#toft archive

[flagbridge]

I Saw the Phantom Proshot at the NYPL

Happy 36th birthday to Phantom's first preview on Broadway! I was going to save this post for the actual 36th, but I figure all of us need some more Phantom Broadway "original" content since the official Insta accounts are reminding us today that Phantom is no longer (though it should be) on Broadway. I'm going to post about what I saw, and I'll follow up on January 26 with all my answers!

Some time ago, @or-what-you-will and I went to the NYPL's Theater on Film and Tape Archive, and viewed the archival pro shot of the Original Broadway Cast of Phantom of the Opera, filmed live on May 25, 1988. There is only one copy, and its purpose is artistic preservation (not commercial distribution--the library owns it). It was kept under lock and key during the show's run. All information about how to access the archive is on the website. I can't really tell you anything more besides what's out there because it will become identifying. You get set up in a room with monitors and can pause and rewind, although you can't touch the media.

This was not my first TOFT proshot, but it was the best-filmed. Some, there's a single camera just parked, or there's some generation loss because of when the tape was transferred to digital. This had absolutely vivid colors, a multi-camera shot, and brilliant and clear soundboard audio. I heard lyrics I have never heard (especially during Notes when everyone is singing over one another), the sound balancing was so good. It was as transformative as seeing it live.

These are all the notes we took while there (apologize if they can seem disjointed) More below the cut.

ACT 1 NOTES: 

-Multicam shot

-amazing audio (soundboard), vivid colors

-Raoul/Barton is crying in his voice during the auction

-there’s a “voice” that sounds like a woman singing with the overture (maybe a theramin?) We jumped in shock at this. We've never heard this before, not even on soundboard.

-Sarah Brightman comes on stage during the Hannibal rehearsal, moving across the stage with Meg during “Rome not Roma”--so she dances in the front row during the Hannibal ballet

-Hannibal ballet then has 10 dancers and since Christine is in the whole thing, there is slightly different choreo

-there’s a synth under Meg’s “he’s there, the phantom of the opera” 

-Firmin lights a cigarette and Andre (Future Phantom Cris Groenendaal) stops him right before “Think of Me’ which makes the “Defense de Fumer” on the back of the curtain make even more sense

-Think of Me Gala skirt is not as full (but of note, Carlotta’s Elissa costume is much more ornate than we have now or even at the end of Broadway)

-Raoul sings slightly different notes in Think of Me. Steve Barton goes down a few notes on “young and innocent” (it’s not belted) and is clearly wistful. 

-The think of me cadenza is absolutely effortless

-The “Bravi, Bravi” is haunting and perfectly sound balanced!

-Meg can actually sing and the Angel of Music harmonies work

-Raoul (Steve Barton) is nervous before going into the dressing room. He taps his fingers on the banister and takes a deep breath before going in

-He’s also nervous inside the dressing room–you can see him going from seeing an old friend to suddenly having feelings, being attracted to her. When he’s standing behind her he has a slight moment when he nearly touches a lock of her hair. 

-Raoul is wearing a ring on his right hand (signet?)

-Steve Barton says MY Little Lotte

-Christine (Brightman) is excited about meeting the Angel of music and has a wanting and longing in “Enter at LAST master” (in a way that Lily Kerhoas does now and we haven’t had many Christines who do this) 

-The picture is VERY CLEAR and NO WASHOUT when we see Michael Crawford appear in the mirror for Phantom’s entrance. You see everything

-When the door opens for Raoul to the dressing room after they go through the mirror, it opens slowly (vs banging open). It’s the same tempo that Phantom moves to take Christine through the mirror

-1925 Phantom silhouette vibes at the first “sing for me” 

-Not a particularly aggressive cape twirl, but def a twirl. 

-They get VERY close on “turn your face away”, almost kiss (like, Russians, Panaro/Joseph close) 

- he has a nice portcullis sprawl but she does not press against him, there is visible space between them the entire time

-”Caress” and “hear it, feel it” are explicitly seductive, the former in how it’s sung, the latter because he self-caresses on “feel it”

-the “Touch me” in touch me/trust me is half sung/half spoken order, she strokes her hand over the mask and he does not pull away

-He does have a little panic when she faints and he covers her with the cloak. He’s holding her hair when he sings to her there

-At the unmasking, MC holds for a brief moment before covering his face with his hand so the audience gets a peek of the deformity (before “damn you”) 

-Vixen not viper

-Crawls on knees, not stomach. We get…lots of crying and whimpering 

-Christine sees his face a lot during this sequence. MC lowers his hand as soon as he’s on her side of the stage from “secretly dreams of beauty” to “Oh Christine”, when he turns away–but she is looking at him the entire time. MC is angled right by a mirror shard so we can see a bit of the deformity reflected back

-Right before “come we must return”, MC is about to cup her face with both his hands before changing his mind–she starts to reach for him as well. 

-His Mandarin robe is much longer than we have now (ankle length vs calf length) 

-This Giry has witch vibes

-Steve Barton is playing eager puppy Raoul and it shows even though he looks older (Barton was 35 at the time)

-The sound balancing is so good that you can hear lines you don’t normally hear during Notes 1 and Prima Donna–including the Managers thinking that Christine has just been off with Raoul all night. 

-Sarah Brightman does a different pose on the bed as the pageboy during Il Muto. She crosses her legs vs putting her hands on her hips. 

-Firmin yells “the role of Christine Daae” to the proscenium, clearly directed at Phantom

-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.” 

-Raoul loves Christine so much. He strokes her hair gently to comfort her right before “No more talk of darkness”--his eyes are soft and he’s genuinely caring and concerned (vs trying to be a hero) 

-”All I ask is for one love one lifetime”--different lyrics, she does it twice (This is on soundboards from the time)

-Raoul puts his face to Christine’s hands at the proposal. 

-Christine is clearly kissing his cheek right next to his mouth during the kiss (the final lair kiss is a real kiss) 

-Christine’s “I must go” is not as playful as we often see it later. She really is trying to go. 

-Raoul is nervous at “Christine, I love you”--he lowers his head for a moment worried that he said something wrong. He’s excited when she replies “order your fine horses”

-AIAOY Reprise: Michael Crawford is partially slumped over the angel, he’s holding hands with it to the audience’s right, and arm is slumped over on the left. We get a lot of anguished weeping, and little distressed moans as Christine and Raoul sing, there is rocking and head shaking and then covering his ears. It’s a HUGE difference then when he stands up fully for “You will curse” (he does this again during final lair between “unfeeling scrap of clothing” and “pity comes too late) 

-He also roars before standing

-The Phantom laugh/cackle continues well into the chandelier drop into intermission at the light cut out for about 15 seconds. 

Act II

-Carlotta masquerade costume has no mesh in the skirt–it’s much more of a see-through skeleton crinoline, so the feature is the purple tights

-Not surprising since Sarah Brightman is a dancer, but Christine does the proper choreography during Masquerade--she's the center of attention. Barton also does quite a bit of dancing.

-There’s an organ (almost like a circus organ) underlying the finale during masquerade

-Red Death double doesn’t run down the stairs, he stays at the top

-Giry/Raoul exchange after masquerade–both holding the lantern and super closeup

-Reyer is clearly gay–coded. Some voice and hand gestures during Sitzprobe

-Wishing–only one “help me say goodbye” (when did the second one get added?)

-”Far-reaching” gaze, Wandering Child is a duet

-Piangi says “conquest” is assured (at some point, this became “congress”)

-Michael Crawford imitates Piangi until “past the point…”

-Sarah as Christine is listening intently to Phantom’s voice and immediately noticed something is off–she doesn’t figure it out right away but she notices something. She is suspicious the entire time. It's not clear when she knows for certain.

-Christine never flees from him, during the first caresses, he hovers over her body, she turns to kiss him, he turns away, her hand lingers on her back, before she gets up to sing her solo part away from the table

-Michael Crawford’s hands are in in his crotch when Christine’s singing on the other side of the stage (“you have come here”)--he’s moving his palms in his lap the whole time, his hands are shaking, we only get glimpses of him, most of this part it’s focused on her

-There is none of the arm waving circling while their hands are held, she takes his hands, he switches his grip to hold one of hers, and they keep them on him

-She figures it out when she reaches down–she’s holding his hands above him and she pushes her left (our right) hand down and he pulls and she notices something–we can only see to his upper waist but her hand disappears and her expression changes, it’s implied he has an erection

-she doesn’t ever feel the mask, either accidentally or on purpose

-She doesn’t actually ever try to escape. It’s not the current West End or the past blocking–but more accurate in that she is aware of the situation and plays along. She keeps going with the blocking

-they both get up and keep singing, neither drags the other to the centre, they move together and keep singing 

-The last “return”--he sings it at the unhooding, she doesn’t

-”Say you’ll share with me”--he is really pleading and almost crying on “say you want me” 

-The managers don’t come out to try to usher her offstage, she doesn’t signal to them to stay

-When Phantom gives her the ring, she takes it, but doesn’t put it on–she just holds it

-He doesn’t scream at the unmasking, he just looks shocked and sad

-Ratcatcher order is different–it’s after Raoul and Giry’s first lines, that’s the indication that Giry needs to turn around, Giry screams

-Phantom is crying at “flesh” and through “unfeeling scrap of clothing”, he’s also hunched over through this sequence, and then stands to his full height at “Pity comes too late.”

-Phantom makes a big show of raising the portcullis, hands fully raised

-Raoul swats at Erik with one hand (the other is still on the noose) when Phantom grabs Christine on “start a new life” 

-Phantom is probably the “minimum” amount of rough as we see Phantoms be with Christine in this sequence, as in, he’s definitely scary and menacing but he’s not harming her. He does grab her and spin her around on “start a new life with me.” There are a few wrist grabs (which is book accurate). He’s realizing more that his plan is absolutely crumbling. We get some shots of him on the organ looking panicked.

-Phantom makes a low growling noise before “you try my patience”, which is delivered quickly and almost casually. It is not menacing as some later Phantoms do. 

-”Pitiful creature”..MC’s hand is subtly shaking by his side

-The kiss: the 1st one MC stands with “claw hands” at his side, on the second one, the “claw hands” start shaking

-MC hunches over after he burns the noose

-He stands over the monkey, conducting it with one hand, he is mimicking the symbol clashes, he doesn’t touch it or cover its face

-When Christine returns the ring, his hand shakes as he takes it, he’s hunched over again. 

-She does seem conflicted about leaving, but she doesn’t press her hand back around his, she holds out the ring and his hand shakes as she takes it. She doesn’t linger very long. 

-He says a second “I love you” after she’s gone.

-He’s about to say it a third time, he says “I love…” and then see the veil, and grabs it and screams into it, and then turns and sees the boat leaving

-He sobs and keens a lot

-Raoul bends in the boat to caress Christine’s face on “say the word”)--this is halfway across the stage as opposed to during the stage right exit.

-Deliberately cracks voice on the "can" in “you alone can make” 

-MC Cradling the veil like a baby at the very end

SEND ME YOUR QUESTIONS! You can put it in comments, reblogs, AMA or DM's. I will answer all of them on January 26!

#phantom of the opera #poto #poto broadway #original poto #michael crawford #sarah brightman #steve barton #cris groenendaal #the phantom #christine daae #raoul de chagny #alw phantom #proshot #toft archive #YOU GUYS I SAW THE PHANTOM BROADWAY PROSHOT #POTO Broadway never should have closed

[nycticoraxtheatre]

Stephen Sondheim's Passion - Recording for the TOFT Archive at the Library for the Performing Arts

#passion #fosca #stephen sondheim #sondheim #musical theater #broadway #musicals #fun fact: Passion is one of only 3 videos ever leaked from the TOFT archive #I thought the two other Passion fans on this site might appreciate it lmao #art nude #nudity #donna murphy #marin mazzie #jere shea

[sleepdepravity]

As with every single stage show that I get obsessed with but have never had the ability to see live and will not likely have the ability to see live, I fall to my knees and wail for a professionally recorded release. I know why we don’t get recordings of musicals and I fully support the theater unions but also I’m selfish. I don’t want a professional recording to be sold, I’m not asking for that. I want a professional recording for me. Just give it to me. I’m not sharing it. It’s just going straight into my gremlin cave.

#Groundhog Day #musical #what machinations are behind deciding whether to have a professional recording of a show #or not #why does shrek the musical get one #(I’m not saying this as a knock against shrek the musical by the way) #anyways I would literally rent a theater pay all the actors and staff and stuff and for professional cameramen and everything #just to have a performance for me. specifically. #i will be the only audience member. #the recording will be like a home video. #for me #look just GIVE it to me #New York public library I am banging on your doors I’m on my knees #i promise I’m not going to do anything nefarious with your toft archives #i just want to have copies for me alone #personal malkylife

[kithj]

happy friday the 13th here are some spooky text-based games for halloween:

contrition - As a priest, it’s your job to listen to your parishioners’ darkest secrets and absolve their guilt. But when a sinister stranger comes to the confessional one Halloween night, you realize it’s your soul on the line.

familiar - You are a familiar. Your mistress has some requests for you. Help her complete her ritual, or pay the price of failure.

jagged bone - A branching choose-your-own-adventure horror game about transformation and perspective. 

the forest of candles (and the man with a lighter) - follows Maggie, a young woman with a fear of forest fires sparked by an old town folk tale. She's spent years trying to escape her hometown and the fear it inspires in her, only to be called back for the funeral of an old friend.

mary's hare - Mary's Hare is short interactive horror story about a woman and a rabbit, based on the story of Mary Toft.

only this - "And his eyes have all the seeming of a demon's that is dreaming / And the lamp-light o'er him streaming throws his shadow on the floor..."

what girls do in the dark - a slumber party text adventure.

god is in the radio - you are death, one of 22 members of the major arcana, a cult dedicated to some far-off god. the night is halloween, and you watch in scorn as the unknowing dance among devils and dress to indulge in sin. the high priestess receives a message from the all-mighty himself: the arcana must gather in an abandoned house and find his song on an old radio receiver.

anchorhead - Travel to the haunted coastal town of Anchorhead, Massachusetts and uncover the roots of a horrific conspiracy inspired by the works of H. P. Lovecraft. Search through musty archives and tomes of esoteric lore; dodge hostile townsfolk; combat a generation-spanning evil that threatens your family and the entire world. (illustrated version on itch.io)

my father's long, long legs - An interactive horror story about family, unease, and loss.

beneath floes - Qikiqtaaluk, 1962. The sun falls below the horizon and won't return for months. You wander the broken shoreline, wary of your mother's stories about the qalupalik. Fish woman, stealer of wayward children: she dwells beneath the ice.

the silence under your bed - An interactive horror collection about the strange, the spooky, and the macabre. 

bogeyman - You can go home when you learn to be good.

#god is in the radio and what girls do in the dark can be considered VNs i guess #i've played all of these except for anchorhead bc im bad at IF games like that lmfao #i played bogeyman a few days ago and im still thinking about it.... #sorry i just love making lists. i tried to go for a strictly halloween vibe #and keep them completely text based this time #games #interactive fiction

[bpdjennamaroney]

There should be a heist movie about the TOFT archive

[thatesqcrush]

#raul esparza #raúl esparza

[17yearcicada]

my mom has been surprisingly chill about my chess-related field trips so far to be honest. i thought she might be concerned about me meeting someone from The Internet after daisy chess or the logistics of going to the toft archive to see bway but both times she has been like "no that sounds cool have fun 👍" pleasantly surprised tbh

#i mean it's probably just because i'm getting older and you know. capable of making decisions for myself #but seeing as she is famously anxious about Everything i was at least expecting a lecture of some sort... but no! beautiful world #.txt

[hikari-ni-naritai]

What's the Emily cool trivia of the day

Have you heard of Mary Toft from 1726

Uhh despite the meme that's been going around recently, there are actually a lot of current/recent fantasy anime that aren't isekai. Of course, they're similar in tone to the point that I classify them as isekai for my own archival purposes, but the protagonist doesn't come from another world, they just live in a fantasy world. Some of them lean more towards the magic high school genre than isekai, even. It's a reductive meme and while I WOULD watch a show premised on a guy getting thrown out the window by his boss and ending up in another world, it irks me.

Now that's not to say that these shows are any better than isekais. They're generally on the same level of quality. But there are a lot that I would say are really good and worth watching, if you like adventurer fantasy.

[kunosoura]

like i've grown past my disappointment that bootleggers are just as much if not more there to get their broadway tickets paid for by internet strangers as they are to make theater archival more accessible. If we want to do that we're simply going to have to raid the NYPL TOFT archive like it's the bastille

#in the meanwhile sure I'll pay a few bucks for a b+ quality recording of into the woods

[5nake-eater]

Insane to me how the TOFT archive has two separate recordings of the original production of Sweeney Todd

#obviously they're probably not GREAT quality (especially since they were recorded when the archive was in its infancy) #but I will one day go there and see those recordings

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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

[citylifeorg]

Theatre on Film and Tape Archive Celebrates 50th Anniversary With Retrospective Exhibition, Opening July 14

Theatre on Film and Tape Archive Celebrates 50th Anniversary With Retrospective Exhibition, Opening July 14

Image: Used by Permission. All rights reserved, Playbill Inc. The exhibition, Focus Center Stage, chronicles both theatre history and how TOFT has changed how we remember that history over the last half century The past half-century of the documented history of theatre is on display at The New York Public Library for the Performing Arts’ newest exhibition, Focus Center Stage: 50 Years of the…

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[protomun]

In the last year, I’ve seen 10 shows on Broadway/Off-Broadway, a majority with their original casts. (+ one more pro-recording from the TOFT Archives) To me, that’s beyond wild, because as a kid I measured success by being able to see just one…EVER.

Here’s to many more to come <3

[many-bees]

Can’t stop thinking about how the fact that a full recording of the 1988 production of Carrie the Musical is only widely available to the public because some guy went to see it at the Royal Shakespeare Company archive and secretly switched it with a blank tape he had brought, sending them back a copy he made of it a few days later. He still has the original.

That tape is the only full video recording of that show in existence. There’s a recording of the first act of it on Broadway taken by ensemble member Scott Wise, but the camera battery ran out during intermission. On the night of the final performance someone pressed the record button on the soundboard, resulting in an incredibly clean audio recording of a show that never got an official cast album. But that doesn’t include any video.

It makes me think about the Lincoln Center Archive. How there are all these incredible works of art preserved there that wouldn’t have otherwise been preserved. And also how that art is only accessible to a small number of people who are able to physically be in New York. It’s such an important thing to exist but at the same time it’s elitist and exclusive by its very nature. Preserving art is always good but it somewhat defeats the purpose of preserving art if you don’t also make it accessible.

The original cast of Carrie never performed the same show twice. The director knew something was broken, but instead of fixing it he just kept changing lyrics, altering special effects, repainting scenery, switching out props. All that remains of that is a handful of audio recordings, two grainy videos, only one of them complete, and the memories of those who saw the show decades ago.

It’s such a precious thing that the Stratford tape was stolen. It’s been seen by countless people who wouldn’t have been able to see it otherwise. It’s a terrible fuzzy video of an infamously disastrous show, and it’s an incredibly important historical document of something that otherwise would have been lost to history.

#carrie white #carrie the musical #Lincoln Center archive #toft archive #it can’t be understated how important bootlegs are to the preservation of art

[writemarcus]

Savion Glover, Jason Robert Brown, Priscilla Lopez, More Join NYPL I'm Still Here Benefit

BY ANDREW GANS

JUN 16, 2021

The upcoming benefit, celebrating the New York Public Library's Billy Rose Theatre Division, honors George C. Wolfe and the late Harold Prince.

Additional artists have joined the upcoming I'm Still Here benefit, celebrating the 90th anniversary of The New York Public Library for the Performing Arts’ Billy Rose Theatre Division and the 50th anniversary of its Theatre on Film and Tape Archive.

Honoring Tony-winning directors George C. Wolfe and the late Harold Prince, I’m Still Here will stream on Broadway on Demand June 23 at 8 PM ET.

Jason Robert Brown, Savion Glover, Priscilla Lopez, Susan Stroman, Marisha Wallace, and Christopher Wheeldon have joined the starry roster of participants. The evening, as previously announced, will also feature archival content of several Broadway productions preserved in the archive, including the newly announced Angela Bassett and Samuel L. Jackson in The Mountaintop; Bette Midler in I'll Eat You Last; Brian Stokes Mitchell in Ragtime; Kelli O'Hara and Paulo Szot in South Pacific; Christian Borle and Tim Curry in Spamalot; and Craig Bierko and Rebecca Luker in The Music Man.

Viewers can expect to see Glover, Jimmy Tate, Choclattjared, and Raymond King in Bring in 'da Noise, Bring in 'da Funk; Meryl Streep, Marcia Gay Harden, and Larry Pine in The Seagull; Lin-Manuel Miranda, Robin de Jesús, Christopher Jackson, Karen Olivo, Andréa Burns, Janet Dacal, Eliseo Román, and Seth Stewart in In the Heights; and Glenn Close in Sunset Boulevard.

Watch Stephanie J. Block Belt Out She Loves Me's 'A Trip to the Library' for NYPL I'm Still Here Benefit

Also taking part: Annaleigh Ashford (Sunday in the Park with George), Alexander Bello (Caroline, or Change), Laura Benanti (She Loves Me), Malik Bilbrew, Alexandra Billings (Wicked), Susan Birkenhead (Jelly’s Last Jam), Shay Bland, Alex Brightman (Beetlejuice), Matthew Broderick (Plaza Suite), Krystal Joy Brown (Hamilton), David Burtka (Gypsy), Sammi Cannold (Endlings), Ayodele Casel (Chasing Magic), Victoria Clark (The Light in the Piazza), Max Clayton (Moulin Rouge!), Calvin L. Cooper (Mrs. Doubtfire), DeMarius Copes (Mean Girls), Trip Cullman (Choir Boy), Taeler Elyse Cyrus (Hello, Dolly!), Quentin Earl Darrington (Once on This Island), Robin de Jesús (In the Heights), André De Shields (Hadestown), Frank DiLella (NY1), Derek Ege, Amina Faye, Harvey Fierstein (La Cage aux Folles), Leslie Donna Flesner (Tootsie), Chelsea P. Freeman, Joel Grey (Cabaret), Ryan J. Haddad (The Politician), Sheldon Harnick (Fiddler on the Roof), James Harkness (Ain’t Too Proud), Marcy Harriell (Company), Neil Patrick Harris (Hedwig and the Angry Inch), Mark Harris (Mike Nichols: A Life), David Henry Hwang (M. Butterfly), Cassondra James (Once on This Island), Marcus Paul James (Rent), Taylor Iman Jones (Hamilton), Maya Kazzaz, Tom Kirdahy (The Inheritance), Hilary Knight, Michael John LaChiusa (The Wild Party), Norman Lear (Good Times), Baayork Lee (A Chorus Line), Sondra Lee (Hello, Dolly!), Telly Leung (Aladdin), Ashley Loren (Moulin Rouge!), Allen René Louis, Brittney Mack (Six), Taylor Mac (Gary: A Sequel to Titus Andronicus), Morgan Marcell, Aaron Marcellus, Joan Marcus, Michael Mayer (Spring Awakening), Sarah Meahl, Joanna Merlin (Fiddler on the Roof), Ruthie Ann Miles (Sunday in the Park with George), Bonnie Milligan (Head Over Heels), Rita Moreno (West Side Story), Leilani Patao (Garden Girl), Nova Payton (Dreamgirls), Joel Perez (Kiss My Aztec), Bernadette Peters (Into the Woods), Tonya Pinkins (Jelly’s Last Jam), Jacoby Pruitt, Sam Quinn, Phylicia Rashad (A Raisin in the Sun), Jelani Remy (Ain’t Too Proud), Leslie Rodriguez Kritzer (Beetlejuice), George Salazar (Be More Chill), Marilyn Saunders (Company), Marcus Scott (Fidelio), Rashidra Scott (Company), Rona Siddiqui (Tales of a Halfghan), Ahmad Simmons, Rebecca Taichman (Indecent), Jeanine Tesori (Fun Home), Bobby Conte Thornton (Company), Sergio Trujillo (On Your Feet), Kei Tsuruharatani (Jagged Little Pill), Ben Vereen (Pippin), Jack Viertel, Christopher Vo, Paula Vogel (Indecent), Nik Walker (Ain’t Too Proud), Shannon Fiona Weir, Helen Marla White (Ain’t Misbehavin’), Natasha Yvette Williams (Orange Is the New Black), and Ricardo Zayas (Hamilton).

The program will also feature interviews with Broadway artists plus the re-conception of classic musical theatre songs, including "A Trip to the Library," “Wheels of a Dream,” “Another Hundred People,” “Love Will Find a Way,” and, fittingly, “I’m Still Here.”

READ: The Woman Who Fought to Record and Preserve Broadway Shows

The virtual benefit is produced and conceived by Boardman and Doran and features direction by Steve Broadnax, Sammi Cannold, Nick Corley, Ty Defoe, Lorin Latarro, Mia Walker, and Jason Michael Webb, choreography by Ayodele Casel, Latarro, and Ray Mercer, with new music arranged by Rachel Dean and Annastasia Victory, arrangements and orchestrations by Brian Usifer, and casting by Peter Van Dam at Tara Rubin Casting.

Tickets are donate-what-you-can, with a recommendation of at least $19.31 in honor of the year the division was founded. Visit StillHereat90.com.

#Savion Glover #Jason Robert Brown #George C. Wolfe #Harold Prince #Priscilla Lopez #NYPL #New York Public Library for the Performing Arts #new york public library #Billy Rose Theatre Division #Lincoln Center #Theatre on Film and Tape Archive #TOFT #Marcus Scott #MarcusScott #WriteMarcus #Write Marcus #playwright #theatre #theater #musical theater #musical theatre

[miniconsuffrage]

yeah that looks about right

#chess #chess the musical #just looking at whats in the toft archive and crying bc i'll never be able to see any of it :) #they have broadway And sydney.....