesitated for a couple of seconds after she let go of Ben's hand at the ring return. She thought about staying for a solid second before leaving.

Ben directed "you alone can make my song take flight" towards the boat while they rode away, then turned to the audience for the last line.

I went to stage door after the show and ended up meeting Paul, Julia, Nehal, Carlton, and Howard McGillin, as well as Rory (coneyislanddesigns on Instagram), Raquel Suarez Groen's dresser!

Overall, a totally beautiful show that I'm so grateful that I got to see!

My friend also made some notes on Jeremy's show, so I will likely be posting those for you all to enjoy, along with the art that she did for him since everyone loved seeing that last time!

#still can't believe i've seen this show #still doesn't feel real #poto #poto broadway #phan review #ben crawford #julia udine #paul schaefer

[anecdotal-acorn]

So I saw Phantom on Broadway last night (10/21) and it was everything I dreamed it would be and more!!!  I have so many thoughts and I thought I'd just list them here:

Act I

- The overture is so much more exhilarating live than on any recording, it was so epic

- The Hannibal elephant was so impressive in person

- When the managers said Raoul would be in their box the dancers FREAKED OUT, especially Meg and Christine, they were so excited <3

- Emilie’s Think of Me cadenza was so clear and resonant–

- When Madame Giry came into the dressing room for Meg she YELLED at her and then did a complete 180 when she turned to Christine

- John is an exquisite Raoul!!! There was so much chemistry between him and Emilie during Little Lotte. He hugged her and then after he said her name pulled away for a second just to look at her…it was so sweet. Then when he left to get his hat he ran off the stage at a full sprint, which was so cute

- Laird had an awesome hat toss and cape twirl with so much flair and extra-ness, and his MOTN was like an out-of-body experience, especially when he said “close your eyes, let your spirit start to soar” and held the note straight-tone and past the music. Then when Christine pulled the mask off he flopped onto the floor like a sack of potatoes XD

- Meg was adorable in Notes, rifling through them at the managers’ desk trying to figure out what was going on.  Erica Wong was so charismatic it's hard to believe she isn't principal!

- Raquel’s comedic timing was impeccable, especially in Il Muto when she mimed pulling off the Serafimo skirt and hat

- Laird’s cackle when Buquet’s body came down is truly unparalleled (gave me chills)

- ALL I ASK OF YOU was sooooo precious!!!!!!! John and Emilie are a top-tier R/C pair!!! Their second kiss was so intense it turned into basically a full-on makeout session and I was LIVING for it; every Raoulstine shipper’s dream ❤️

- Laird was so sad on the angel!!! So much crying and whimpering, and he did this little quiet “no” when Raoul and Christine were singing AIAOY from offstage. But then he growled and it was so cool to see the switch in his mind and watch him put the walls back up and get mad…

- The chandelier drop was as jaw-dropping as expected

Act II

- Raoul and Christine’s Masquerade entrance was so cute, with the spotlight on them and everything

- Laird came down the stairs in the Red Death and Emilie was clinging to John with both arms around his waist

- On the topic of Masquerade, can we talk about how good John looks in the Hussar costume????  Wtf???  

- During Notes II when Piangi said “if you can call this gibberish art” he threw the score book halfway across the stage

- John’s “Christine, Christine, don't think that I don't care” was so soft I think it melted all my organs…he leaned so close to her and acted like it was just the two of them

- Emilie’s Wishing was a highlight of the night. Her belt when that key change hit was so strong I felt it in my bones

- Wandering Child was so cool because by that point I knew how strong the trio was and their voices blended together so well

- The gunshot was so scary! Even though I knew it was coming it still made me jump because it was so loud

- Piangi’s pipes were nuts in his last scene (his “your youngest believes I'm you” right before he went off in particular)

- Laird’s entrance was so cool because he closed the back curtains with so much gusto and then just stood there for a minute like he was being extra or extra nervous (or both). Then his “say you'll share with me one love one lifetime” was so quiet and sad but the “anywhere you go let me go too” got so loud in literally an instant

- Laird’s “Christine, why?” was so heartbreaking because it really seemed like he was so betrayed that she pulled off his mask in front of all those people. When she first pulled it off he didn't even scream, just stood there in disbelief, which he did AGAIN after the kiss. Emilie came on in the wedding dress sobbing “no, no, no” and broke my heart into a million little pieces. John’s “Christine, forgive me, please forgive me” was all levels of desperate and soooo good!!!! Final Lair in general was such a whirlwind and didn't feel like fifteen whole minutes whatsoever, and Laird knocked it out of the park with that final note…they were all the best. I'm so glad I got to see him and John too. It made the show so special since Laird’s not usually there and John’s leaving but I SAW THEM!!!! I still can't believe it.

So yeah. Hope you enjoyed my thoughts :D

#phantom of the opera #broadway #poto #poto broadway #phantom of the opera broadway #laid mackintosh #john riddle #emilie kouatchou #raoulstine #r/c #christine daae #raoul de chagny

[textsfromthefifthbasement]

Well, since the OP of that racist post immediately blocked me and anyone else commenting on it, here's a screenshot of the exchange for reblogging:

[Image ID:

User name darkness-hold-eternal-light:

By the way, yes I saw about "The Phantom of the Opera" ending on Broadway and i think it's sad. Sad emoji.

And I also saw that in various productions of "Phantom of the Opera", there was a Black woman or a Latino woman cast as Christine Daae and no I do not agree with that, it's yet another intentional miscast. I think it's disrespectful. So I'm glad that the movie of 2004 exists just the way it is even though I wish somebody else had played the Phantom of the Opera. But still a great film, I love Emmy Rossum in her role! Smiling emoji with hearts.

User name paperandsong:

Any actress, of any race, can play Christine Daaé. She's a fictional character. Disrespectful how?

My addition:

Screenshot of another post by darkness-hold-eternal-light. It reads:

So people circle-jerking in the comments of my "Phantom of the Opera" post about how incredibly good and virtuous they are. It's nothing surprising but I feel no reason to prove my character to any of them

If you bring up a criticism to their belief-system, they pull the racism card and genuinely believe they're winning.

I think they'll be done virtue signalling one day or another and leave as empty as they were before. But other than that any intelligent comment is fine of course, I do value discourse.

Tagged as personal, phantom of the opera, discourse.

My words:

the...belief that people of different races are equal?

Quite telling how you're mocking people for acting good and virtuous when they're just saying that any actress of any race can play Christine Daae, it is disrespectful to no one. Like you really just woke up and chose to be racist and think you're the good guy for it.

And fuck your "discourse."

Tagged as i'm legitimately so angry, what a racist bitch

End ID]

#racism cw #phantom of the opera

[broadway-feferi]

You and your stupid fis)(y face! You're KNOT)(ING wit)(out me! -Even to t)(e point t)(at I wrote t)(is out myss)(ellf wit)( t)(e lyrics under t)(e cut!

Feferi

Eridan

Both

You are some mildew,

You just don't think well

It's my Sgrub Session,

You can go straight to Hell!

Is your mouth lonely

With one foot in there

Your thinkpan only

Holds thoughts I put in there

Just what you are I'll spell out

You are a phantom pain

One speck of lint that fell out

The last time that I picked my fame

You are so jealous

Of my track record

Feferi tell us

Your feeble hack record

Your weak knees brand you

Soft and unstable

One small death and you

Fold like a card table

You drool at my pure science

You're just starting when I'm done

You craft your own destruction

Your trident’s no match for my gun

You're nothing without me

A no-one who'd go undefined

You wouldn't exist

You'd never be missed

I tell you you're out of your mind

A show off, a blowhard

You're equal parts hot air and gall

And no one would doubt me

Without me you're nothing at all

You are so thick, you

Eat, breathe, sleep fiction

I'm your meal ticket

Knee-deep in cheap fiction

You’re still flushed pale

Just as it’s meant for us

I call each shot

I’m your quadrant dictator

You gloating ignoramus!

You haven't any shame...

Hey, I'm a lachnolaimus

And most people don’t know your claims

You're nothing without me

Without me you'd just disappear

Right into thin air

And no one would care

Or notice you ever were here

A puppet, an upstart

A loser who's destined to fall

I'm everything you always wanted to be

Let's deal with the issue:

You wish you were me

You're nothing without me

Without me you're nothing

At all!

#broadway feferi #broadway eridan #homestuck #broadwaystuck #feferi homestuck #feferi peixes #eridan ampora #cantankerousAxolotl #convivialChameleon #(it's always great singing with you!) #happy 413

[withallthingslove]

The Phantom of the Opera Broadway Thoughts/Review - March 9, 2023

This marked my fifth time seeing Phantom on Broadway, and I went with my friend who was seeing it for the first time. The Phantom was Ben Crawford, Raoul was Paul A. Schaefer, and Christine was played by both Emilie Kouatchou and Kanisha Marie Feliciano. Kanisha replaced Emilie during Il Muto. 

compared to when I saw it in December, the audience was not as loud during songs and was more enthralled/not taking a breath

From the start, Paul’s Raoul seemed stronger than the last time I saw him. It was also a vocally strong performance all around for everyone. 

While going down to the lair during the title song, Ben’s Phantom caressed Christine’s arm as she passed him at the end of the travelator

During STYDI, Emilie and Ben had a lot of tension when she decided to hand his mask back. And the way Ben hovered over her before grabbing her arm made me sjdjsk

Ben and Emilie were not seen coming up the trap door after the lair and the part where the ballerinas would spot the Phantom and Christine was cut. Instead the ballerinas just screamed after Magical Lasso and exited instead of pointing toward the Phantom and Christine so something felt off there

Kanisha came on during Il Muto instead of Emilie and it was my first time ever seeing an emergency cover happen in a show. During Il Muto I thought Kanisha’s confusion played well, but in All I Ask of You she seemed a bit overwhelmed. Paul really took over All I Ask of You and increased his energy in a really reassuring way.

When Ben appeared in the angel my friend went “oh fuck oh fuck” so it’s cool how surprising the angel still is to people who haven’t seen it

Ben also timed his hand coming up over the angel to the music so well it made it feel really gothic and creepy

Nehal Joshi as Andre really brought a ton of physical comedy and had dialed it up a bunch since I saw it in December. He walked through the ballerinas performing in Hannibal and bumped into more ballerinas during Il Muto. He also was more exaggerated with Firmin. 

Ok so we have to talk about Paul in act II... the first time I have seen him have consistent stage presence all the way through. He had so many cute moments with Kanisha and was appearing so protective instead of just standing there. I can’t even begin to recount the number of little reassuring touches he did that just added so much to his relationship with Christine. My friend commented that she thought she would be bored of Raoul based on the beginning but was obsessed with him in act II so she also noticed it

Kanisha has such a beautiful voice, but I think it took until Wishing for her to settle into the character. Her Wishing was really beautiful!

When Ben appeared in the graveyard my friend went “not this fucker again.” 

It was the best Wandering Child trio I’ve seen (and I do not like the trio in the song I prefer how it used to be from years ago). But the trio actually worked here. It was really cool to see Ben’s characterization change with Kanisha compared to how he would be with Emilie. With Kanisha he was immediately more paternal with her and this made the lyrics “wandering child” and “fathering gaze” that much more impactful.

Paul was bringING it during Wandering Child and since Kanisha and Ben were too, the sequence of Christine walking in a trance to the Phantom to Raoul stopping her, to the Phantom yelling at them while Chrisitne tries to stop Raoul while Raoul tries to protect Chrisitne just all ~ came together ~ 

Ben sounded really good in PONR. The new blocking I think this time I interpreted that Christine was just trying to force the Phantom to finish the choreography and then once she unveiled it as him she was maybe going to try and find a way to help the situation without the Phantom needing to die. And then he proposed to her and she was SHOCKED

During the final lair Ben was a bit more scary and physical than when I saw him in December and this made Paul louder and more protective. Kanisha’s “tears of hate” line was very defiant.

After the kiss for a second it looked like Kanisha’s Christine maybe felt something for the Phantom but a bit unclear on what that feeling was. She definitely stopped hating him after the kiss though and was looking at him almost perplexed and even after he let Roaul go, she still seemed to be trying to figure out what he was doing and what she felt

Ben broke my heart because when Christine came back to return the ring he leapt up and seemed to be thinking she was going to stay. Then Kanisha took a huge step back and stiffly outstretched her arm and it dawned on him that she wasn’t staying. 

He sang “I love you” once, and once she left he said it again but more in a pitiful way to himself. So he wasn’t trying to convince her to stay like he did when I saw him with Emilie. 

I don’t get the 100% vibe that Ben’s Phantom goes after Kanisha’s Christine. He seems to have sadly accepted it and I see more of like a 25% he considers trying to find her but doesn’t go through with it

I cried multiple times during the show and when I got home I sobbed at the thought of that being my last time seeing Phantom, so I bought one more ticket for April. My credit card and friends and family are probably unsurprised yet exasperated, but I think need one more time to say goodbye. This show in particular was pretty much perfect vocally, and it was so cool to compare the different acting interpretations and how they changed once Kanisha came onstage. 

But it was super chaotic and a roller coaster of emotions from hoping Emilie is OK, wondering what happened, being disappointed Emilie wasn’t on anymore, loving that I got to see Kanisha, and then being disappointed I couldn’t have seen Kanisha at the beginning while still wishing I got to see Emilie all the way through. By the time Ben was singing at the end of the Final Lair, I realized my emotions had been so all over the place and I had so much adrenaline that I didn’t get to use the show the way I originally intended and hadn’t been able to just sit back and appreciate it one last time.

So I guess I’m going back again

#phantom of the opera #poto #phantom broadway #ben crawford #paul a schaefer #emilie kouatchou #kanisha marie feliciano #nehal joshi #phantom bway #poto broadway #phantom #broadway #phantom of the opera broadway #majestic theatre #broadway review #musical theatre #mine

[arrow-dodger]

When I was 12, my mom bought the soundtrack to The Phantom of the Opera movie with Gerard Butler. She must have gotten the CD from the bargain bin at Wal Mart or something. She started playing it all the time in the car, insisting she loved that kind of music (which she had never listened to before, as far as I'm aware).

I became obsessed with it almost immediately. I made her get me the movie and I watched it almost every night. At that age I hated Raoul because I thought he was lame and weak. The Phantom was my sexy sad boy and for some reason I thought I could fix him. No offense to Christine, but I was built different. The idea of being someone's entire world was very appealing to me, because I never felt important to anyone. I wanted someone to take me away to be theirs forever. That was a romance I could read fanfiction about for years to come.

I've always listened to it and watched the movie from time to time since, but I revisited it more specifically recently. It occurred to me that I only know the movie version of the songs, which are probably the worst ones, so I started listening to the original Broadway cast and the 2011 recording.

The vibe is... very different. I am very different. Gerard Butler's Phantom IS kind of a sexy sad boy in comparison, and the stage Phantom has much more "muahahaha" energy. I mean, he's a devious, cringe little bitch. But the thing is that he's also scary as hell. Actually, this entire thing has always been scary, and I was kind of blind to it because of how sexy Gerard Butler is, maybe. Listening now, it's a horror that sends chills down my spine.

Now as an adult the romance angle doesn't work the same. I've had men make me their entire world before and convince me they'd die without me living to care for them. I've had men give me things without me asking and then use that against me later. I've had men seek out my very specific weaknesses to exploit them in their favor. I've had men threaten violence and violate my personhood because they wanted to own me so badly. I had a man essentially brainwash me for so many years.

I always hated Wishing You Were Somehow Here Again as a kid. I thought the song was boring and would skip past it sometimes, because I just didn't get what it added. Now I get that it's the entire linchpin to the plot of this thing.

When I watch that scene now, I realize that Christine's trauma about the death of her father IS the plot. That's what all of this is about, in the end. During the Wandering Child bit afterwards, when I see her say "wildly my mind beats against you, but my soul obeys," I know that very feeling... and it isn't romantic, it's DARK. When she says she has endless longings, she doesn't mean she longs to have a sexy phantom boyfriend, she means she longs to feel safe! Feel loved! Protected! She wants to feel like her father is still around and looking out for her! And she spent all these years thinking she would get these things from this person who's convinced her he's an avatar of her dead father, who spends this song calling her a lost child who needs his guidance, specifically poking at the wound he knows she has to give himself the upper hand. That isn't hot! That's awful!

When I see Christine crying as she turns away from the Phantom at the end of the 2011 production, I don't think she's sad because she's in love with him too. I think she's sad because she's leaving behind this person who is the architect of her entire consciousness. Someone who has convinced her that they need each other, that they're each other's destiny. She's realizing that she needs to leave her father behind. When he says "Christine, I love you," she's hearing her father's voice. She doesn't know who she is without him, or if she'll completely collapse if she takes another step away. And bitch, same. I've been there too. I thought I'd die myself.

The angles that art can stab you from change with you as you age. Stranger than you dreamt it!

#this won't stop me from romanticizing things I've romanticized since childhood #but it's certainly a big bite to chew

[operafantomet]

Re: things mentioned in the Berlin poto post, is stage entertainment still close to bankruptcy or are they financially in the clear now? I'm american and don't really hear much about them unfortunately

I wish I knew more about it. Last I heard - right after they had to cancel the Phantom Paris production due to fire in the theatre - was that in order to survive they were shutting down some of their schools/courses, they sold off sets, closed down theatres, and several hundred people were fired or did not have contracts renewed.

Stage Entertainment is a merge of German Stella Entertainment and Dutch Stage Holding / Endemol, after the former went bankrupt. The new company was called Stage Entertainment. In 2016, around the time of the Paris fire, the press announced that "Over the past financial year, the company posted a €19 million loss due to inefficiency issues and the impact of a few underperforming productions". This is people started whispering about bankruptcy, but it seems the restructuring of the company was successful.

I am not sure how the pandemic affected them. Last I heard they concentrated on their core business, including bigger theatres and fewer productions, and either Disney heavy or creating original content. They have closed on Broadway, and they have of course closed in Russia. In fact, I don't think they have any current productions outside Germany at all these days? Their main shows right now is Tarzan, Lion King, Hercules and Frozen (Disney heavy), Tina Turner and Ku'Damm (own content), and Tanz der Vampire.

With Phantom announced in Berlin the only likely Stage Entertainment theatre candidate would be Theater des Westens - a large, classical theatre with a capasity of 1712 seats. But another show was already announced there. I don't think Stage Entertainment operate any other Berlin theatres big enough to stage replica Phantom. The other that comes to mind, Stage Bluemax, has a capacity of 612.

So a combination of dire financial circumstances and the only likely Berlin theatre already booked... made people, including myself, rule out Stage Entertainment for the Berlin premiere. I always assumed it would be the Restaged Tour or similar opening there. But then - NOTHING materialized at all.

Sometimes I wonder... what if the London office mixed up Andrew Lloyd Webber's Phantom with Deborah Sasson's Phantom? They were in Berlin in 2022...

#phantom of the opera #stage entertainment #phantom der oper #poto germany #poto berlin

[lord-valery-mimes]

I was tagged by @laurenthemself​ for this meme.

Tag nine (0) people you’d like to know better (I always feel too awkward to do this)

last song: Agony from Into The Woods, the 2022 Broadway cast. I saw the show about a month ago and this was my favorite song, I really dig the harmonies.

currently watching: The new episodes of What We Do in the Shadows as they’re released. I recently finally watched the final season of Better Call Saul, and literally years worth of Catfish. It’s actually kind of nice to not be binging anything for a change.

currently reading: Geez, am I reading anything? I used to read a ton when I was a kid, but I read so little these days. Mostly I’m too busy working and trying to stay fit and doing art in the tiny bit of spare time that I have left. I know I read something not too long ago, but it’s escaping my memory what it was. I read it on my phone and I really need to get back to reading proper books.

current obsession: Phantom of the Opera is still hitting me hard, but I feel weird about it. Instead of FOMO, I have AMO, I Actually Missed Out. I really wish I had seen the Broadway show sooner than earlier this year, because I loved it so much, and then just a couple of months later it was gone and I’m left here with my heart full but my hands empty. I feel like I’m so late to the fandom it seems awkward trying to insert myself into it. I feel like the new kid who just started attending camp for the first time and all the other kids have been going for years and years. 😅 Plus my interests are very specific, I read the book but it didn’t do much for me, neither did any of the film versions. I just loved the musical so much, I’m all about the staging, costuming, and I love hearing the history about it and the stories of the people who were all involved with it. I've been trying to distract myself with some other shows, but nothing hits like that chandelier going up. ❤️ I just keep watching as many bootlegs as I can to relive seeing the show in person, and hoping it comes back! 😂

[somedayonbroadway]

May I humbly request the Phantom Newsies au??

In honor of the longest running show on Broadway announcing its closing date, here is the Phantom of the Opera AU. This is actually an AU that me and my good friend @bexlynne had discussed years ago. I will be changing a few things, but the basics are still there. Please enjoy!

TW: mentions of abuse

The year is 1881. A young ballet dancer is stretching with her ensemble as madame Hannah takes the stage to rehearse the show stopping aria of her show. Hannah has been the leading lady for years. Always standing center stage and singing along while the dancers trot and leap behind her. But something about this performance was different.

In the middle of Hannah’s solo, the backdrop collapses and a sandbag falls from the ceiling. The young ballet dancer, Katherine Pulitzer, and her only friend rush to help only for her friend, Race, to scream and insist that the phantom is here and that they should not proceed against the wishes of the phantom.

There are new owners of this theater. There’s always new owners and sponsors. People can only take so much of the phantom's antics. Eventually, they were too spooked to continue being in the opera house.

Hannah, who has had enough of the phantom’s vandalisms on her stage, promptly quits. She storms off the stage and the director of the dancers, Miss Medda Larkin, suggests Katherine in Hannah’s place as she has been well trained. She performs instead and an old friend of hers, recognizes her. Darcy Reid, a new patron of the opera house.

After the show, Katherine finds Race crying backstage and asks him what’s wrong. What isn’t wrong? Race has been with the opera house since he was young. He was found, a young orphaned boy and he was taken in by the opera’s original owner, a Mr. William Snyder, who eventually signed him over as property of the opera house. Race legally can’t leave until he’s eighteen and to make matters worse, he is being abused sexually by a stage hand, Drake Dillinger, who will often want to adjust his costumes or fix his choreography when it isn’t necessary just to get close to him.

Race admits Drake had been messing with him again and Katherine takes him to her room where she confides in Race and tells him about how the phantom has been speaking to her and coaching her. Race insists that she be careful and tell no one else of this. Before he can convince her of the danger, Darcy is coming to greet Katherine. Despite the warning from Race, Katherine still confides in Darcy about the Angel of Music. Darcy excuses himself to speak the opera house’s owners and the phantom makes himself known in a jealous manner, and Katherine, mesmerized by the mysterious mask he wears, falls through the mirror in which he shows himself so she can be with him.

Katherine is taken through the beauty of the phantom’s hideaway and eventually falls asleep in his bed, only to be awoken by the music the phantom is playing and composing. She removes his mask only to find the horrific burned face of a boy, maybe even younger than she is. The phantom is distraught and angry and eventually falls to his knees in fright at what she might think of him, but she returns his mask to him and kisses him on the cheek, allowing herself to be led back to her dressing room.

The stagehand, Drake is now telling the tales of this mysterious phantom who he makes fun of and prodes at. Race warns him against this, but Drake laughs it off.

When Katherine returns, Race asks her where she disappeared to and she tells him. Race tells her never to go with the phantom again but she shrugs him off as a letter from the phantom is delivered to her father, Joseph Pulitzer, the opera house’s main composer and writer. He relays that the phantom has demanded to see Katherine replace Hannah, who has come back for her job, in the new opera that has just been written. The new owners refuse.

Race quietly sneaks into Katherine’s dressing room, kneeling in front of the mirror and begging the phantom not to interfere.

Katherine only spots him for a moment before rushing to rehearse with the others. The performance goes well, initially, until the phantom enchants Hannah’s voice to croak like a frog. In attempt to diffuse the situation, Pulitzer announces that Katherine will be performing the rest of the show and the dancers move to entertain the audience as Katherine rushes to prepare. Race is in the front of the ensemble when a body falls from the rafts, right in front of him.

The chief stagehand, Drake Dillinger.

After this, the chandelier falls to the ground and shatters. Race runs off the stage immediately, vomiting at the sight he’d just seen and a hand comes down on his back to comfort him. When he turns around, he sees the phantom standing right before him. Terrified, Race begins to scream at him until a hand touches his forehead and a voice commands him to sleep. Race is wrapped in the phantom’s cape and taken to his secret hideaway, left sleeping on his bed.

The phantom overhears Katherine and Darcy on the roof, talking about how frightened she is of the phantom and Darcy vows to protect her. The phantom then vows to get revenge on Darcy for turning Katherine against him.

When he goes back down to his hideaway, the young boy on his bed wakes up, confused, but eerily calm. He asks if the phantom understands what he’d just done, only he addresses the phantom as Jack, and Jack, removes his mask and holds Race, explaining it's what had to be done, that Drake needed to die or Race would’ve been waking up in a different bed that night.

Race is horrified at this and allows himself to rest in Jack’s bed, asking Jack how he’d gotten so good at hypnosis. Jack doesn’t answer him. He lets him sleep.

Months later, at a masquerade, The phantom reappears to a newly engaged Katherine and the owners of the opera house and he lists his demands. That his own opera he produced with Katherine as the leading lady and the opera house to release its hold on Antonio Higgins, whom he calls a prisoner of the arts.

The owners at first refuse and the phantom challenges them, asking if they wanted to see who would be lost next. So they agree and Darcy uses this as a plot to trap the phantom, first locking Race in a room and demanding he explain what he knows about the phantom. Katherine tries to stop this, but when Darcy threatens to turn him in as the phantom and sentence him to death, Race caves.

He explains that the phantom’s name is James Francis Kelly. He was found after a fire when he was young, his family burned and dead. He was cruelly turned into a traveling fair and put on display in a cage for his new disformity. When Race was little he was allowed out on a field trip to the fair, he let Jack out of his cage and helped him find refuge beneath the opera house. Jack then became very protective of him and began to haunt his abusers. Jack then got attached to Katherine, who he began to do the same for, only Katherine didn’t know he was a real person.

Darcy locks Race up and plans to kill Jack and Race begs him not to, as Jack is his oldest friend.

Darcy then tries to convince Katherine to help lure Jack into a trap and Katherine is conflicted but ultimately agrees. However, on the night of the performance, Jack kills the leading man and takes his place on stage. When Katherine realizes this, she removes his mask onstage and Jack then grabs her wrist and drags her offstage, back down to his hideaway where Race is standing and waiting for her, revealing that he’d heard of Darcy’s plan and told Jack everything.

Jack gets down on his knees and begs for Katherine’s mercy, only for Katherine to kiss him and help him escape. Katherine stages the scene to make it look like Race had drown and the phantom had run, leaving her alone in the sewers when Darcy comes to find them.

What do you guys think?

Here are some moodboards!

Jack Kelly as The Phantom

Katherine Pulitzer ad Christine Daaé

Racetrack Higgins as Meg Giry

For more Mood Boards and AUs, click here!

#wide-eyed-wanderer #newsies #newsies live #newsies musical #newsies fandom #newsies fanfiction #newsies au #modern newsies #modern au #modern era #modern #much love #jack kelly #racetrack higgins #katherine plumber #phantom of the opera #phantom #haunted #phantom au #mentions of sa

[glassprism]

What are the main differences between the Japanese production and Korean production?

Just the major differences? Hmm...

I suppose to start, one is in Japanese and features mainly Japanese performers (though several Koreans have performed in it as well and taken Japanese stage names while doing it) while the other is in Korean and features mostly Korean performers (I'll get back to you on if any Japanese performers have been in it).

There are all the minute differences in costumes and wigs that you might expect between productions. The Japanese production started off using costumes very similar to the ones used in the European productions, but then deviated into their own specific style (I can only describe it as being kind of flat and sometimes looking like Legos). The Korean production used World Tour costumes their first two runs, but in the current production is using London costumes.

The Japanese production also uses a pre-recorded orchestra when they're not in Tokyo, with the exception of the 2017 stop in Yokohama. This is apparently the policy of all Shiki productions (the company in charge of Phantom in Japan), but they kept an exception for Tokyo, apparently as part of an agreement in the contract. Meanwhile in Korea, the orchestra is live.

The Japanese production will also use the Pegasus statue during 'I Gave You My Music' if the ceiling of the theater is too low, and in fact, this is where the idea of using the Pegasus statue in London came from; if the ceiling is fine, they'll use the Golden Angel. So far as I can tell, the Korean production uses the Golden Angel throughout (though if they ever end up in a theater with a too-low ceiling, maybe they'll do something similar, who knows).

The Japanese production also uses 'Masquerade' choreography from... actually I'm losing track of all the changes to the choreography at this point, but let's just say that there are still lots of lifts and spins involved (which I think a lot of was removed from the choreography in London and Broadway even before the shutdown). The Korean production uses its own mix of dancing that was used pre- and post-shutdown.

Finally, some history. The Japanese production opened in 1988, before many of the lyric and blocking changes that are so familiar to us were implemented (examples: Christine doing limited dancing in Hannibal and 'Masquerade', the added "Help me to say goodbye" in 'Wishing'). They did not add these changes into their show until 2020 or so, so for over 30 years, they basically stuck to the show as it was in 1988, which is why I say they were really old-school. But they have since updated, so don't expect that anymore. The Korean production, meanwhile, has had all the changes that were put forward over the years... with the exception of the changes made for the re-opening of the London and Broadway productions.

So there you have it.

#GP gets asks #anonymous