#brushups and whatnot

[mymp3]

not gonna do one of those "year in review" art things. but i will say this, even though this was a tough year, im really happy and the things i did end up drawing. lots of little things and comics. just doodles and the occasional piece. just things that made me happy. next year i want to continue that, i just wish and hope i'll continue to draw and that i'll make things i genuinely enjoy. i wanna go into 2024 with a smile. :)

#mikutimetalk #happy almost new years everyone! #i have some other things i could probably say regarding what i want for my art #like to learn perspective again #rundowns on anatomy #brushups and whatnot #coloring and experimentation #and to continue drawing things with backgrounds #but other than that i just want to draw #theres been a couple of times this year where ive just sat and considered the fact maybe i'll never make something ever again #maybe i won't be an artist #and i dont think i could live with myself if that were the case #i dont want anything standing in my way #i dont want any hardship or tough time hindering my relationship with self expression #i want art to be with me for the long haul #not just to talk about it but to actually show off what ive done #i want to be an artist in 2024. my goal is to not quit. #i'm gonna make another new years post that isnt about goals when the clock strikes 12 #but for now. its just about art

[operafantomet]

I saw Phantom in London the other week and noticed a few changes from the Broadway production (I saw last summer). Know of any others? 1) Lightning bolt on rooftop/mausoleum scene 2) faint and catch 3) chandelier drops much quicker 4) Phantom drops thru stage in masquerade 5) NYC Christine seems scared during Masquerade as if she's afraid of Phantom, in London she simply dances joyfully 6) staircase seemed bigger 7) overall felt more polished/grand

Interesting to read your observations!

Other differences I can think of is that Philip Griffitsh does a lot more “chilly Oxford” auctioneer than the spooky style done elsewhere in the world. Other production usually pushes the ghost voice and exaggerated body language. But I think Griffiths is the only one keeping this style, so if you saw one of the others you might not have gotten this.

There is slight differences in where and how Christine disappears and joins in again in the Hannibal ballet, but after the last choreography brushup I’m not sure how noticeable it is. Before “Angel of Music”, they have sometimes featured Buquet sneak peeking at the ballet girls, even trying to grab one of them. But this is also a feature that comes and goes, depending on the actor.

Further on, the West End Phantom stays by Christine in MOTN at the “soooaaar”, while other productions have him going back to the organ.

I saw the Broadway production in 2011, but I have a distinct memory of the eyes and mouth of the proscenium sculptures lit up during the first and second lair, while it doesn’t do that in West End. But it usually lits up in the Phantom’s curse (if it works… it can be broken for long periods at the time).

The Masquerade lyrics are different in places, but I think the choreography now is the same after the last brush-up. The placement of the staircase dummes is also different.

Of course there is the graveyard trio (always done in West End) VS the gravegard duo (more common on Broadway).

For “Don Juan”, it can again depend on the cast, but usually Christine and the Phantom is more “clingy” and more dramatic in West End, sometimes with the “boob grab” before Christine starts to sing. But I think think was mostly done by John Owen-Jones, Earl Carpenter and Ramin Karimloo?

There’s also differences in costumes, small lyric tweaks and whatnot, but the ones above is probably the most noticeable details. :)

#poto west end #poto broadway