María Demina (Lara Masier) by Vladimir Nikolaev
part 11 / 12 (part 1 , part 2 , part 3 , part 4 , part 5 , part 6 , part 7 , part 8 , part 9 , part 10 , part 12)
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...I am there - inside...!
Robyn North and Ramin Karimloo, West End
Gina Beck and David Shannon, West End
Sofia Escobar and John Owen-Jones, West End
Robyn North and Ramin Karimloo, West End
Emmi Christensson and Peter Jöback, Stockholm
Unidentified, Shanghai
Magdalene Minnaar and Jonathan Roxmouth, Johannesburg
Lana English and André Schwartz (?), Cape Town
Valerie Link and Mathias Edenborn, Hamburg revival
Colby Thomas and Thomas Schulze, Hamburg
Jeon Dong Seok and unidentified, Busan
Kyoko Suzuki and Yuichiro Yamaguchi, Tokyo (?)
Sarah Brightman (?) and Michael Crawford, West End
Kaley Ann Voorhees and Ben Crawford, Broadway
Hanne Damm (?) and Peter Jorde, Copenhagen
Hong Kwang Ho and unidentified, Seoul or Daegu
Ben Crawford, Broadway (by Greg Mills)
(original design by Maria Bjørnson)
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I was listening to Jeremy Stolle’s and Greg Mills’ podcast and they had mentioned that after reopening, along with the new blocking some of the changes included the removal of some characters/costumes due to cultural insensitivity reasons, I think specifically from Hannibal or Masquerade I can’t remember. Do you know anything about this and what they are referring to? (If it’s not appropriate to discuss or post pictures of I understand, I was just curious)
You are very right. And in fact, some these changes happened before the pandemic and the re-opening, at least worldwide.
Hannibal originally had an overblown take on a blackface costume. In my interpretation designer Maria Bjørnson rather made fun of how bad historical blackface costumes looked. It was no attempt to create a believable illusion; rather the hood had crude cut-out openings for eyes and mouth, and the hands were left bare.
Hannibal as whole is a light parody of Aïda, and every character on stage is a parody on opera tradition. That is why Carlotta opens the show with a severed head, there is a giant fake elephant on stage, there is a man dressed in lion fur with lion's head and so forth. This is the context of the costume.
That said, I can see why this does not translate well into today's audience. I also don't think it has to, as it isn't essential to the storytelling in any way. There are so many other overblown figures from the opera world in Hannibal. This costume was replaced by generic yellow non-hooded ones in 2016 or thereabout. Here's one of the replacement costumes, made in the vein of the "Wild Woman" figure in Hannibal:
Similar, there was a costume also featuring a blackface character in Masquerade, taken from this etching of a fancy dress party in the Palais Garnier in Paris in the 1880s:
Whereas the etching may actually depict a black man attending the ball, it became a blackface figure in Masquerade. So this too was changed in recent years. In some productions it was merely cut, and in others made into a fantasy blue man. It's a bit hard to find photos of the new costume, as few productions have it, but here's a glimpse of an arm...
A third that seems to come and go is the Hula Girl, in many productions used as a swing costume in Masquerade, while others had her as an ensemble costume. She too seems to have been largely cut. That said, not many productions had it originally.
There's probably more too, these are the ones that came to mind. Due to the change of costume stock in Masquerade, some productions has added costumes previously worn by dummies for their ensemble members. This includes the Highlander (West End):
...the Bumblebee (Las Vegas/ Broadway):
...the Mobcap Girl (Broadway):
...the wild boar (without mask, West End):
...and again, probably many more.
Another change happened with the Mirror Bride. Originally this character was perfectly mimicking Christine, wearing a mask looking identical to the actress. Here's "Rachel Barrell":
..."Sarah Brightman":
...and "Marni Raab":
...and the Final Lair dummy having a face moulded from the actress' features, as this "Dale Kristien" dummy shows:
And again, "Sarah Brightman":
But with Lucy St Louis starring in the West End revival, and Emilie Kouatchou on Broadway, creating a mask perfectly mimicking their features would - regardless of context and history - create a feeling of blackface. The solution was to create a sort of "silver bride", wearing silver mask and silver or white gloves, and a thicker veil. This still gave the feeling of a ghostly mirror bride, but without a reference to the actress:
I will be frank and admit I don't particularly love the silver bride. I think Christine seeing herself in the mirror is a big part of her horror. But I can see how it was the most sensible solution for a historic moment in time when both flagship productions featured a black Christine as one of their leads. I'd rather have that historic moment any day, than the traditional mirror bride.
I was however happy to see the traditional mirror bride being featured in the new South Korean and Chinese productions. It is an eerie detail.
All in all, some gentle tweaks on the original 1986 design so that details of the design does not distract the modern audience from the main story and the main message. (and as mentioned above, this is not a complete list, but the ones that came to mind when typing)
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