London. 19/01/2010 matinee. David Shannon, Gina Beck, Will Barratt (u/s)

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London. 19/01/2010 matinee. David Shannon, Gina Beck, Will Barratt (u/s)

Post  Lucy on Wed Jan 27, 2010 5:23 pm

19th January 2010, matinee. London.

David Shannon,
Gina Beck,
Will Barratt (u/s Raoul)
Rebecca Lock
Tim Morgan (u/s Firmin)
Gareth Snook
Nicky Adams
Rohan Tickell
Emma Harris

Er, hello first of all! Very Happy I posted a little bit on previous incarnations of the site but very infrequently and usually just reviews. I’ve been regularly lurking forever though! Who knows, maybe this time I’ll manage to keep posting! I’ve left this a bit too long after the show to write the review so unfortunately it’s a bit fuzzier than I would like! It may be a bit stilted in places as I forget what happened next, hope it makes sense! Still managed to be exceedingly long though! I’d seen Gina Beck once last year and Gareth Snook and Rohan Tickell several times, the rest of the principal cast were new to me though.

Hannibal Rehearsals
Oh, I love watching this scene from the front row, never get tired of it, there’s so much going on! Wow, I loved Rebecca Lock as Carlotta! Gorgeous voice and very diva-ish without being a caricature! I’ve always liked Rohan’s Piangi but was disappointed he didn’t do the extra long ‘haaaaaaaas’ whilst turning from side to side that I always found really hilarious! I liked how Nicky Adams adjusted a ballet girl’s hand mid dance routine when she happened to be next to her. Not sure what to think of her Mme Giry otherwise, not overly mad on the accent. Tim Morgan’s Firmin is super grumpy, a very amusingly droll and abrupt ‘an honour, Signor’ to Piangi before immediately turning his back on him and his outstretched hand! Piangi later looked extra smug before he said ‘amateurs’, perhaps remembering that moment!

Think of Me
Emma Harris’s Meg looked extremely pleased with herself when she suggested Christine! Gina really is a picture-perfect Christine! Very realistic nervousness at the beginning and looking frustrated with herself, she didn’t sing ‘try’ at all, her voice broke completely. She looked so overjoyed when she got it right though! She has a lovely voice and her cadenza was wow! Will Barratt seriously reminded me of one of my friends so the whole way through I was slightly perturbed by his performance through no fault of his own! He’s a very ‘upright’ and ‘proper’ and noble Raoul if that makes sense!

Angel of Music
I really liked Emma Harris’s Meg, she played her quite grown up and self possessed, not as a little girl. She also has a great voice and the harmonies with Christine were lovely!

Little Lotte
It’s a small detail but I really like how Gina reads out the letter! She scans it with her eyes in between the phrases as if the letter contains more but she’s only picking out those words to say! I’ve always thought that would be a rather strange note to receive! She also grabbed at the letter after Raoul first speaks and then put it down as if embarrassed! He accepted the Angel of Music business quite convincingly, it was clear he thought she meant it as a metaphor in terms of how well she sang.

The Mirror
David Shannon has a very nice Phantom-y voice, quite smooth and silky with an edge to it. He didn’t sound quite as angry as I like in the opening lines but he looked at her really intently and proudly from the mirror as she sang. And I loved the way he sang ‘I am your angel of music…’, it was very hypnotic and this was clearly the effect it had on Christine. There was something almost sexual about the way you could see her fighting it and looking scared of it but also desiring it then giving in!

The Phantom of the Opera
The descent down the travelators was a bit more aggressive than I recall seeing it before. A lot of struggling and ‘glancing behind’! At ‘were both in you’ Gina didn’t do the traditional turn and raise hand but just glanced back at him. I really liked her acting during the cadenza, she very convincingly acted as though she’d never sung like this before and this voice was just coming out of her in the Phantom’s presence. At first she looked scared of it but then amazed and ecstatic!

Music of the Night
I feel most Phantoms MotNs can vaguely fall into categories of ‘seduction’ or ‘lullaby’ or somewhere between the two. I didn’t feel like David’s worked in either of these! Instead I felt like it was almost more like a lecture! silent It seemed like he wanted her to take notice of everything he was saying and that each line was imparting important information to her – which can be true in terms of seductive and other types of Phantoms obviously, but there was something about the way he delivered it! It was a slightly different but interesting way of looking at it, especially as up to this point their relationship has largely been as teacher and student so it kind of made sense. But the trouble was I didn’t really get a sense of what he wanted from Christine. There wasn’t much sense of desire for her in the song (other than at the ‘floating, falling’ pose) and I think a sense of desire and/or love is really critical in this scene to make him sympathetic enough later.

Some other reviews of Shannon have said they felt he held back vocally, I didn’t really feel that - his money notes were great and he seemed to be giving it all. If anything I felt he held back physically. He held a rather awkward stance, moving around her with his hands at his side and across the stage in a way that reminded me of a lecturer! I don’t mind a Phantom moving awkwardly around Christine because it makes sense but there was something that didn’t quite work for me here. An interesting point, at the portcullis he didn’t do the traditional move, spreading out his right arm and opening out; instead he remained facing Christine, with his body hunched over the portcullis. Perhaps worth looking at in terms of Gillian Lynne’s thoughts on that moment of choreography! Razz

I liked how at ‘turn your face away’ he not only turned Christine’s face away, but at ‘garish light of day’ he held up his left hand to cover his mask! And he seemed quite shocked at the effect ‘soar’ had on Christine - leaving her half hypnotised, half looking on the verge of an orgasm! It seemed to jerk him out of the ‘informative’ style into a softer, more emotive style for a few lines.

Stranger than You Dreamt It
David didn’t seem overtly angry or enraged. There wasn’t really any weeping or raging. I couldn’t see his facial expression for most of it though as I was on the wrong side of the stage. I got the impression he was angry but not distraught, and angrier at the fact that his plans had gone wrong and that Christine hadn’t done what he had intended her to do than at the fact Christine had seen him, if that makes sense!

Notes/Prima Donna
I was very distracted at the beginning of this because I could see into the wings and see a crew member and some scenery moving about! The interplay between Emma and Gareth was amusing as she sauntered over to the desk and tried to look through the notes! I found it hilarious when at the accusations over who wrote the notes, there was a Mexican wave of head turning as Raoul turned to look at Andre who turned to look at Firmin who turned to look at… nothing and got a crick in the neck! Laughing Rebecca Lock had many fabulous nuances but alas I’ve left this review too long to remember most of them. And I didn’t know who to look at half the time, a fab ensemble!

Il Muto
Rebecca’s toad was exceptionally convincing, I’ve never seen it done so well. She bent double as she did it and I love how she kept “burping” repeatedly even as she was being ushered off stage as though it was uncontrollable and she couldn’t help it. She looked really scared by it too.

The Rooftop
Gina looked truly terrified but she also conveyed the conflicting feelings for the Phantom beautifully. Her ‘soar’ was gooooorgeous. As I’ve said, Will’s Raoul was very noble and proper. I remember his All I Ask of You was very ‘manly’ – for lack of a better word! …perhaps, ‘strong’ would be better! He wasn’t exceptionally tender, quite abrupt in taking off her hood etc, but you could tell he cared about her a lot and she could depend on him. Gina looked overjoyed and radiant throughout, so sweet and happy! An additional note, the orchestra sounded utterly stunning from the front row all through the show but I felt it in this song particularly. I felt quite mushy and happy for them – not that I’m usually stone or anything, but it doesn’t normally affect me as much as that!

All I Ask of You Reprise
David was fabulous here, one of the best angel scenes I’ve seen. His voice resonated with emotion, just heart breaking. Every word was beautiful but also incredibly painful, it was a heart wrenching combination and perfect compromise between good singing and emotional singing. I wish all of his scenes had had this level of emotiveness because it was perfectly pitched.

Interval
Girls behind me were talking about how Raoul and Christine were obviously not really kissing in AIAOY Rolling Eyes , how everyone had told them they shouldn’t see the stage show as it could never live up to the movie Evil or Very Mad, how the Phantom looked really weird and how they knew that no one was really singing but that they were really convincing at miming because it almost looked like they were! Shocked I was somewhat mollified by the fact that they kept saying how much they ‘loved it, loved it loved it’! Ahh audience members, I always get the interesting ones!

Um, can’t remember much of note about Masquerade – Notes II, sorry!

Twisted Every Way
You could understand why Carlotta said ‘she’s mad’ because Gina had a very wild look on her face. In fact I was quite distracted by Carlotta in this scene, she had a most interesting expression on her face, I couldn’t quite work it out. Part shocked sympathy and part working out how to turn it to her advantage, I think!

Don Juan Rehearsals
Heehee, loved how Carlotta held her hand to her ear when Christine sang! Also like how she put her hand to her throat when Mme G reminded her about the possibility of the Phantom’s presence as if remembering the toad effect. And Reyer’s expression when she whacked him on the bottom with her score was priceless! Laughing

Wishing You Were Somehow Here Again
Beautiful, beautiful, beautiful. Perfectly delivered, so sad and emotional. Gina looked so vulnerable and on the verge of tears in the first part. The climax was so powerful, she looked distraught and really about to cry on the final note.

Wandering Child
I do love this scene. The beginning was so gentle and beautiful, I felt so drawn in by it – and by the ‘I am your angel’ lines at end! Very affecting! David didn’t hold the fire-staff – and he also sang ‘fathering gaze’. There was something about his phrasing here that reminded me of Peter Karrie/Colm Wilkinson. Not quite like them, but that staccato effect that they use. I was also reminded of them in a few other places as well.

Seal My Fate
From where I was sitting I could see David climbing down the ladder from the box. Kind of spoilt the omniscient Phantom effect!

Don Juan Triumphant
I am always thoroughly distracted in this scene by Passarino’s tights.

Point of No Return
Unfortunately I was distracted at the beginning of this song by some banging from the back of the stage! Don’t know what was going on but it was quite noisy! Anyway, when I was un-distracted I noticed some serious danger-hands going on! David didn’t touch Gina much on most of the bench segment but when he sat down… well, the theatre was very close to having to kick out all the children from the audience because his hands went veeeeery low! affraid Oh and also, he didn’t use an accent, nearly forgot about that! He sounded all the better for it! This song also suits Gina’s voice perfectly – sometimes Christine’s opening lines can be cringe-worthy but she sounded glorious, probably her best song vocally in the show. When she ran off the bench she looked perturbed for a second but recovered and sang her lines full blast which I liked. Although it can be interesting when Christine falters at these lines it doesn’t always sit right to me because she’s supposed to be in the middle of a performance. She looked thoroughly terrified when she realised it was the Phantom though and he really had to drag her onto the stage. David’s lines were very emotional but she was quite vicious with the de-masking!

Down Once More
Mmm, could have done with a bit more rage for me. Nice ‘hell’ though.

The Lair
Gina ran into the lair ahead of David as if she was running away from him, not that he was dragging her. She seemed really horrified, wrapping her arms around her self and hunched over. He didn’t seem very uncontrolled, there was still something repressed in this scene and I didn’t quite get enough emotion from him as I like in a Phantom. There wasn’t much madness as such, more bitterness. There weren’t really many moments that stood out for me in the main part of the scene. I liked how Gina delivered ‘I gave my mind…’, it seemed so disillusioned and hopeless. Will didn’t struggle a huge amount in the noose, at the kiss he looked horrified but resigned. David really hesitated before releasing him and drew out the threat of the candle, growling and Gina cried out and Will struggled.

The Masquerade reprise next to the monkey was very sad, his voice cracking and the return of the ring was highly emotional. He reached out as if to stroke her hair, then brought his hand away. He said ‘Christine’ so quietly it was barely audible making the ‘I love you’ more poignant. She really looked like she was contemplating staying with him and making an awful decision, she even took a step towards him and hesitated before returning the ring and running off. David was quite quiet after she left, falling to his knees and holding the veil and he remained on his knees for the final line.

Despite the high emotion I didn’t even well up, let alone actually cry, which is a first for me. I’m not sure why. As with the whole of his performance, everything was technically there, but just not coming together or sitting quite right with me. I think I prefer a more highly strung and emotional Phantom than David’s! But there were moments that were fantastic and emotional so maybe I might like him more in a future performance. I also think he didn’t have as good chemistry with Gina as she did with Nic Greenshields, whom I saw her with previously - but then their chemistry was amazing! I’ve really enjoyed her performance both times and think she’s a fabulous Christine. She’s toned down some moments I felt were a bit over-the-top when I saw her last time and she has a really nice nuanced character. As for Will Barratt, unfortunately due to the under-written nature of the character I often have a hard time paying attention to Raouls unless they are exceptionally good (or bad!). But I did enjoy his performance and voice. An abrupt ending to the review, but as I’ve gone on for over 2500 words I won’t drag it out any more!

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Re: London. 19/01/2010 matinee. David Shannon, Gina Beck, Will Barratt (u/s)

Post  SenorSwanky on Wed Jan 27, 2010 6:08 pm

I really want to see Shannon's Phantom because I love what I've heard of his Valjean, and it sounds like he has an interesting take on the role.

Lucy wrote:David didn’t hold the fire-staff
What do you mean? Did he leave it in the cross and only take it out when Raoul arrived?

There was something about his phrasing here that reminded me of Peter Karrie/Colm Wilkinson. Not quite like them, but that staccato effect that they use. I was also reminded of them in a few other places as well.
Not a bad pair to be reminded of.

From where I was sitting I could see David climbing down the ladder from the box.
Huh, I always thought that was a double, not the real Phantom.

Oh and also, he didn’t use an accent, nearly forgot about that! He sounded all the better for it!
Yeah, I hate when Phantoms try to sound like Piangi.

he remained on his knees for the final line.
That's interesting.

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Re: London. 19/01/2010 matinee. David Shannon, Gina Beck, Will Barratt (u/s)

Post  Lucy on Wed Jan 27, 2010 6:52 pm

SenorSwanky wrote:I really want to see Shannon's Phantom because I love what I've heard of his Valjean, and it sounds like he has an interesting take on the role.
I'm not familiar with his Valjean but have heard good things about him in the role. Yes, moments/scenes were definitely interesting, I just wanted more of an emotional impact overall.

Lucy wrote:David didn’t hold the fire-staff
What do you mean? Did he leave it in the cross and only take it out when Raoul arrived?
Yep, exactly that. It wasn't visible at all then he grabbed it from inside the cross after he finished singing.

There was something about his phrasing here that reminded me of Peter Karrie/Colm Wilkinson. Not quite like them, but that staccato effect that they use. I was also reminded of them in a few other places as well.
Not a bad pair to be reminded of.
No, not at all! But it was only in a few fleeting moments and not really overtly so, I wouldn't really connect him overall with such unique portrayals. I only really thought about it afterwards, he didn't remind me of them at all physically, or vocally for 99% of the time.

From where I was sitting I could see David climbing down the ladder from the box.
Huh, I always thought that was a double, not the real Phantom.
I don't know if it's a double or not there. I just used David's name automatically, I didn't really see him in enough detail to be certain it was him! Though if he was just on an upper level in Wandering Child then it might make sense for him to be up in Box 5? I don't know what the backstage configuration is like and if it's possible or not!

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Re: London. 19/01/2010 matinee. David Shannon, Gina Beck, Will Barratt (u/s)

Post  ML6 on Wed Jan 27, 2010 8:06 pm

Funny thing that you mentioned Peter Karrie and Colm Wilkinson when it comes to how David Shannon's voice sounds. I think he sounds QUITE a lot like Colm Wilkinson. (Then again, David is Irish I believe.)

Anyway, I really liked this review and I want to know who this Will Barratt is! (I'm always on the lookout for new Raoul's to listen to.)

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Re: London. 19/01/2010 matinee. David Shannon, Gina Beck, Will Barratt (u/s)

Post  Scorp on Wed Jan 27, 2010 8:07 pm

Lucy wrote:
Emma Harris’s Meg looked extremely pleased with herself when she suggested Christine!

Yes, I loved that. Also loved how her Meg looks so PROUD of Christine when the latter is singing the first verse of 'Think of Me' and everyone gradually begins to stop what they're doing and take notice of her. Very sweet.


It’s a small detail but I really like how Gina reads out the letter! She scans it with her eyes in between the phrases as if the letter contains more but she’s only picking out those words to say! I’ve always thought that would be a rather strange note to receive!

Snap, love that too. Although doesn't the note in reality actually say just those three things? Meh, I like Gina's interpretation better.


The descent down the travelators was a bit more aggressive than I recall seeing it before. A lot of struggling and ‘glancing behind’!

I like it when there's more aggression. Fits with the song and plus the girl shouldn't really be running with open arms into some damp old cellar with some masked weirdo at that time of the night.


Some other reviews of Shannon have said they felt he held back vocally, I didn’t really feel that - his money notes were great and he seemed to be giving it all.

Hmm, maybe he's got over whatever vocal issues he was having. Did he manage to sustain the "niiiiiiiiiiiiiight" at the end this time or did he abort it prematurely?

Gillian Lynne’s thoughts on that moment of choreography! Razz

Thanks to Ms Lynne I CANNOT watch that scene any more without thinking of that comment! Laughing

Rebecca Lock had many fabulous nuances but alas I’ve left this review too long to remember most of them.

Best Carlotta in years. Years! And in the whole history of the show, IMHO.


David was fabulous here, one of the best angel scenes I’ve seen. His voice resonated with emotion, just heart breaking. Every word was beautiful but also incredibly painful, it was a heart wrenching combination and perfect compromise between good singing and emotional singing. I wish all of his scenes had had this level of emotiveness because it was perfectly pitched.

Definitely this is the most consistent comment I've read with regard to David's Phantom, his Angel scene is extraordinary. I was ready to dismiss him as unremarkable at the interval as nothing else he did in Act 1 really attracted me, but then I saw his Angel scene and had to completely revise my opinion.


Girls behind me were talking about how Raoul and Christine were obviously not really kissing in AIAOY Rolling Eyes , how everyone had told them they shouldn’t see the stage show as it could never live up to the movie Evil or Very Mad, how the Phantom looked really weird and how they knew that no one was really singing but that they were really convincing at miming because it almost looked like they were! Shocked I was somewhat mollified by the fact that they kept saying how much they ‘loved it, loved it loved it’! Ahh audience members, I always get the interesting ones!

Shocked How did you even manage to contain yourself and not a) turn round and tell them to get their facts (and opinions Razz ) straight and b) just plain slap them silly? I know I'd have had enormous difficulty in trying to restrain myself.

Oh and also, he didn’t use an accent, nearly forgot about that! He sounded all the better for it!
Yeah, I hate when Phantoms try to sound like Piangi.

I think I'll dissent here. I like listening to the Phantom singing this in his 'normal' voice on recordings, but in the context of the show I think it makes much more logical sense if he tries to impersonate Piangi, especially if Christine doesn't realise it's HIM until around the line 'When will the flames at last consume...oh, this guy's quite touchy-feely, and is that a mask in your pocket or are you...wait, it's a...mask?!!, sh!t...USSS ARGH!!!!!!!! HELP!!!!!!!', which is the point at which it seems to me Gina and many other London Christines realise.

Thanks for the great review!

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Re: London. 19/01/2010 matinee. David Shannon, Gina Beck, Will Barratt (u/s)

Post  starryeyed on Thu Feb 04, 2010 12:22 pm

I just noticed this review, it was lovely to read. I was going to write a review of Saturday but I saw the same cast apart from I had Stephen as Firmin so I may not bother now. I don't have much to add, except a few comparisons between Will and Simon. I must add (and sorry to hijack your review) I take back all comments on made on the London thread about Will, he has definitely improved 100% since I had last saw him.

I love how we pick up on the same little things such as Barry and the crick in his neck. It is quite a recent addition but I always find it very funny. Rohan is ill again (although not sure if he has went off again, if he has they are four principals down now) and didn't hold the long "haaaaaas" when I was there either which i will assume is because of him being ill.

Anyway thanks for the review I really enjoyed it, I might just put a mini review on the London thread as I only really have comments on Will and Stephen!

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Re: London. 19/01/2010 matinee. David Shannon, Gina Beck, Will Barratt (u/s)

Post  auctioneer on Sat Feb 06, 2010 11:24 pm

I enjoyed this review -- and Lucy makes me think of something I've often noticed and never commented upon - namely, the amout of noise that comes from backstage during some key scene changes. I notice this in a few key places:

--when the mirror is being brought on stage just before Angel of Music. What a heavy piece of scenery that must be!
--after Masquerade during Madame Giry's tale: many times if you're close to the front, it's difficult to hear the dialogue during the bit when the orchestra has finished. Of course, it's nearly impossible to remove dummies and push stairs back against the wall quietly. I also can often see stagehands through the curtain wheeling the stairs back into place -- especially when it has to be done so quickly.
--as Lucy has suggested, during PoNR, when it sounds as though the travelator is moving into place for the descent to the final lair ("at the level of your eyes")

Personally, I LOVE the noise only because it seems like part of the magic of the show for me now. So is the occasional glimpse of the crew at work (when the drapes are removed during the Overture, just after MotN, etc.) I doubt that non-regulars would notice these noises or notice the crew at work. Just goes to show that even after 23 years, it still takes a lot of movement and effort to put off each individual show not only on the part of the cast and orchestra - but also the crew! It also makes us realize why they need to use the pre-tape for the title song, as the sound of all the machinery would probably kill the live tracks altogether!

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Re: London. 19/01/2010 matinee. David Shannon, Gina Beck, Will Barratt (u/s)

Post  Lucy on Tue Feb 09, 2010 12:50 am

Wow, I fail at posting! Thanks for the lovely comments about my review! Sorry for my belated responses!

Scorp wrote:Snap, love that too. Although doesn't the note in reality actually say just those three things? Meh, I like Gina's interpretation better.
It's nice to think Raoul's a bit more eloquent than just throwing out random stilted phrases to the girl he loves and hasn't seen in years! Laughing

I like it when there's more aggression. Fits with the song and plus the girl shouldn't really be running with open arms into some damp old cellar with some masked weirdo at that time of the night.
Yes, I agree it shouldn't be a casual stroll into the basement! But this was a lot more struggling than I've seen before, not just the Phantom pulling her arm, but her fighting with him a little bit. I liked the 'abduction' feel, but it seemed a bit inconsistent with Christine being hypnotised in the mirror and then being quite calm in the boat. I can understand the hypnotic effect might have worn off once in dark corridors with a strange man in a mask, but it seemed like if she was struggling *that much* on the way down, she'd still be a lot more frightened on the lake. So I liked it, but felt it needed a bit of continuity adjustment!

Hmm, maybe he's got over whatever vocal issues he was having. Did he manage to sustain the "niiiiiiiiiiiiiight" at the end this time or did he abort it prematurely?
Ah, actually kind of both! He did sustain for a fairly long amount of time but then subtly cracked. He kept going for the remainder of the note but it was barely audibly other than the 't' at the end.

Shocked How did you even manage to contain yourself and not a) turn round and tell them to get their facts (and opinions Razz ) straight and b) just plain slap them silly? I know I'd have had enormous difficulty in trying to restrain myself.
Oh, I was ever so sorely tempted! I'm not quite sure how I managed it! But if I started correcting people on their stupidity I wouldn't be able to stop and that could not end well! Razz Though I'd rather get up the courage to tell people to shut up in the middle of shows first! This was actually the first performance I've been to in ages when I didn't have an irritant sitting next to me! The fact the girls didn't talk, rustle sweet papers or kick my seat during the show made me ever so much more forgiving of them! Razz (God, I sound like an old woman!)

I think I'll dissent here. I like listening to the Phantom singing this in his 'normal' voice on recordings, but in the context of the show I think it makes much more logical sense if he tries to impersonate Piangi, especially if Christine doesn't realise it's HIM
Logically, yes I agree in part - although my ears don't! But as there are all sorts of flaws inherent in him taking Piangi's place that the audience have to agree to overlook to make the scene realistic, I don't mind the accent's absence and enjoy the Phantom's singing more for the lack of it.

dolly-ry wrote:I take back all comments on made on the London thread about Will, he has definitely improved 100% since I had last saw him.
It's nice to hear about understudies developing! He seems to be getting quite a bit of performance time so hopefully he'll be able to reach his full potential in the role - I always hate it when I hear about understudies who've only gone on once or twice and clearly have so much more to give to the character but don't get the chance to develop it.

I love how we pick up on the same little things such as Barry and the crick in his neck. It is quite a recent addition but I always find it very funny. Rohan is ill again (although not sure if he has went off again, if he has they are four principals down now) and didn't hold the long "haaaaaas" when I was there either which i will assume is because of him being ill.
Heehee, I loved that moment, it's little things like that that keep it fresh! Ahh, I'm happy to hear that Rohan hopefully hasn't abandoned it altogether then! (Though not happy to hear he was ill!)

auctioneer wrote:Personally, I LOVE the noise only because it seems like part of the magic of the show for me now.
I do love how it contributes to the atmosphere - especially after Masquerade because I always think it sounds like a 'travelling fair' and adds a nice touch to it! But I found the PonR noise a bit too much really, I'd never noticed it before.

It also makes us realize why they need to use the pre-tape for the title song, as the sound of all the machinery would probably kill the live tracks altogether!
Yikes, I never thought of that! It must really make a racket! Though if any song could cover up the sound of machinery, it's the title song!

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Re: London. 19/01/2010 matinee. David Shannon, Gina Beck, Will Barratt (u/s)

Post  SenorSwanky on Tue Feb 09, 2010 4:36 am

Lucy wrote:Logically, yes I agree in part - although my ears don't! But as there are all sorts of flaws inherent in him taking Piangi's place that the audience have to agree to overlook to make the scene realistic, I don't mind the accent's absence and enjoy the Phantom's singing more for the lack of it.
I elaborated on my take on this scene in the plothole thread in the ALW section awhile back, but something I didn't say then is that if the Phantom can fool the management and other characters so much in the rest of the show, why not in this scene? If he can throw his voice and manage to drop scenery and chandeliers and kill Buquet and appear in random places, doesn't it make sense also that he's planned this whole thing out, that his show was just a ruse to win back Christine, and that he's confident, even cocky, that his plan will work? He might not foresee the unmasking, and he might be too optimistic that Christine will say yes to and not be weirded out by his proposal in front of the audience, but everything else basically goes to plan. So of course he'd use his own voice to seduce Christine, as he always has.

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will barratt

Post  chriscur10 on Tue Oct 26, 2010 4:12 pm

never been a phan of shannon. his voice doesnt suit the role, too weak, too whiny, not a great actor. goes thru the motions as it were. gina beck is stunning in everyway. will barratt - strong, tender, caring, vocally perfect for the role. amazing. goin again tonight. cant wait

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Re: London. 19/01/2010 matinee. David Shannon, Gina Beck, Will Barratt (u/s)

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