London, 27 October 2009 (evening): Stephen John Davis (u/s), Gina Beck & Simon Bailey

WARNING: This is not a review! Well, not a proper one anyway. These are just rambling thoughts that I'll write as and when they occur to me, so forgive me if they sound completely disconnected:

As far as Stephen John Davis goes, I thought he did a really good job and am very glad I got to see him. His best asset is his voice, which is much more appropriately Phantomy than either Ramin's or Nigel's (though I've not heard the latter live). It's quite warm and sort of like a cross between Glyn Kerslake's and Earl Carpenter's. I thought he impressed the most in The Mirror, PoNR and the final lair. He also struck me as particularly "Erik-y" in a way that I can't explain (hence having to resort to a meaningless adjective like "Erik-y") in the title song once they get out of the boat. Maybe there was something in the gestures he did that made me think that. Plus the whole Phantom gear suits him quite nicely. He reminded me a little of Glyn Kerslake overall. The reaction he got at the end was ridiculous coming from a weeknight audience outside of tourist season (I was relieved to find that people DO go and see this show aside from Japanese tourists, just not in the summer)...they went wild! I know people usually go wild for The Phantom anyway, but usually not to this level. It's really nice that they did as he deserves it -- poor guy has had to sacrifice his holiday because Ramin's out (due to neck injury, I believe?) and Nigel's...well, no idea where he is. Best little touch he did that I quite liked was a reaction of utter astonishment just after the kiss -- he looks literally gobsmacked. I reckon that with a lot more rehearsal time and director's notes, he could become a very good Phantom. Hopefully he'll stay long enough with the production to be bumped up.

Asides re: Stephen -- retracting my earlier assumption, he's NOT Scottish Buquet! I didn't realise that they had got a new Buquet in recently and that it was Stephen. Scottish Buquet must have been Jimmy Johnston (?). I keep forgetting to check who's playing Buquet at any given time simply out of habit since Janos Kurucz was with the show for so long. Flicking through past programmes, seems I've seen Stephen several times in the show, usually as the fireman or as Don Atillo. Earliest date I seem to have seen him was 2002...which is cool, because that suggests he might stay with the show for enough time to make it to at least standby Phantom. It's cool to see cast members work their way up the company like that.

I still really like Gina Beck's Christine. She joins Rachel Barrell, Charlotte Page (and maybe Kristi Holden) as the only ones that I have truly truly loved seeing live. She seemed to like screaming a lot yesterday mind -- a big scream in the final lair any time The Phantom approached Raoul and one when she realised that it was the Phantom under the Don Juan cloak in PoNR. Simon Bailey has now become a favourite Raoul. I wasn't convinced when I first saw him whenever that was (around September last year? Can't remember), but he's improved so much and doesn't really shout quite so much as he used to either. Best of all though is his constantly varied but always interesting interaction with Gina's Christine. They also have an enormous amount of chemistry that just exudes off them in huge amounts during AIAOY that it makes what could be a scene that drags into one that whizzes by because it's so delightful to watch. I actually do think that the pairing of Gina's Christine and Simon's Raoul in that one scene beats all the many renditions of All I Ask of You that I've seen since 1992. There is a potential downside to this, though, in that if the Christine/Raoul chemistry is so strong like that that it risks establishing a strong enough rivalry between that and Christine's relationship with The Phantom. I suppose because Stephen hasn't had enough time with the role yet, he wasn't able to secure quite enough stage presence IMHO that is necessary for Christine's choice to become such an ordeal and it was pretty much a given that she was going to go off with Raoul. A truly great Phantom needs to pervade the atmosphere throughout the evening with his presence even when he's offstage, but I'm sure Stephen can accomplish this if he's given enough time and resources to do so. But that's nitpicking -- I've seen understudies (as opposed to standbys) before in the past who have just been absolute duds as The Phantom, and Stephen's in a completely different league.

I really enjoyed Rebecca Lock's Carlotta, she had some really nice unique touches in pretty much every seen involving her. I loved the way she said "Your part is silent..." through clenched teeth. A much better Carlotta in every way than the previous one. Mark Oxtoby was on as André instead of Gareth Snook and I actually preferred him. Loved his facial expressions during 'Notes'. Something about them reminded me of how the managers react to the Phantom's notes in the 1925 film. Not really keen on Nicky Adams' Madame Giry (now there's a surprise), but I'd rather she were in this role than completely butcher the role of Christine like she did when I saw her previously. Also kudos to the ballet girls and the orchestra for that particular performance -- both of them I thought were particularly on form.

Random musings:

• I still don't get what's up with Raoul's Masquerade coat thingy. I picked up on this last time but it's still like that. What's going on?
  
  
• The SCARY CLOWN was on in Masquerade! I think they should write him into Love Never Dies for some decent continuity. He can be The Phantom's accomplice or something.
  
  
• Speaking of the SCARY CLOWN , remember Anéa and Josefine how he picked up the monkey girl in Copenhagen? I keep meaning to look for this in London but in the subsequent two times I've seen the show since Copenhagen I keep forgetting. I don't think he did do that yesterday...instead, on the left of the staircase (from the audience's view, you know, where monkey girl does her funny dance when Raoul and Christine are having their little argument), monkey girl forms a human pyramid by standing on top of the SCARY CLOWN and someone else. I wonder if what the monkey girl does is different for each production.
  
  
• Some 'unique' touches: Gina continuing to grasp her red scarf during 'Wishing', as if she were trying to keep hold of her lost days of innocence by holding the red scarf tightly. Nicely symbolic. Also, Mark as André didn't bother flicking through the Il Muto programme to find out which act the ballet's in...instead he looked around him for help and someone shouted "Act 3!" out to him. Oh, and Rebecca Lock had a hilarious outburst of frustrated rage, mainly directed towards Reyer, during the sitzprobe scene.
  
  
• Two things inobservant me hadn't noticed before: Madame Giry stares at Raoul and Christine during their engagement talk during 'Masquerade'. Something more interesting as well, but not knowing the technical terms I'm going to sound a little stupid by asking it. What do you call that thing at the very front of the stage in the middle that is sometimes raised and lowered? Is it one of those boxes that has cues for prompting lines? That's what I assume it is but I might be completely off the mark. Well, whatever it is, I noticed that this is raised specifically for the Il Muto scene, and once that's done it goes back into the stage. Is this to recreate the stage of an opera performance in which the opera singers would have needed prompts (presuming that this is what the box does)? Or am I talking a load of nonsense? Do I even make sense?
  
  
• I like the fact that HM's are selling masks again at the souvenir kiosks. Should be a standard item I feel! I'm also thinking that they should start selling Leroux's novel with the tie-in cover, since it exists, but maybe they feel it wouldn't sell? Anyway, I bought the new mask just because so I could put it on display. It's nothing special though. I see they don't sell those limited edition masks based on Michael Crawford's mould, so nice to know that that was actually a limited edition and that wasn't a sales ploy.
  
  
• The last of the old black signs outside the theatre has now disappeared. If you look at the photos posted on the other board, there was still one of the black ones left which marked the entrance to the Grand Circle. That's gone now and has been replaced by a purple sign. I have to admit the purple doesn't look too bad at night, it's a lot more noticeable now from afar than the black signs were, which is good. But I still think that black should be the standard classic colour associated with the show. I'm just grateful we don't have that US Tour poster that I wish they would get rid of asap. Anyway, I asked the nice usher called Helen what she thought of the purple signs. She said she didn't like them. Then I asked why on earth they were changed anyway. She said she believes it's because black is the colour for all the Love Never Dies posters and RUG wanted to distinguish the original from the sequel. If this is true, that's absolutely ludicrous! Black's been Phantom's colour since the beginning; why didn't they just come up with an alternative colour for LND?!
  
  
• On the subject of the sequel, there wasn't a single ad for it in the current programme. Missed opportunity? Yes. Do I care? No.
  
  
• Mini-rant: I wish they would announce the understudies just before the show starts. Don't they do that at Les Mis? I always forget to check the cast board, and now I don't know who I saw as Buquet.
  
  
• I recommend D23 in the stalls. It's a great seat...my first time sitting there. It's the furthest to the left on that row, but you still get a great view and you don't actually have anyone immediately in front of you. The one thing you do miss is the 'Gillian Lynne' moment in MotN (know what I'm talking about? ), because the angle means that the covered mirror slightly blocks your view of that moment.

Overall, a much better performance than the last time I saw the show in July.

And done. That was some nice procrastination. Now I feel guilty for not getting on with stuff I *should* be doing. That was my 29th visit to Phantom, which means next time I hit Club 30! I should do something to celebrate. Get a good group of us going so we can have a geek-out session.

Scorp wrote:sort of like a cross between Glyn Kerslake's and Earl Carpenter's

That doesn't sound like a good thing to me; I wouldn't describe their voices as "warm" or "Phantomy."

What does the souvenir mask look like? Is it wearable or just for display?

I have to say you must be the unluckiest person in terms of the Masquerade jacket. That jacket comes out VERY rarely and sometimes appears to be for no reason, I have seen it once in person. In reality, you are right it looks awful and should never be used, if we are talking about the same one... that looks like it is falling apart?

Also I am assuming the Scottish Buquet you are referring to is in fact Ian Pirie (if you saw him last September until this September?) Jimmy Johnstone left last June? I think.

Also, thanks, you've made me realise what is the thing that bugs me but I wasn't sure what it was, Simon and Gina's chemistry does seem to sometimes be a "problem" for want of a better word. I've noticed it if Ramin is having an off day.

Thanks for the "review."

ruthy wrote:I have to say you must be the unluckiest person in terms of the Masquerade jacket. That jacket comes out VERY rarely and sometimes appears to be for no reason, I have seen it once in person. In reality, you are right it looks awful and should never be used, if we are talking about the same one... that looks like it is falling apart?

It's the one which for some reason has an extra sleeve or two dangling off it. I think he's wearing it in the new press reel footage. Is that what you mean? Part of me is beginning to wonder if the jacket is supposed to be like that but I'm sure it's not...

Also I am assuming the Scottish Buquet you are referring to is in fact Ian Pirie (if you saw him last September until this September?) Jimmy Johnstone left last June? I think.

Oops, sorry, yeah I meant Ian Pirie!

Also, thanks, you've made me realise what is the thing that bugs me but I wasn't sure what it was, Simon and Gina's chemistry does seem to sometimes be a "problem" for want of a better word. I've noticed it if Ramin is having an off day.

It was a similar situation back when Ramin was Raoul opposite Katie Knight Adams' Christine. The two got on really well (which was even more evident when Ramin invited me backstage and Katie joined us) and I guess the chemistry transferred to the stage. Problem was there wasn't really any chemistry between JOJ and Katie Knight Adams (I thought JOJ was best opposite Celia Graham and Rachel Barrell), meaning that it always seemed like Katie's Christine couldn't wait to be rid of The Phantom and run off with Raoul at the earliest opportunity.

Am slightly regretting the fact that I didn't go to the stage door afterwards, especially after one of the cast texted me this morning to say I should have popped by. I usually only go if there's a reason for it, but there was enough reason yesterday as it'd have been nice to congratulate Stephen in person. Apparently he's on tonight as well! What on earth has happened to Nigel Richards then? Is he on holiday? But then technically Stephen's supposed to be on holiday too and instead is just sacrificing it to save the show, lol.

Yes it's the same jacket, it is a bit odd, i think it's because you are right, the two arms seem to sit not quite right, they seem slightly too close together if you get me? There is something not right about it anyway.

Same thing happened in reverse last year Nic was meant to be on but was ill and then Ramin came off his holidays, seems to be a problem with the phantoms! You are probably right, off stage friendships often transfer on stage and while it is a good thing it does really shine through. I didn't realise that about Ramin and Katie but yes Simon and Gina being such good friends I suppose it is expected.

Just remembered another thing I noticed for the first time (unless I forgot about it previously): there's stuff stuck to Christine's mirror on the table in her dressing room...anyone know what they are? Are they notes from her admirers she's stuck to her mirror or something else?

Nice non-review, Scorp!

Scorp wrote:
I still really like Gina Beck's Christine. She joins Rachel Barrell, Charlotte Page (and maybe Kristi Holden) as the only ones that I have truly truly loved seeing live. She seemed to like screaming a lot yesterday mind -- a big scream in the final lair any time The Phantom approached Raoul and one when she realised that it was the Phantom under the Don Juan cloak in PoNR.

Yeahyeahyeah. But how was her Apple Porn?

[list][*] Something more interesting as well, but not knowing the technical terms I'm going to sound a little stupid by asking it. What do you call that thing at the very front of the stage in the middle that is sometimes raised and lowered? Is it one of those boxes that has cues for prompting lines? That's what I assume it is but I might be completely off the mark. Well, whatever it is, I noticed that this is raised specifically for the Il Muto scene, and once that's done it goes back into the stage. Is this to recreate the stage of an opera performance in which the opera singers would have needed prompts (presuming that this is what the box does)? Or am I talking a load of nonsense? Do I even make sense?

Uh, yeah. I'm pretty sure that's the prompter's box (I'm not sure what the technical term is either). It's only up when the stage is actually supposed to be a "stage" - typically accompanied by all the footlights as well.

[*] I like the fact that HM's are selling masks again at the souvenir kiosks. Should be a standard item I feel! I'm also thinking that they should start selling Leroux's novel with the tie-in cover, since it exists, but maybe they feel it wouldn't sell? Anyway, I bought the new mask just because so I could put it on display. It's nothing special though. I see they don't sell those limited edition masks based on Michael Crawford's mould, so nice to know that that was actually a limited edition and that wasn't a sales ploy.

Next time I have the ear of someone of influence in Vegas, I'm going to suggest that they start selling masks as well as Leroux's book. Seems like a no-brainer. But then again, so does no trimming PoNR, too.

R.

Scorp wrote:Just remembered another thing I noticed for the first time (unless I forgot about it previously): there's stuff stuck to Christine's mirror on the table in her dressing room...anyone know what they are? Are they notes from her admirers she's stuck to her mirror or something else?

It depends on the production, but often I've seen old photos stuck into the frame. I'll see if I find a closeup of it.

Thank you for a wonderful review! So interesting to read. I love the little details a "veteran" notice.

Scorp wrote:
sort of like a cross between Glyn Kerslake's and Earl Carpenter's

Swanky wrote:That doesn't sound like a good thing to me; I wouldn't describe their voices as "warm" or "Phantomy."

I must admit I'm not familiar with Glyn Kerslake (other than having read his name every so often), but I do think Earl Carpenter got a warm "Phantomy" touch to his voice. I know you never were a fan of him, SenorSwanky, and he's not one of the powertenors typical to the US - but to me he very much embodied the role of the Phantom. Not just because of acting and appearance, but also through his voice. I guess it's a matter of preferences.

Scorp wrote: [*] Two things inobservant me hadn't noticed before: Madame Giry stares at Raoul and Christine during their engagement talk during 'Masquerade'. Something more interesting as well, but not knowing the technical terms I'm going to sound a little stupid by asking it. What do you call that thing at the very front of the stage in the middle that is sometimes raised and lowered? Is it one of those boxes that has cues for prompting lines? That's what I assume it is but I might be completely off the mark. Well, whatever it is, I noticed that this is raised specifically for the Il Muto scene, and once that's done it goes back into the stage. Is this to recreate the stage of an opera performance in which the opera singers would have needed prompts (presuming that this is what the box does)? Or am I talking a load of nonsense? Do I even make sense?

Yup, I think Raphael's right. I've noiced that thingy going up everytime there was a performance inside the performance going on, ie, during Hannibal, Il Muto and DJT.

Re Christine's dressing room table mirror. Am I imagining things or doesn't she have a picture there? A picture I assumed would be from her father...

And Scorp? It turned out to be a great review for someone who doesn't usually writes them Thanks so much!

operafantomet wrote:I know you never were a fan of him, SenorSwanky, and he's not one of the powertenors typical to the US

I don't tend to like "power tenors" (whatever that is; I presume you mean singers like Panaro, Mauer, et al). I tend to prefer older baritones and baritenors. I just didn't like Earl's voice or acting as the Phantom, nor Kerslake's.

SenorSwanky wrote:

operafantomet wrote:I know you never were a fan of him, SenorSwanky, and he's not one of the powertenors typical to the US

I don't tend to like "power tenors" (whatever that is; I presume you mean singers like Panaro, Mauer, et al). I tend to prefer older baritones and baritenors. I just didn't like Earl's voice or acting as the Phantom, nor Kerslake's.

With "powertenors" I mean the guys who goes for the money notes and have a large voice in general. Gary Mauer would be one (and for the record, I liked him as the Phantom, so it's not meant as a negative label). But I'm more fond of John Cudia and guys with a more mysterious/softer approach to the score. Again, personal preferences.

There is definitely at least one picture on the dressing room mirror, but I am sure there is actually three (?) things stuck to the mirror and for the life of me I can't remember what they are. And the souvenir brochure photo you don't see the mirror on her dressing table I don't think... must check.

ruthy wrote:Yes it's the same jacket, it is a bit odd, i think it's because you are right, the two arms seem to sit not quite right, they seem slightly too close together if you get me? There is something not right about it anyway.

It's this jacket that Raoul wears in the press reel footage -- skip to the 2:00 mark and you'll see it. That the one? If it really does come on rarely then I *must* be unlucky...he's been wearing it for the last 3 or 4 times I've seen the London production!

ruthy wrote:There is definitely at least one picture on the dressing room mirror, but I am sure there is actually three (?) things stuck to the mirror and for the life of me I can't remember what they are. And the souvenir brochure photo you don't see the mirror on her dressing table I don't think... must check.

Yeah, there were 3 or 4 things stuck there, and from my seat they didn't all look like photos...but my eyesight is terrible so I can't be sure...

That's the one and the video shows exactly what I mean, and what maybe bugs you, when he lifts his arms up something goes on with the arms of the jacket. He definitely doesn't always wear it, I've been twice in one week before...(sad I know)... and I think the Tuesday show his jacket was fine and on the Thursday I noticed all these arms flying about which is the jacket in the press reel. I don't know what it is about it, I still think it's something to do with the way it's made, perhaps badly altered at some point? But you wouldn't really expect that... however I think Anea pointed out the PONR costume Robyn wore in the souvenir brochure was very badly altered.

The problem is, if the jacket seems fine he always seems to be wearing a really bad pair of trousers. I'd say the jacket is probably more annoying though... I think actually I've just been lucky enough to have only seen it twice, I am assuming (like the trousers) they perhaps alternate jackets throughout the week and you seem to have been a lot when it's that jacket that has been on?

I can't believe I just wrote 2 paragraphs all about Raoul's masquerade costume, i must get a life ha ha.

ruthy wrote:
I can't believe I just wrote 2 paragraphs all about Raoul's masquerade costume, i must get a life ha ha.

LOL, naahh...

OK, so apparently the things stuck on Christine's mirror ARE old sepia photos of people after all. I wonder who they are...? Didn't one production somewhere use a pic of Gaston Leroux (or did I make that up)?

I actually went inside Christine's dressing room when I went backstage but I can't remember whether the stuff on her table was still there or not. If it was, I don't remember what was on the mirror.

I know Steve Barton hated that jacket. :] *whistles away*

Personally, I hate that jacket too. Didn't earlier in the run, the Raoul would 'wear' the jacket? I could be mistaken. I thought I saw videos with the Raoul wearing the jacket instead of it hanging around his neck.

Anyway. Perhaps some of the photos have strories. Like, little nods to the novel? I wonder if Mama Valarius is one of the photos (or a woman that was chosen to 'resemble' her).

I thought there may have been a woman in one of them... I really don't know, it's going to bug me now.

Didn't Alex wear the jacket in last years brochure/posters? Wait... that must have been year before last, time flies! But I think that was a mistake?

I think Steve hated it because of the heavy fur lining was it not? Making it hard to dance in and carry around on his shoulder.

ruthy wrote:I think Steve hated it because of the heavy fur lining was it not? Making it hard to dance in and carry around on his shoulder.

Yes, that's what I've heard - I think it was from the Marcus Tylor book, Steve Barton usually put the jacket on only few seconds before entering the stage, and he hated to wear it because it was fully lined with heavy fur and tugged on his throat and shoulders when dancing.

operafantomet wrote:

ruthy wrote:I think Steve hated it because of the heavy fur lining was it not? Making it hard to dance in and carry around on his shoulder.

Yes, that's what I've heard - I think it was from the Marcus Tylor book, Steve Barton usually put the jacket on only few seconds before entering the stage, and he hated to wear it because it was fully lined with heavy fur and tugged on his throat and shoulders when dancing.

Did anyone find out just why volume 2 was never published? Was it really because of a disagreement with RUG? I did Facebook-message Marcus Tylor a while back to ask and never got a reply...

I'll try asking Marcus. I noticed his webpage went kahploohy. I rather liked some of the images he had of Maria (<3) and I thought about ordering one with her on the roof of Her Majesty's.

Can we just ban the jacket? Or, have someone come up with a better design that allows the Raoul wearer to dance more freely and still look quite stylish?

I would like to ban the jacket. I personally think it looks slightly "surplus" at times, as though it's just been added on. And it can often just fly around during the dancing, it really does need to be sorted out in general.

Am I the only one liking the jacket?

Although Maria Bjørnson DID try out different ideas for Raoul's Hussar costume:
https://img.photobucket.com/albums/v323/reiseaudun/designmasque/raoulcloak.jpg

Scorp wrote:Did anyone find out just why volume 2 was never published? Was it really because of a disagreement with RUG? I did Facebook-message Marcus Tylor a while back to ask and never got a reply...

I don't think there was ever an official reason given. Which stinks because I was really looking forward to that one!

operafantomet wrote:Am I the only one liking the jacket?

Although Maria Bjørnson DID try out different ideas for Raoul's Hussar costume:
https://img.photobucket.com/albums/v323/reiseaudun/designmasque/raoulcloak.jpg

I love the jacket, personally. I'd wear my own like that if i could get away with it!

Interesting costume sketches. He kinda looks like Zorro in that first one...

R.

Zorro!Steve... EEEK! *dies* Omg. I would have jumped that, ngl.

Erm... anyway. I am going to try not to convert Scorp's posty.