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Post by richey on Oct 23, 2021 10:45:24 GMT
Anyone else seen the clip of last night's reopening on Broadway? Someone's filmed the chandelier reveal,at the point from "..illumination gentlemen" and the whole audience goes beserk, screaming, cheering and applauding. It's on a par with the Wicked reopening.
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Post by BurlyBeaR on Oct 23, 2021 10:59:53 GMT
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Post by david on Oct 23, 2021 11:08:38 GMT
Has ALW got a new job lined up?
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Post by ncbears on Oct 23, 2021 15:00:52 GMT
Has ALW got a new job lined up? Another clip |
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Post by scarpia on Oct 25, 2021 13:34:46 GMT
Perhaps the composer or lyricist have never been totally happy with the flow of the lines and took the opportunity to change them. The show isn’t a bit of fossil in a museum, it’s a living breathing thing. It is written in the ‘Story of Rent’ book that Jonathan Larson was unhappy with one line and planned to change it before his untimely death, and I often wonder what it was and if he ever communicated it to anyone else. If people want identikit performances every time they should just put the cd on. I really see nothing wrong with tightening up loose linguistics or clumsy phrasing. I'd argue that "I hardly thought we'd be so blessed" is significantly more clumsy than "I had rather hoped that you would come". Another change I dislike is Christine falling to the floor in Music of the Night. I assume the sole reason is because of Seth Sklar-Heyn being brought in from the broadway version. In relation to Broadway, has there been any changes? I notice that Seth has been promoted there too - prior to lockdown he was Production Supervisor, he's now been promoted to director on the broadway version also, implying that some changes may have occurred there too? I also think saying "Well of course, sir" is a strange change from "Be my guest, sir", which I much prefer. BUT I like "distant through all the encores" instead of "distant through all the applause"; it means that properly rhymes whatever variant of English is being used. Seth has enacted changes to Broadway, yes. But nothing as drastic as London. The main changes are the lyric changes (Broadway now uses the same script as London) and the excision of the doubles from the title song (BUT, unlike London, there is no bizarre prolonged pause and the candelabra still function as they always did). And PoNR has been restaged very slightly in a way that doesn't make much sense to me (i.e. Christine seems to want to be on stage and seem to know it's the Phantom the whole time). Other than that, there are some very minor changes that no-one except superfine would notice (e.g. the absence of a bed behind the curtain where Piangi dies; the strange use of the red lasso in Magic Lasso which makes no sense, as why would Buquet have the Phantom's actual lasso)? Otherwise Broadway is intact and glorious with a much stronger cast, Maria Björnson's full sets with a gorgeous proscenium, Hal Prince's black box, and an orchestra that sounds like this: |
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Post by anthony on Oct 25, 2021 13:44:23 GMT
I'd argue that "I hardly thought we'd be so blessed" is significantly more clumsy than "I had rather hoped that you would come". Another change I dislike is Christine falling to the floor in Music of the Night. I assume the sole reason is because of Seth Sklar-Heyn being brought in from the broadway version. In relation to Broadway, has there been any changes? I notice that Seth has been promoted there too - prior to lockdown he was Production Supervisor, he's now been promoted to director on the broadway version also, implying that some changes may have occurred there too? I also think saying "Well of course, sir" is a strange change from "Be my guest, sir", which I much prefer. BUT I like "distant through all the encores" instead of "distant through all the applause"; it means that properly rhymes whatever variant of English is being used. Seth has enacted changes to Broadway, yes. But nothing as drastic as London. The main changes are the lyric changes (Broadway now uses the same script as London) and the excision of the doubles from the title song (BUT, unlike London, there is no bizarre prolonged pause and the candelabra still function as they always did). And PoNR has been restaged very slightly in a way that doesn't make much sense to me (i.e. Christine seems to want to be on stage and seem to know it's the Phantom the whole time). Other than that, there are some very minor changes that no-one except superfine would notice (e.g. the absence of a bed behind the curtain where Piangi dies; the strange use of the red lasso in Magic Lasso which makes no sense, as why would Buquet have the Phantom's actual lasso)? Otherwise Broadway is intact and glorious with a much stronger cast, Maria Björnson's full sets with a gorgeous proscenium, Hal Prince's black box, and an orchestra that sounds like this: Christine does this in London too - I thought it was a choice of Lucy (as many Christine's have altered how they react when they realise it's Phantom over the years.) In PONR, she is much more into it than Phantom, even. She know it's him from really early in and even smiles when she feels the mask. At yesterday's matinee, after Christine's bit, Christine usually feels the mask, panics, and the Phantom drags her to centre-stage. but this doesn't happen now - once Christine touches the mask, it's the Phantom who panics and it is Christine who is assertive and literally chases him across the stage. It doesn't then quite make sense that Christine then chooses to unmask him, however. Funnily, when I saw it in August, I said that I really liked this change, but on reflection, I don't think I do. It sort of contradicts Christine's actions from the unmasking onwards. edit: as a side note, there is a bed behind the curtain in London where Piangi dies. If I recall correctly, Piangi is then found lying on the bed, but yesterday Greg was standing up with his tongue hanging out of his mouth... I'd also be interested to know whether or not Piangi being interested in literally every single male member of the ensemble is a canon change, or whether or not it's just something Greg does... |
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Post by scarpia on Oct 25, 2021 17:00:13 GMT
Agreed - it doesn't make sense. It's a Seth change rather than a Lucy decision. But it doesn't work IMHO. For the same reason they've removed the 'I can't! / I won't do it' shout that Christine used to do at the end of 'Twisted Every Way'. Maybe they thought it would give Christine agency or something...:S
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Post by operaangel on Oct 26, 2021 8:05:51 GMT
I also think saying "Well of course, sir" is a strange change from "Be my guest, sir", which I much prefer. BUT I like "distant through all the encores" instead of "distant through all the applause"; it means that properly rhymes whatever variant of English is being used. Seth has enacted changes to Broadway, yes. But nothing as drastic as London. The main changes are the lyric changes (Broadway now uses the same script as London) and the excision of the doubles from the title song (BUT, unlike London, there is no bizarre prolonged pause and the candelabra still function as they always did). And PoNR has been restaged very slightly in a way that doesn't make much sense to me (i.e. Christine seems to want to be on stage and seem to know it's the Phantom the whole time). Other than that, there are some very minor changes that no-one except superfine would notice (e.g. the absence of a bed behind the curtain where Piangi dies; the strange use of the red lasso in Magic Lasso which makes no sense, as why would Buquet have the Phantom's actual lasso)? Otherwise Broadway is intact and glorious with a much stronger cast, Maria Björnson's full sets with a gorgeous proscenium, Hal Prince's black box, and an orchestra that sounds like this: Christine does this in London too - I thought it was a choice of Lucy (as many Christine's have altered how they react when they realise it's Phantom over the years.) In PONR, she is much more into it than Phantom, even. She know it's him from really early in and even smiles when she feels the mask. At yesterday's matinee, after Christine's bit, Christine usually feels the mask, panics, and the Phantom drags her to centre-stage. but this doesn't happen now - once Christine touches the mask, it's the Phantom who panics and it is Christine who is assertive and literally chases him across the stage. It doesn't then quite make sense that Christine then chooses to unmask him, however. Funnily, when I saw it in August, I said that I really liked this change, but on reflection, I don't think I do. It sort of contradicts Christine's actions from the unmasking onwards. edit: as a side note, there is a bed behind the curtain in London where Piangi dies. If I recall correctly, Piangi is then found lying on the bed, but yesterday Greg was standing up with his tongue hanging out of his mouth... I'd also be interested to know whether or not Piangi being interested in literally every single male member of the ensemble is a canon change, or whether or not it's just something Greg does... While the choreography and staging of PoNR has probably been tweaked more than any other number, even before Hal and Gillian's passing, I've never liked the increasingly confrontational approach taken over the years, with Christine realizing so early on that it's the Phantom that she literally has to be dragged through the final bars. I'm far more partial to the interpretation Sarah Brightman used, at least during her initial London run in the show. While the only stage direction in the original libretto states that Christine is supposed to be startled by the sound of the Phantom's voice when he first sings, Sarah plays the scene as if she doesn't know it's the Phantom until they reach the very end of the song. She doesn't feel his mask (or at least pretends not to) when she leans over him, so when he takes her by the wrists at the climax, she goes willingly rather than gets dragged. I personally think this adds more romantic tension to the scene, as there is more ambiguity. Is Christine just getting into her role as Aminta, is she just leading the Phantom on, or does she really want to give herself up to his overtures? It's only at the very end that we see that she's been fooled, and that's why she angrily flips back his hood and reveals his mask. While I'm curious to see the new staging, it seems like Christine now is toying with the Phantom throughout the whole thing, which, while making me feel more sorry for him, seems to make her less sympathetic than she should be. |
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520 posts
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Post by anthony on Oct 27, 2021 10:05:17 GMT
Apparently they've changed the staging on Broadway after the mirror scene. Phantom and Christine no longer cross the stage, instead it's Raoul and Giry This happens in London now (it's the transition everyone is complaining about!) Mme Giry with the ballet girls pass Raoul. Raoul and Mme Giry stop awkwardly and stare at each other for about 30 seconds. |
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Post by scarpia on Oct 28, 2021 18:04:31 GMT
Apparently they've changed the staging on Broadway after the mirror scene. Phantom and Christine no longer cross the stage, instead it's Raoul and Giry This happens in London now (it's the transition everyone is complaining about!) Mme Giry with the ballet girls pass Raoul. Raoul and Mme Giry stop awkwardly and stare at each other for about 30 seconds. It's fortunately not quite as bad as it is London, as there is no pause that goes on for eternity that ruins the segue from The Mirror into the title song. |
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Post by anthony on Oct 28, 2021 23:07:00 GMT
Someone has uploaded the new PONR in full: From about 4:50, Christine is aware it's the Phantom and then decides to... toy with him? The more I think about it, the weirder the staging becomes. The title song and MOTN has been uploaded in full by the same person... the moving candelabras  ! They genuinely do add so much to the scene... |
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Post by mrbarnaby on Oct 31, 2021 21:56:42 GMT
Someone has uploaded the new PONR in full: From about 4:50, Christine is aware it's the Phantom and then decides to... toy with him? The more I think about it, the weirder the staging becomes. The title song and MOTN has been uploaded in full by the same person... the moving candelabras ! They genuinely do add so much to the scene... Oh yes let’s condone sitting in the front rows and filming a show. Jesus. |
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Post by inthenose on Oct 31, 2021 22:17:53 GMT
Someone has uploaded the new PONR in full: From about 4:50, Christine is aware it's the Phantom and then decides to... toy with him? The more I think about it, the weirder the staging becomes. The title song and MOTN has been uploaded in full by the same person... the moving candelabras ! They genuinely do add so much to the scene... Oh yes let’s condone sitting in the front rows and filming a show. Jesus. Interesting choice of words. In medieval times, blasphemy by "using the Lord's name in vain" would be punished with either a fine, imprisonment or, until 1676, death. You would have been shunned by your community, prevented from working and likely cast out from within city walls, inevitably dying amongst the peasantry from disease or starvation. If people hadn't earned the right to free expression by questioning the accepted narrative, that is what would still be happening. These people would've been called blasphemers and heretics. Imagine a Twitter cancellation with pitchforks. Of course, I take no offence at your comment as we live in a society where you can freely blaspheme and I can live freely practicing any religion I choose. God bless free speech. |
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Post by anthony on Nov 1, 2021 16:48:57 GMT
Someone has uploaded the new PONR in full: From about 4:50, Christine is aware it's the Phantom and then decides to... toy with him? The more I think about it, the weirder the staging becomes. The title song and MOTN has been uploaded in full by the same person... the moving candelabras ! They genuinely do add so much to the scene... Oh yes let’s condone sitting in the front rows and filming a show. Jesus. I never said I condone it. Although, if someone does it and posts it, I'm not going to not watch/discuss it........... |
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Post by BurlyBeaR on Nov 1, 2021 19:52:21 GMT
What a rubbish seat! I don’t reckon much to that Phantom either. Forum rules about clips are here. The ones above are ok. |
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Post by anthony on Aug 18, 2022 17:20:33 GMT
Phantom is looking for a "replacement Raoul" (odd phrasing, but that's how it is on the advert!) through social media... Just need to email a clip of you singing All I Ask Of You to the casting director.
You must be handsome, it says... I'd love to know how this is judged.
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Post by Mark on Sept 16, 2022 18:03:51 GMT
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Post by couldileaveyou on Sept 16, 2022 18:09:20 GMT
I wouldn't be too surprised, it still does good business during the summer but struggles a bit during the rest of the year. Still, I thought it had a couple more years left
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Post by ShoreditchTom on Sept 16, 2022 18:57:38 GMT
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Post by anthony on Sept 16, 2022 19:20:17 GMT
RUG rep denies its closing according to the article. Let’s be real, if it closes, it’ll be for the cheaper version. |
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Post by LaLuPone on Sept 16, 2022 19:20:19 GMT
I just audibly gasped.
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Post by mattnyc on Sept 16, 2022 19:36:35 GMT
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Post by mattnyc on Sept 16, 2022 20:25:37 GMT
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Post by oxfordsimon on Sept 16, 2022 20:28:50 GMT
I saw it on Broadway in 1996. It was looking tired then.
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! They genuinely do add so much to the scene...
