Opinions on the new restaged Aussie tour wedding dresses?
Top from left to right are Katie Hall, Julia Udine, Katie Travis, and Eva Tavares representing the restaged tour wedding dresses from before, bottom from left to right are the Australian Christines, Amy Manford, Bridget Costello, Kayleigh Marven, and Claire Lyon.
Honestly there isn't too much for me to say (besides that I think Kayleigh Marven might have gotten something of the short end of the stick for me with her wedding dress, as I just personally don't really care for the simple spiked bodice decorations - oh and I still don't like those floral decorations on Bridget Costello's wedding dress, but that applies to all London wedding gowns that use that design). The restaged tours in general started off with some very stripped down wedding dress designs for Katie Hall and Julia Udine, but afterwards starting using unaltered dresses from the UK and US for their Christines, and that seems to be continuing with the Australian wedding dresses.
So really my opinion would just be down to where each of the wedding dresses came from and which I prefer, and at the moment I don't particularly have one - I think most productions that use the original designs have great takes on the wedding dress!
Do you have pictures of the new restaged tour costumes yet? Do they still do the stripped down look?
According to MY gospel... the UK leg of the tour (2012-2013) was an absolute disgrace. The more I think about it, the more annoyed I am. I have never been more appalled by a professional POTO production. Luckilly the Maria Bjørnson estate put their foot down, so some of the costumes was amended. But the reinterpreted ballroom Masquerade and some undecorated costumes remained throughout. A special shout-out to the "flour girls" ballerina costumes in Il Muto, and the "Satyr" wearing half a Masquerade-Monkey-Girl costume...
When the tour hit the US in 2013 (-2020) some of these costumes were kept, or new copies made, but they merged them with rather opulent, unaltered US costumes. So the total was stripped-down-meets-large-scale, which was a bit confusing. But in large an improvement from the UK. As an example the new Sylvan Glade costumes. It was not Maria Bjørnson's original design per se - but at least reflecting on her mint/floral scheme, with corseted bodices and bell shaped skirts.
When the tour hit Australia in 2022-2023 a UK costume supervisor who knew Bjørnson's work well was hired to brush things up, and she made sure the original vision to some degree was restored. It meant the Phantom regained his fedora and traditional tailcoat PLUS a good mask, Christine's Star Princess costume had a hint of stars and moon, Carlotta's Managers dresses had trims and tassels, and her Masquerade costume had accessories and overall a coherent look, the Phantom's uniform Red Death was blinged up etc etc. In addition a lot of accessories - tiaras, jewellery, proper boots, whatnot - was added. It is the best the Restaged Tour has looked, costume wise.
Here they also restored the Sylvan Glade costumes to their original look, minus the flowers. Most or all US costumes seemed to be gone in Australia, probably due to ownership/budget. To add to the stock, the Aussie tour was supplemented with a lot of new/newer UK costumes, along with the old UK stock.
I won't say the Aussie production was perfect. For example, the ballroom vibe for Masquerade is still very much present, with generic black/white tailcoats for the men, and non-themed long dresses for the women. But at least the tailcoat clad men has been given a mask, and the women's costumes blinged or semi-themed up. The Victorian costumes were also boosted, or simply taken back to what Maria Bjørnson designed.
Am I exaggerating? I don't think so. Compare Angela M. Caesar's red Managers costume in the UK Tour compared to Giuseppina Grech's costume in Australia - for Angela's costume they removed all trims and decorations (as there were clear traces of previous decorations and seams in closeups), while Giuseppina's costume was fully decorated as per the design:
This might seem like a minor issue. But layers on layers on layers was Bjørnson's thing, and if you remove a large part of this you have an unfinished costume, one that should not be on stage. I am glad the Aussie leg of the tour amended this.
I have only seen a handful of curtain call photos from Austria and their previews so far, but it looks to me like they continue in the vein of Australia, albeit with the presence of a handful of US costumes. And as I type this I remembered all the souvenirs in Vienna making fun of tourists mixing up Austria and Australia. Heh. If pulling up a photo of Katie Hall in her undecorated (and to be honest quite wrinkly!) wedding dress VS Lisanne Veeneman's Vienna wedding dress I can't see it as anyting than an improvement.
That's the vibe from all rehearsal + curtain call photos I have seen so far. So yeah, Vienna appears to keep up the costume work from Australia, and I think that is a good thing. It means fully decorated costumes WITH accessories...
a good Phantom mask...
...and going back to original design as far as possible, including good wigwork etc. My major complaint will forever be Masquerade, but compared to how the Restaged Tour started in the UK in 2012 it is in a MUCH better place today. And I guess that is what we can ask for?
A dash of Phantom of the Opera costumes on display at Sofitel Melbourne right now. They all appear to be UK styled versions of the costumes. In front they show Maria Bjørnson’s costume design.
Amy Manford as Christine in Greece (left) and Australia (right)
Both technically non-replica productions; Greece doing totally different sets and costumes, and Australia doing the Restaged Tour with many original costumes with some tweaks in looks, and brand new sets, choreography and directing. Therefore interesting to compare them!
Amy Manford’s Christine wardrobe in the Restaged Aussie Tour
Primarily a UK based wardrobe, with the costumes being back to almost-normal. There’s a tiara and regular shawl in Hannibal/Think of Me, the dressing gown does not seem to be mirrored for the “magic stairs” harness, and the wedding bodice is decorated.
The Star Princess now has more bodice decorations, a sprinke of stars in the front skirt, as well as a moon/star tiara and boots. No full attire with beading, stars and mask on stick, but at least much closer to Maria Bjørnson’s design. There’s also still no red scarf in the Mausoleum scene, instead the locket (not depicted) still plays a key role. But regular UK dress and cloak, with an added pleated hem in the main skirt. And a rose in the hair for the Aminta costume!
All in all an interesting and most welcome development.