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Post by Deleted on Jul 11, 2019 12:05:16 GMT
Finally found those designs but not sure how to upload the files here so had to tweet a few images and link to that.. Are these the ones you were referring to theatremonkey? Phantom Posters ukpuppetboy - you can just post a link to a tweet without 'embedding' and it will display the full tweet here.
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Post by Deleted on Jul 11, 2019 12:07:30 GMT
Also, very interesting post. Possibly getting into territory for the original Phantom thread rather than tour (for people with a little OCD for tidiness). Glad the artwork developed and was refined. Never been a fan of the hand with the rose. The second image looks like the Phantom is smoking a cigar! Imagine if they'd ran with version 1 of the artwork!
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Post by scarpia on Jul 11, 2019 14:23:11 GMT
I love this show so much. If anybody has any similar, rare and interesting stories to share (either about the London production, or on tour) please do share, I’d love to read! I’ve NEVER managed to get an answer I was happy with as to why only the UK productions have Raoul singing in harmony in “Wandering Child” whilst every other international production has the rather jarring “Leave her” interruption. Back when Peter Land was in the London cast he suggested that ALW wanted to keep something that was specific to the original London show - (this was before the first Manchester/UK tour which I believe also kept the trio). It always seemed a little odd that THIS (and Phantom catching Christine at the end of Music of the Night instead of letting her sleep on the damp concrete floor infront of the mirror overnight!) would be THE moment chosen to be specific to London. Not that I have any reason to doubt Mr Land’s insider knowledge. He was an amazing Andre after all.. The times I have met Hal Prince I have been more interested in why he cut some of the moments in previews, and if he could put them back in. That masquerade disappearance (as originally conceived) would have been awesome. Broadway now does do the trio (it has for a few years now), but retains the 'Leave her' bit as well. I was told way, way back, that this was down to Michael Crawford wanting the scene to be a duet when it transferred to Broadway. But when I asked him about this a couple of years ago in person, he said he couldn't remember. The reason for the different MoTN staging is because Crawford did his back in or had a hernia or something like that when he went to Broadway, and then they froze the show there.
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Post by Oleanna on Jul 11, 2019 15:05:11 GMT
Finally found those designs but not sure how to upload the files here so had to tweet a few images and link to that.. Are these the ones you were referring to theatremonkey? Phantom PostersThanks so much for sharing! What was the original Masquerade disappearance?
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Post by scarpia on Jul 12, 2019 10:07:40 GMT
Finally found those designs but not sure how to upload the files here so had to tweet a few images and link to that.. Are these the ones you were referring to theatremonkey? Phantom PostersThanks so much for sharing! What was the original Masquerade disappearance? Paul Daniels originally construed a trick whereby the Phantom would disappear similar to as he does now, but without you really seeing him go down into the trap door and the Red Death costume would be left behind on stage. There wasn't enough time to perfect it and Hal Prince didn't like the idea anyway as he wanted the audience to be able to see the Phantom go into the underworld, which I think was the right decision.
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Post by Deleted on Jul 12, 2019 10:14:00 GMT
Thanks so much for sharing! What was the original Masquerade disappearance? Paul Daniels originally construed a trick whereby the Phantom would disappear similar to as he does now, but without you really seeing him go down into the trap door and the Red Death costume would be left behind on stage. There wasn't enough time to perfect it and Hal Prince didn't like the idea anyway as he wanted the audience to be able to see the Phantom go into the underworld, which I think was the right decision. Ooh, sounds like the end of Charlie & the Chocolate Factory!
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Post by Oleanna on Jul 12, 2019 10:19:22 GMT
I suppose a similar effect was used at the end of the Laurence Connor production...The Phantom wraps himself in his cloak, and when Meg touches the cloak, it falls to the floor, The Phantom no longer being inside it.
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Post by ukpuppetboy on Jul 12, 2019 20:18:45 GMT
I suppose a similar effect was used at the end of the Laurence Connor production...The Phantom wraps himself in his cloak, and when Meg touches the cloak, it falls to the floor, The Phantom no longer being inside it. Indeed. It was an intentional nod to that original concept.
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Post by Deleted on Jul 23, 2019 11:44:32 GMT
So, with the announcement of a new Phantom in London and not seeing David Thaxton take the titular role, could we see him take on the tour?
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Post by indis on Jul 23, 2019 15:29:37 GMT
when will this cast be announced?
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Post by Deleted on Jul 23, 2019 15:40:31 GMT
Not for a while I don't think indis. They've only recently had the open call auditions, so another couple of rounds to go yet. Rehearsals, realistically, will begin in January. I suspect after the new London cast have begun in September we may get some principals. Could be very wrong though.
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Post by carmella1 on Aug 22, 2019 4:40:05 GMT
Any rumors on this?
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Post by biffo on Aug 25, 2019 10:24:45 GMT
I think its wonderful news that Phantom embarks on a new tour in 2020. However, what makes this musical so special to me, equally important to the wonderful cast and sets, is of course, the orchestrations. Far too often this show has gone out on various tours throughout the World ( incl. Previous UK tours ) where the orchestra is cut from 20+ musicians, helping to create the lushious sounds, to 14/16.... I appreciate that taking so many musicians on tour is just not financially viable, but to bastardise the scoring so much ( replacing some instruments with samples on keyboards ) is simply awful, for this show. It doesnt work. I sincerely hope that Cameron Mackintosh stick to their word of using the 'original' production, by not reducing the size of the orchestra to a small circus style pit 'band'!! Please!!!
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Post by ariadnelucia on Sept 1, 2019 20:27:34 GMT
Hey, so weird story with a question. I know nothing of musical theatre. I was training for opera years ago but ran away to join an orphanage (by which I mean I got a PhD in an unrelated subject). Anyways, I did actually go to the open auditions for this and it was my first serious audition of any kind for ... well, not to give it away but a decade. So, I did make a friend in line and we exchanged info. She messaged me the other day to say that the casting directors had sent her a rejection email. Pretty classy given it was an open audition and there must have been about six hundred hopefuls. I haven't heard anything at all yet. No callback, no rejection, crickets. According to the notice callbacks would have been through August. So my feeling is that I didn't get it but, why would they send my friend a rejection and not me? I did check and my contact info is clearly printed on my CV so I doubt it's that. There was also some talk that the audition process for this show is pretty slow.
So for those of you who've been through the ringer a few times ... is this typical? Is there any meaning to it? Should I remain hopeful? Should I - god forbid - follow up?
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Post by ariadnelucia on Sept 2, 2019 16:03:16 GMT
I did check my spam folder. =( There's nothing.
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Post by BurlyBeaR on Sept 2, 2019 17:45:28 GMT
Maybe there’s a “maybe” list?
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Post by ariadnelucia on Sept 2, 2019 21:44:54 GMT
Hahaha well as I said I've done nothing but private study for about a decade so if they DID just let me drop off the face of the earth I really can't blame them. I thought I did okay but I was SO nervous and my CV's pretty pathetic. That said, I hope BurlyBeaR's right on this ... The casting company is really well respected so I'm kinda thinking they probably know what they're doing and perhaps I'll hear from them one way or the other soon? But not being well versed in this business I have no idea what to think. Or what if anything I should do for that matter.
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Post by xanady on Sept 3, 2019 22:19:19 GMT
Whatever happens with Phantom,please don’t be disheartened,keep auditioning all over the place....I have many,many former Drama students who have had varying degrees of success in the Arts,but the one thing they all had in common was determination and perseverance...Good Luck to you and hope it all works out...keep on keeping on!
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Post by BurlyBeaR on Sept 4, 2019 13:29:46 GMT
Hahaha well as I said I've done nothing but private study for about a decade so if they DID just let me drop off the face of the earth I really can't blame them. I thought I did okay but I was SO nervous and my CV's pretty pathetic. That said, I hope BurlyBeaR's right on this ... The casting company is really well respected so I'm kinda thinking they probably know what they're doing and perhaps I'll hear from them one way or the other soon? But not being well versed in this business I have no idea what to think. Or what if anything I should do for that matter. What made you want to audition, given that you’ve gone in a different direction career wise? Do you particularly like this show or was it another reason? Or just one of those mad, spur of the moment things? And if you do get called back and offered a part, will you take it? A tour on the scale could be gruelling for someone who hasn’t performed before!
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Post by Deleted on Sept 8, 2019 14:57:14 GMT
Ticket sales for this seem to have slumped massively in Manchester - unfortunately... Les Mis was doing a lot better at this point in time, although the Big Brexit effect maybe taking hold.
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Post by Deleted on Sept 8, 2019 15:07:50 GMT
Tickets haven't gone on sale for the Edinburgh run yet but I'm anticipating a Les Mis-style sellout, as it is a shorter run, and a more intimate sized theatre than the cavernous Playhouse.
This is the third Cam Mack tour in a row that has avoided the Playhouse. I guess he must prefer a guaranteed sellout in a smaller space rather than risk not selling out in a massive theatre.
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Post by ariadnelucia on Sept 11, 2019 23:20:04 GMT
What made you want to audition, given that you’ve gone in a different direction career wise? Do you particularly like this show or was it another reason? Or just one of those mad, spur of the moment things? And if you do get called back and offered a part, will you take it? A tour on the scale could be gruelling for someone who hasn’t performed before! When I was a kid I had the show memorized to the point that I would sing it and ... Puccini ... in my sleep. It was a bit of a spur of the moment but it was also one of those things that I knew if I didn't do I'd regret it for the rest of my life. As for taking a part if offered I was mulling over that and basically what I came down to is it's an 18 month contract so if it were a reasonably big part absolutely yes. Only thing that could haul me away from that is national public office and that seems somewhat unlikely given I'm not running. If it were a smaller or ensemble part I'd have to make sure it's financially feasible. Given that I'm currently sans job anything is more financially feasible but if I had to choose between an ensemble part in this tour and a Post-Doc at for example the National History Museum or UCL I'd go with the Post-Doc.
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Post by BurlyBeaR on Sept 11, 2019 23:35:34 GMT
What made you want to audition, given that you’ve gone in a different direction career wise? Do you particularly like this show or was it another reason? Or just one of those mad, spur of the moment things? And if you do get called back and offered a part, will you take it? A tour on the scale could be gruelling for someone who hasn’t performed before! When I was a kid I had the show memorized to the point that I would sing it and ... Puccini ... in my sleep. It was a bit of a spur of the moment but it was also one of those things that I knew if I didn't do I'd regret it for the rest of my life. As for taking a part if offered I was mulling over that and basically what I came down to is it's an 18 month contract so if it were a reasonably big part absolutely yes. Only thing that could haul me away from that is national public office and that seems somewhat unlikely given I'm not running. If it were a smaller or ensemble part I'd have to make sure it's financially feasible. Given that I'm currently sans job anything is more financially feasible but if I had to choose between an ensemble part in this tour and a Post-Doc at for example the National History Museum or UCL I'd go with the Post-Doc. Blimey, loving you answering questions so honestly! I assume you still haven’t heard back so all of my are fingers crossed. 🤞🏻
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Post by indis on Sept 14, 2019 6:21:44 GMT
would never buy tickets without a cast
maybe Amy Manford will do the tour after ending her run in London?
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Post by Theatrefan48 on Sept 26, 2019 21:31:56 GMT
Any news on the casting for this? I heard they were looking for a BAME phantom and Christine?
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Post by carmella1 on Sept 26, 2019 22:03:33 GMT
What is BAME?
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Post by TheatreTwittic on Sept 26, 2019 22:27:21 GMT
Ticket sales for this seem to have slumped massively in Manchester - unfortunately... Les Mis was doing a lot better at this point in time, although the Big Brexit effect maybe taking hold. I'm starting to wonder whether the regions are too saturated at the moment with the mega musicals that have mega price tags to match. Les Mis, Phantom, Lion King, Mama Mia and that just covers some of the largest ones. Only a limited number of people will be able to see most / all of them. Closing weekend in Manchester for this is barely 1/3 full at the moment and I wouldn't be surprised if similar happened across other venues. Curve is very close to sell out but their price points started as low as £15 and their capacity is half the size of the Bham Hipp / Manc Opera House
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Post by cheesy116 on Sept 26, 2019 22:28:08 GMT
(I had to google) Black, Asian and Minority Ethnic.
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Post by carmella1 on Sept 27, 2019 15:56:59 GMT
Thanks cheesy116. I did not think to google. A new person using letters I never heard of.
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Post by Deleted on Sept 27, 2019 16:33:30 GMT
Ticket sales for this seem to have slumped massively in Manchester - unfortunately... Les Mis was doing a lot better at this point in time, although the Big Brexit effect maybe taking hold. I'm starting to wonder whether the regions are too saturated at the moment with the mega musicals that have mega price tags to match. Les Mis, Phantom, Lion King, Mama Mia and that just covers some of the largest ones. Only a limited number of people will be able to see most / all of them. Closing weekend in Manchester for this is barely 1/3 full at the moment and I wouldn't be surprised if similar happened across other venues. Curve is very close to sell out but their price points started as low as £15 and their capacity is half the size of the Bham Hipp / Manc Opera House Just had a quick look at the seating plans for Manchester. I was really surprised by how slowly this has sold - most performances maybe 1/3 full at mo? Les Mis sold much faster. Sure will be more packed when it arrives but I had expected this to be pretty much a sell out. The big Musicals normally do incredibly well in Manchester so not sure what's going on - perhaps as you say there's a few mega musicals on at mo (though Mamma Mia mega in name and concept rather than staging) and people don't wanna fork out for all. Curve is a much shorter run in a theatre half the size so these things always sell out there.
I do think in the last decade+ however Les Mis has shot past Phantom in terms of popularity. Even in London Les Mis generally sells out in advance whereas Phantom generally has good availability up until the day.
And maybe things are slowing down in Manchester. I know & Juliet is an unknown entity but very surprised to see the Opera House less than half full every night.
Wonder how Back To The Future is doing.....
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