International productions

Wow, you lucky lucky thing! I hope you get to see the production (and if you do, I would give the world for a souvenir brochure...). Why have you moved to South Korea? Work? Studies? Luuuuv?

operafantomet wrote:(and if you do, I would give the world for a souvenir brochure...).

In that case, my dear, you shall have one! Assuming, I make it there, I should say. You know how fate sometimes intervenes...!

operafantomet wrote:Why have you moved to South Korea? Work? Studies? Luuuuv?

Nothing so interesting as the third option! I was hired as an English teacher. It's a surprisingly popular thing to do right now, especially in this economy. There are lots of young native English-speakers here who make better money as teachers than they did doing whatever it was back in their home countries. And South Korea is big on English. But I never thought I'd manage to be here when the show was! That was just luck of the draw! And I do love the original Korean cast recording. The new recording has much more expression and emotion, but somehow I don't find the singing to be as strong. Could just be me, though.

Loettchen wrote:(...)

But I never thought I'd manage to be here when the show was! That was just luck of the draw! And I do love the original Korean cast recording. The new recording has much more expression and emotion, but somehow I don't find the singing to be as strong. Could just be me, though.

Haven't heard the new one (or maybe a song or two, right now I can't remember). But I agree about the original Korean cast album, it has incredibly strong singers. It was instant love. But that reminds me, I want to buy that new Korean one. I keep forgetting it exists.

I've always also been intrigued by the major difference in the Korea and Japanese POTOs. The latter sounds distinctively Japanese, and looks that way too. The Korean one, on the other hand, is more in the shape of how I'm used to see and hear Phantom (cultural relativism o'hoy...). Take the Christines. The Japanese ones, no matter how bell voiced they are, aims for a "flat" singing style. They're very recognizable in the singing. The Korean ones don't have this "flat" quality in their singing at all.

I'm not saying either is better than the other, as I love both productions. I'm just remarking on the big difference in productions whose culture is not too unlike eachother in other aspects. I think the Korean and Japanese takes on POTO is more unlike eachother than what the Canadian and Australian were, and we're talking neighbor countries VS different continents. It fascinates me.

I seriously hope you'll get to see POTO while you're there. I'll be a bit jealous and VERY happy for you.

OMGOMGOMG

http://www.tvthek.orf.at/programs/1200-Erlebnis-Oesterreich

Around 18:10 there is RARE (But very short) CLIP of POTO in Vienna! With original cast!

OMGOMGOMOGMG

Even though it's short, I'm so exited because now I know that there is some pro-shot publicity footage of Viennese POTO. I'll send some emails to Theater an der Wien..

Is this now I should be a party pooper and say there's a lot of original Vienna cast clips in the Austrian documentary?

It's so interesting. The focus is how Vienna suddenly became a musical theatre city, with Cats, Les Mis and Phantom and various grand musicals opening. Then it focus on POTO, with interviews with original cast and creative team, as well as various from rehearsals and actual stage clips. There's so many lovely clips from the AOM/Little Lotte/Lair sequence. I have never seen it online, and I only own a very poor copy which I have no idea how to get online. Anyone else who owns this?

I was told every theatre make at least one professional video of their production. These are sent to RUG (though I have no doubt they also have it for archival use at the theatre). Judging from that Viennese documentary, they should have one from that production indeed.

Judging from the video that looped outside Det Ny Teater in Copenhagen, they also have one of the 2009 cast there. They had clips from Hannibal, Think of Me, boat scene, Wandering Child, Don Juan and falling chandelier. They also had the mask-in-candles logo, but I'm pretty sure that one was nicked from Canada. They had a similar one from the 2000 cast, with the boat scene, MOTN, STYDI and Masquerade. You can see the 2009 one here:
https://www.youtube.com/watch?v=mv-40CiYg14

operafantomet wrote:I have never seen it online, and I only own a very poor copy which I have no idea how to get online. Anyone else who owns this?

What is the format of it?

I've seen some very bad quality proshot video from Viennese productuon, the voice was all wobbly and the colour of the vid changed all the time. I wasn't great fan of the Vienna production then and I lost it when my computer crashed.
It had Little Lotte, TOM, POTO and MOTN.

I badly want that video of the making of the Vienna production...it is a production I am fascinated by, ever since hearing the cast recording, and one which I very sadly never saw live. I am trying to get hold of it and I think I might be getting warm -- if the quality's good, maybe I could upload it to YouTube once I get it.

Just found a list of when German languaged Phantom productions opened and closed (day/month/year):

GERMANY
Neue Flora, Hamburg, 29.06.1990 - 30.06.2001
Palladium Theater, Stuttgart, 01.11.2002 - 23.05.2004
Colosseum Theater, Essen, ab 29.09.2005

AUSTRIA
Theater an der Wien, Wien, 20.12.1988 - 08.04.1990
Raimund Theater, Wien, 10.06.1990 - 30.06.1993

SWITZERLAND
Musical Theater Messe, Basel, 12.10.1995 - 27.07.1997

http://www.luinalda.de/musical/phantom.html

operafantomet wrote:
AUSTRIA
Theater an der Wien, Wien, 20.12.1988 - 08.04.1990

Thanks for the link!

By the way, what is the shortest running production ever? The Holland production?

TheFinnishPhantom wrote:By the way, what is the shortest running production ever? The Holland production?

I wanna say Antwerp, Belgium. I think it played just under a year, but don't quote me on it. The Dutch production had a decent run, two or three years.

http://www.iol.co.za/tonight/what-s-on/gauteng/fired-up-over-phantom-1.1048642

Phantom returns to South Africa, with André Schwartz repeating the role of the Phantom. Phantom finished its revival in South Korea some while ago (which our own Loettchen got to see, lucky thing), and sets and costumes are now returning to where the World Tour started in 2004.

Impresario Pieter Toerien describe it as "Andrew Lloyd Webber's most beautiful musical" (a nice contrast to Andrew Lloyd Webber, who himself calls it "The biggest piece of hokum ever written"). Toerien claims Phantom on Broadway has "never had an empty seat", I think he's a bit misinformed there. But I agree about it being ALW's most beautiful musical. I also like his view on Schwartz: “This is his moment with his singing. He is the right age". Not sure how old Schwartz is now, but he's definitely not in his teens...

No news of the other casting yet, but opening night in Cape Town is November 22 to January 15, and in Joburg’s Teatro from January 31 (2012). I'm surprised they don't open in time to join in on the 25th anniversary in London!

I found these two complete cast lists for the Swiss production. MANY familiar Phantom names here!

Premiere Cast October 12th 1995 - September 1th 1996

Phantom: Florian Schneider
Phantom (alternate):David Gaschen
Christine: Ute Baum
Christine (alternate): Kimilee Bryant
Raoul, Vicomte de Chagny: Björn Olsson
Carlotta Giudicelli : Leigh Munro
Meg Giry: Natasha Knight
Madame Giry: Sally Williams
Monsieur André: Niklaus Rüegg
Monsieur Firmin: Thomas Bayer/Wolfgang Beigel
Ubaldo Piangi: Hans Dornbusch
Joseph Buquet: Craig A. Benham
Don Attilio/Passarino: Kenneth J. Church
Hairdresser "Il Muto"/Porter/Sniper: Christopher Lynn
Auctioneer/Monsieur Reyer: John Kuether
Lefèvre: Charles Huddleston
Innkeeper "Don Juan Triumphant": Larry Morbitt
Monk "Don Juan Triumphant": Kenneth Posey
Fireman: Peter Floch
Slavemaster: Christopher Lee Wright
Porter/Stagehand: Philip Hogan
Confidante/Dresser: Gertrude Spitzer
Madame Firmin: Catherine Forbes
Princess: Dana Peterson
Innkeeper's wife "Don Juan Triumphant": Maya Wirz
Page "Don Juan Triumphant": Susan Cook
Page "Don Juan Triumphant": Maureen Dodson
Swings: Linda Bruske, David Gaschen, Lynette Knapp, Gene Roberts, Maureen Taylor, Craig Lemont Walters
Ballet of the Opéra populaire: Julie Boath, Hayley Franks, Lisa Salmoria, Angie Savage, Annette Wimmer, Kate Wray
Dance Captain/Swing: Leslie Wiesner



September 3rd 1996 to July 27th 1997:

Phantom: Florian Schneider
Phantom (alternate): David Gaschen
Christine: Ute Baum
Christine (alternate): Beverley Worboys
Raoul, Vicomte de Chagny: Björn Olsson
Carlotta Giudicelli : Leigh Munro
Meg Giry: Julie Boath
Madame Giry: Joanna-Maria Rueffer
Monsieur André: Robin Buck
Monsieur Firmin: Eberhard Storz
Ubaldo Piangi: Hans Dornbusch
Joseph Buquet: György Mozsàr
Don Attilio/Passarino: Andreas Mitschke
Hairdresser "Il Muto"/Porter/Sniper: Christopher Lynn
Auctioneer/Monsieur Reyer: Gene Roberts
Lefèvre: Charles Huddleston
Innkeeper "Don Juan Triumphant": Larry Morbitt
Monk "Don Juan Triumphant": David L. Oliver
Fireman: Wolfgang Höltzel
Slavemaster: Manoel Francisco
Porter/Stagehand: Philip Hogan
Confidante/Dresser: Gertrude Spitzer
Madame Firmin: Catherine Forbes
Princess: Lynette Knapp
Innkeeper's wife "Don Juan Triumphant": Maya Wirz
Page "Don Juan Triumphant": Shelley Karson
Page "Don Juan Triumphant": Bonnie Thorpe
Swings: Bardo Bayvertian, Linda Bruske, Kathleen Michaels, Andreas Ortwein, Brigitte Schweizer, Craig Lemont Walters, Wade Wilson
Ballet of the Opéra populaire: Hayley Franks, Susan Kaufmann, Maria Pedreira, Lisa Salmoria, Angie Savage, Annette Wimmer, Kate Wray
Dance Captain/Swing: Leslie Wiesner

For those of you who have seen the international productions, are there some traits in those particular productions that you might say are unique to them? Obviously, the Hungarian production has completely different costumes and sets, the Polish production seems to have taken some ideas from the movie, and (from what I hear on the cast recording) the Japanese production has a technically brilliant orchestra, but what would you say each country's Phantom had that others didn't?

R.

Raphael wrote:For those of you who have seen the international productions, are there some traits in those particular productions that you might say are unique to them? Obviously, the Hungarian production has completely different costumes and sets, the Polish production seems to have taken some ideas from the movie, and (from what I hear on the cast recording) the Japanese production has a technically brilliant orchestra, but what would you say each country's Phantom had that others didn't?

R.

In the Belgian production, Raoul got a little "violent" with the monkey girl after she scared Christine before the dance sequence. He just roughly lifted her up and placed her away from Christine. I haven't seen that in other productions. The Belgian orchestration had a plenty of percussion, which gave a nice touch.

In Vienna, the choreography was more elaborate because of the deep stage.

These are the only things that come to my mind right now..

TheFinnishPhantom wrote:The Belgian orchestration had a plenty of percussion, which gave a nice touch.
In Vienna, the choreography was more elaborate because of the deep stage.

The Viennese orchestra also had lots of things going. It sounded more... classical in some way, and more pronounced in others. I remember lots of extra trills in the Il Muto ballet and Masquerade, and just more... oooomph all along. Carlotta's "Think of Me" was also dragged out like a real soprano's aria. Some of this is audible in the Viennese cast album, but live they took it all the way. I haven't heard an orchestra as "alive" as in Vienna. It's like they wanted to prove Phantom sounded best in the classical musical capital of the world. And they did after all open in an opera house.

In Copenhagen, especially the original production, they were quite the dare devils. The chandelier was more slammered down on stage than lowered. When I asked them about why they did that, they just answered "It's so much more fun". You could definitely hear it hit the floor, and they kept the Phantom's maniac laughter ringing for a long time in the auditorium after the crash. Very cool. The original "Wandering Child" also had a Phantom shooting violent flames, it looked so spectacular. But as it nearly set fire to Christine's wig once, and damaged Raoul's eye another time, they toned it down eventually.

Original Viennese cast, from the opening in December 20th 1988:

Phantom: Alexander Goebel/Ethan Freeman
Christine:Luzia Nistler/Claudia Dallinger
Raoul: Alfred Pfeifer/Jack Poppell
André: Jack Poppell/Horst Reeh
Firmin: Wolfgang Pampel/Dennis Kozeluh
Carlotta: Priti Coles/Susanna Fischer/Patrice Tappé
Piangi: Sergio Lombana/Sigurd Karnetzki
Madame Giry: Diana Bennett/Elisabeth Reichard
Meg Giry: Alexandra Young-Schmidt/Julia Kajtar
Reyer: Vincent Pirillo/Keith Mayler
Lefèvre: Josef Helmut Ettl
Buquet: Ludwig Itgenshorst/Klaus Gilbert
Auctioneer: Sigurd Karentzki/Klaus Gilbert
Hairdresser: Dennis Kozeluh
Don Attilio: Andreas Macco/Josef Helmut Ettl
Confidante: Christina Papp
Innkeeper: Klaus Gilbert
Innkeeper's wife: Helga Loanda
Pages: Elisabeth Reichart/Susanna Fischer
Madame Firmin: Patrice Tappé
Princess/Mirror Bride: Claudia Dallinger
Fireman: Keith Mayler
Soldier: Heimo Borg
Swings: Tina Staudacher, Cornelia Crasnean, Horst Reeh, Bagdasar Bayvertian, Karin Seyfried
Slavemaster: Heinz Heidenreich, Heimo Borg
Corps de ballet: Julia Kajtar, Elizabeth Mills, Amanda Turner, Bronwyn Carey, Pippa Heughan, Dianne Johnston

Conductor: Caspar Richter/Adrian Manz/Andras Gillay


This is how it's listed in the Viennese "Complete Phantom" book. I assume the ones listed second are alternates/understudies rather than indicating the roles were shared. Several are listed for two roles, for example Jack Poppell as Raoul and André.

operafantomet wrote:
The Viennese orchestra also had lots of things going. It sounded more... classical in some way, and more pronounced in others. I remember lots of extra trills in the Il Muto ballet and Masquerade, and just more... oooomph all along. Carlotta's "Think of Me" was also dragged out like a real soprano's aria. Some of this is audible in the Viennese cast album, but live they took it all the way. I haven't heard an orchestra as "alive" as in Vienna. It's like they wanted to prove Phantom sounded best in the classical musical capital of the world. And they did after all open in an opera house.

Yes, the flute ornamentations were great in the Il Muto ballet! I also loved how they "lined" some parts of songs with brass, which made them sound "funkier" in a more classical sense.
And the orchestra was quite large, they removed the apron of the stage in Raimund to fit it there.

Raphael wrote:For those of you who have seen the international productions, are there some traits in those particular productions that you might say are unique to them? Obviously, the Hungarian production has completely different costumes and sets, the Polish production seems to have taken some ideas from the movie, and (from what I hear on the cast recording) the Japanese production has a technically brilliant orchestra, but what would you say each country's Phantom had that others didn't?

R.

Ooh, I love this topic! It unleashes the geek in me. Here are some off the top of my head:

Vienna

The chandelier was properly round and a nice size, too -- not the squashed oval thing we get in most productions.

There was extra orchestration in the title song unique to the Vienna production. There was an extra keyboard line that accompanied the Phantom's first verse.

The Phantom sang in a harmony in 'Wandering Child', thus making the duo version more interesting to listen to.

Stolkholm and Copenhagen

There was no sarcophagus behind the gates at Daddy Daaé's tomb.

In Denmark at least, the Phantom's mask had a slight rouge effect that I've rarely seen used on masks from other productions.

Australia/Asia

Different style candelabra in the lair.

Japan

The perspective is very different - it's like reducing Phantom from a cinema-size screen to a TV-size screen, the prosc arch being a lot lower than in theatres in other countries. Consequently, the Phantom appears from behind a different statue rather than from the Angel.

Essen

Notable for the worst ever masks in the history of the replica productions.

Basel

The only production that did performances in two languages.

London

Uses the original Victorian machinery beneath the stage of Her Majesty's -- everywhere else, things like the candelabra etc are operated by computer technology.

The only replica production where 'Wandering Child' is performed as a trio.

The only production to use the orchestrations implemented between 2004 and 2008 which beefed up the overture and made the title song more rocky, with the percussion being live.

Meg does not make the comment about always having to rehearse when she is thrown out of Christine's dressing room by her mother at the end of 'Angel of Music'.

I think (?) the only production to use the original lyrics for the first few verses of 'Masquerade' (not the conversation between Raoul and Christine, which was changed) and to have the Phantom say "you little viper", rather than "you little vixen".

The only RUG/Cammie-production where the Phantom catches Christine when she faints in 'Music of the Night'.

The Phantom does not (sadly) have prolonged laughter that continues long after the chandelier has fallen, as in certain other productions.

Broadway

The Phantom as the Red Death runs offstage when he disappears at the end of 'Why So Silent?' rather than using the trapdoor, even though Hal Prince insisted on the use of the trapdoor so you could see the Phantom going into the underworld. The reason for the change is a long history of injuries sustained by the drop. London still uses the trap door -- what about the other productions?

US Tour

The Angel's eyes lit up during the AIAOY reprise. I think this happened in other international productions as well, not sure which. Pretty sure this doesn't happen on Broadway or in London.

Scorp wrote:

Raphael wrote:For those of you who have seen the international productions, are there some traits in those particular productions that you might say are unique to them? Obviously, the Hungarian production has completely different costumes and sets, the Polish production seems to have taken some ideas from the movie, and (from what I hear on the cast recording) the Japanese production has a technically brilliant orchestra, but what would you say each country's Phantom had that others didn't?

R.

Stockholm and Copenhagen

In Denmark at least, the Phantom's mask had a slight rouge effect that I've rarely seen used on masks from other productions.

Essen

Notable for the worst ever masks in the history of the replica productions.

Since I'm in a picture uploading mood...


1. Peter Jorde in Copenhagen. I used to have a much bigger copy, couldn't find it at the moment.
2. Ethan Freeman in Essen. I should add that his mask was particularly unflattering, the one for example Christian Müller wore wasn't half as bad. And the mask didn't look as bad live. But still, it does show the Essen mask in all its horror...

If I dare say so, the Copenhagen masks were wonderfully crafted and fitted to each actor. In the years POTO played in Copenhagen there were three main Phantoms; Flemming Enevold, Peter Jorde and Preben Kristensen. Their masks looked little alike, except for pronounced noses and red and grey highlight on the mask. If Stockholm had the latter, it was much less pronounced, but Mikael Samuelson did have a characteristic nose on his mask which kinda reminds of the Copenhagen ones. I think they were made by different sculptors, though. The named Danish Phantoms once performed together as "The three Phantoms", singing a humoristic version of MOTN. You can really tell their masks apart in this photo:

I have particularly adored the Hamburg mask a great deal. It almost seemed like the face of a statue chiseled beautifully from granite (or something granite-like). It definitely fit with the direction the Phantom went in for the Hamburg production, where he was a very grounded, shadowy, somewhat quietly deranged figure.

operafantomet wrote: But still, it does show the Essen mask in all its horror...

And I thought that the later Vienna masks were horrible..

Incidentally, does anyone know the reason WHY the candelabra used in Australasia and S E Asia are different? How did that come about?

And though the Vegas production is different of course in many respects, one minor difference I picked up on when I saw it was that the boat comes onstage from the wings on the right rather than the wings from the left. Were there more candelabra on stage (eight rather than six)? I can't remember.

Those different candelabras were also used for the the Raoul Company (2NT) in the US. Both productions (meaning 2NT and Australia) opened around the same time, and it must have been a way to try and still have a spectacular "rising" image of the candelabras. I really wish that the 3NT used them, as well...

Stockholm also had the lights in the Angel statue, as well as Copenhagen. In Stockholm they also had another funky effect when the Phantom laughs during Il Muto. They lit up loads of lights on the tiers in the auditorium. Those lights would flicker at a rather high speed to make more of an impact. I also think that Stockholm had the prolonged laughter after the chandalier crashes. They also operated the backdrops by hand to make it look like in the olden days, but I would think the candelabra were machine operated.

ETA: The performances of Phantom that I have seen in Tokyo have had the Phantom in the angel statue like usual, so I guess it depends on the theatre.

Phantomlove wrote:In Stockholm they also had another funky effect when the Phantom laughs during Il Muto. They lit up loads of lights on the tiers in the auditorium. Those lights would flicker at a rather high speed to make more of an impact.

True, that is one detail I have never heard about/seen elsewhere. It sounds so cool.

As for Japan and the angel/lyre in Japan, I think it depended on the theatre. Jennie saw the lyre in Nagoya last year, but I've heard of several who's seen the angel as well.

Isn't the golden angel lit up in all productions except London, though? I've seen it in photos, at least. I've always wondered if the London one is merely malfuctioning and they haven't bothered to fix it, or if they never had it. It's a cool, creepy detail, especially when sitting close to the golden angel. The moment the eyes and mouths lit up is so eerie.

MajesticPhantom, I agree about those Hamburg masks. I love their sculpted look.

Is anyone familiar with actress/singer Kristin Hoelck? Did she play Christine in one of the German productions? Hamburg, Stuttgart?? I came across her name so was wondering....sorry if someone has already posted about her, didn't have a chance to go through all the pages!

Thanks!

Devon wrote:Is anyone familiar with actress/singer Kristin Hoelck? Did she play Christine in one of the German productions? Hamburg, Stuttgart?? I came across her name so was wondering....sorry if someone has already posted about her, didn't have a chance to go through all the pages!

Kristin Hölck was Christine alternate in Stuttgart. I haven't heard her myself, but I remember Elisabetta from the old forum had her as one of her favourites (or I think it was Elisabetta anyway).

She has a web site, but in terms of pictures it seems to be abandoned some years ago... http://www.kristinhoelck.de/ I do have a photo of her in costume somewhere, though. I'll post it in the rare pics thread.

operafantomet wrote:

Devon wrote:Is anyone familiar with actress/singer Kristin Hoelck? Did she play Christine in one of the German productions? Hamburg, Stuttgart?? I came across her name so was wondering....sorry if someone has already posted about her, didn't have a chance to go through all the pages!

Kristin Hölck was Christine alternate in Stuttgart. I haven't heard her myself, but I remember Elisabetta from the old forum had her as one of her favourites (or I think it was Elisabetta anyway).

She has a web site, but in terms of pictures it seems to be abandoned some years ago... http://www.kristinhoelck.de/ I do have a photo of her in costume somewhere, though. I'll post it in the rare pics thread.

Thanks for clearing that up operafantomet.....I would love it if you post a picture of her somewhere....thank you!

From the South African paper Die Burger this week (and excuse my crappy Afrikaans....):

SCHWARTZ PREPARES TO HAUNT AGAIN

It takes much more than eye pencil and a little lipstick to make Andrew Lloyd Webber's "Phantom of the Opera" come alive on stage.

The renowned singer and entertainer André Schwartz will play the title role for this production for the second time for a South African audience in November. Yesterday he had his first "adjust" session for the ghost's famous mask and the makeup that goes with it. Although he of course had a set of masks made for the last production in 2004​​, the construction is so specific that a few years makes changes that demands a brand new mask (?).

Bob McCarron, a British makeup artist who does Phantom's overseas productions and who's been involved in Hollywood films like The Matrix, is the expert in charge of this delicate process. "You do not really want the audience to notice the makeup, or specifically look at it. Good makeup focus attention on the character itself, so it forms a part of him", he said yesterday.

Schwartz said he is excited to relive the role, especially as he has come to know his character even more over the years. "The Phantom is actually only, as they say in English, a "love sick puppy" (?). Yet the trade story about his obsession with love is that it was his first self experienced love (?). So at the end of the day the audience will be at your side. This is a big part of the challenge.

The forthcoming South African production has a Facebook site, here:
https://www.facebook.com/pages/Phantom-of-the-Opera-South-Africa/209472882399300