The Swedish and Danish productions

Interesting tidbit on info from Copenhagen:

Phantom i København Når Det Ny Teater i København den 15. september i år holder premiere på »Phantom of the Opera«, er det ikke bare en kunstnerisk udfordring, men også en økonomisk satsning. Budgettet er på knap 100 millioner kr., og forestillingen skal foreløbig spille hele sæsonen 2000-2001 på Det Ny Teater, og hvis der er fuldt hus til alle ca. 250 forestillinger, balancerer regnskabet. Flemming Enevold skal udfylde den store rolle som fantomet. Enevold alternerer i den store rolle med Peter Jorde, og en række andre roller er også dobbelt besat. Eksempelvis deles Susanne Elmark og Hanne Damm om Christine Daae, mens Eva Hess Thaysen og svenske Rita Saxmark skal lægge krop og stemmer til teatrets opera-primadonna, Carlotta. Det er musical-mogulen Andrew Lloyd Webber, der har skrevet musikken til »Phantom of the Opera«, der siden verdenspremieren i 1986 er blevet set af over 60 millioner mennesker.

In bold:
The budget is on around 100 million Danish kroner, and it's scheduled to play the whole season 2000-2001 at Det Ny Teater. If there's a full house for all 250 performances, the money will be earned back.
http://www.kristeligt-dagblad.dk/artikel/232878:Kirke---tro

The ended up playing in 2002-2003 and 2009 as well, so it's safe to say they earned their money back.

Another interesting article:
http://www.berlingske.dk/kultur/satser-100-mio.-paa-phantom-opera

For nogen tid siden modtog Niels-Bo Valbro, direktør på Det Ny Teater i København, en e-mail fra en ældre kvinde i Wisconsin i USA. Hun havde set, at der var planer om at sætte "Phantom of the Opera" op på teatret, og derfor ville hun gerne sikre sig to billetter til premieren.

Kvinden har overværet næsten 100 opførelser af den berømte musical og set den alle de steder i verden, hvor den er blevet spillet. Hun får også sine to pladser, når der bliver premiere i København den 15. september.


Roughly translated: Some time ago Niels-Bo Valbro, manager of Det Ny Teater in Copenhagen, received and email from an elder woman in Wisconsin, USA. She had read there were plans of producing "Phantom of the Opera" at the theatre, and she wanted to secure two tickets for the premiere.

The woman had seen almost 100 performances of the famous musical, and seen it everywhere in the world where it has played. She has now also gotten two seats for the Copenhagen premiere September 15 (2000, my note).

Anyone have the track listing for the Swedish cast recording?

This looks fairly accurate:
http://castalbums.org/recordings/The_Phantom_Of_The_Opera_1989_Swedish_Cast/2487

The CD is a two-disc edition, so "20 - Mellanaktsmusik" (Entr'acte) is of course track number one on disc two and so on. Ideally the Scandinavian languages don't write every word in a title with capital letters either, but I don't remember what's actually done on the CD. I think they have written for example "Musikens ängel" and not "Musikens Ängel" there, but I don't have the CD in front of me and cannot double check it.

Was The Original Swedish Cast released on LP (Vinyl)? I searched through several sites, but haven't found anything except the information on CastRecordings.com
And the second question: do Swedish programms exist? Sorry for bothering

Yes, the Swedish recording was released on vinyl. I have it. And yes, there are programmes and souvenir brouchures too.

Thanks for the information, Phantomlove

Klavirista wrote:Was The Original Swedish Cast released on LP (Vinyl)? I searched through several sites, but haven't found anything except the information on CastRecordings.com
And the second question: do Swedish programms exist? Sorry for bothering

I've never been more impresses than when I saw phantomlove's father wore a Phantom tie in her wedding. Wasn't that one from Stockholm?

And as for the souvenir brochures, I think they released one every 6 months or so. At least for every major cast change. But the main design remained the same, mostly some pics were changed and a new cast list added. They did the same in Copenhagen.

The Swedish production run from 1989 till 1995, am I right?
The last question, I suppose: is there any chance to find Swedish programm?
I really like early European Phantom production (London, Vienna, Swedish, Dutch) so I want to collect something related to them.

Thanks Anéa! Having track names for these things in my iTunes makes it a lot more manageable

Klavirista: Yes, the production ran from 1989 to 1995. I'm sure you can find a programme or souvenir brouchure somewhere, but they are not that common so you probably have to have patience.

Operafantomet: My dad's tie sure is from the Stockholm souvenir shop. They had some goodies there actually. Bedsheets, wine glasses and stuff .

Phantom back to Sweden? A producer is heading to London and New York to see musicals and consider what should be staged in Sweden. About Phantom she say that "Jag ska titta på Fantomen på operan i London igen och räkna på vad det kan kosta och se om det är möjligt. Den gick på Oscars i sex år på 90-talet och ändå blev det inte så mycket pengar över då." (I'm gonna se Phantom of the Opera in London again and do some calculations on what it'll cost (to stage it in Sweden again) and see if it's doable. It ran at Oscarsteatern in six years in the 90s and yet the profit wasn't too big").

My immediate thoughts on this is that the original Stockholm production was staged "from the bottom" - lyrics were translated, costumes and sets brand new etc. On top of that they had the running costs. This time around I would think they would "only" have the running cost, plus of course the licensing. If they think big, they could run the show first in Sweden, then in Norway, and double the audience capacity.

She's also asked about the sequel "Love Never Dies": "Jag ska titta på den men vi är inte så sugna på den, den fick inte så lysande recensioner." (I'm gonna see it, but we're not too eager on it. It didn't get particularly good reviews.".

Now, I don't blame her for being hesitant. But I don't think it's bad reviews alone who'll keep her from producing it. I think everyone in the theatre world is sitting on the fence and seeing how the Aussie production does. If that is successful, we'll see multiple LNDs all over the world. If it bombs, I don't see too big a future.


http://www.svd.se/kulturnoje/nyheter/ska-du-ateruppvacka-fantomen_5911455.svd

I was very surprised when I read the article about that Vicky von der Lancken may want to produce Phantom in Stockholm again. I'll keep a "I believe it when I see it" attitude to these news for now, but it would be great fun if she did it. I wonder who she would want to cast though.

Operafantomet: I'm not sure that the Aussie production would a make it or break it. In a way yes, but I think only as a barometer for if the producers dare to go for Broadway or not. I think that the rest of the world won't be interested unless Broadway is. At least I can't see Vicky von der Lancken bringing LND to Sweden because it was a hit in Australia. If it was a hit on Broadway however or in the West End (which it isn't) it would be another matter.

operafantomet wrote:http://www.svd.se/kulturnoje/nyheter/ska-du-ateruppvacka-fantomen_5911455.svd

Interesting, it would be great fun if they decided to produce Phantom, with the right cast I would love to see it.

OPENING CAST OF THE STOCKHOLM PRODUCTION:

The Phantom - Mikael Samuelson
Christine Daaé - Elisabeth Berg / Tua Åberg
Raoul, Vicomte de Chagny - Bengt Nordfors
Monsieur Firmin - Bert-Åke Varg
Monsieur André - Magnus Fagerberg
Carlotta Giudicelli - Anette Stridh
Madame Giry - Annika Bartler
Ubaldo Piangi - Björn Haugan
Monsieur Reyer - Anders Sohlman
Porter/Marksman - Erik Ström
Meg Giry -Martina Langas
Monsieur Lefèvre/Fire Manager - Bernard Sundh
Joseph Buquet - Anders Jonsson
Don Attilio (Il Muto)/Passarino - Jan Kyhle
Slave Master (Hannibal) - Peter Gröning
Flunky/Stagehand - Olle Ingeson
Policeman - Lennart Forsén
Page (Don Juan Triumphant) - Lillemor Höglund
Porter/Fireman - Dag Metin Ardel
Page (Don Juan Triumphant) - Margaretha Melz
Fireman/Auctioneer - Raymond Björling
Waderobe Mistress/Confidante (Il Muto) - Lena Tivelind
Princess (Hannibal) - Christina Knochenhauer
Madame Firmin - Kerstin Melin
Inkeeper's Wife (Don Juan Triumphant) - Marie Kindberg
Swing (tenor) - David Båvenholm
Swing (baritone) - Bert Bellmann
Swing (soprano) - Susanne Sahlberg
The Ballet Chorus - Christina Olsson - Kerstin Abrahamsson - Susanna Caldegren - Jessica Mazzi - Åsa Rampling - Janette Le Veau
Swing (dancer) - Emma Idén


Understudies

The Phantom - Richard Carlsohn
Christine Daaé - Christina Knochenhauer
Raoul, vicomte de Chagny - Jan Kyhle
Carlotta Giudicelli - Kerstin Melin
Meg Giry - Christina Olsson
Madame Giry - Lillemor Höglund
Monsieur André - Anders Sohlman
Monsieur Firmin - Lennart Forsén
Ubaldo Piangi - Raymond Björling

CLOSING CAST OF THE STOCKHOLM PRODUCTION:


The Phantom - Mikael Samuelson
Christine Daaé - Johanne Brochmann / Inger Olsson Moberg
Raoul, Vicomte de Chagny - Jan Kyhle
Monsieur Firmin - Bert-Åke Varg
Monsieur André - Magnus Fagerberg
Carlotta Giudicelli - Anette Stridh
Madame Giry - Annika Bartler
Ubaldo Piangi - Hans Dornbusch
Monsieur Reyer/Fop (Il Muto) - David Båvenholm
Porter/Marksman/Fop (Il Muto) - Erik Ström
Meg Giry - Linda Motta
Monsieur Lefèvre/Fire Manager - Torbjörn Pettersson
Joseph Buquet - Dag Schantz
Don Attilio (Il Muto)/Passarino - Johan Jern
Slave Master (Hannibal) - John Ljunggren
Flunky/Stagehand - Björn Strindlund
Soldier (Hannibal) - Benny Andersson (not the ABBA guy, though....)
Page (Don Juan Triumphant) - Lillemor Höglund
Porter/Fireman - Björn Olsson
Page (Don Juan Triumphant) - Rita Saxmark
Fireman/Auctioneer - Anders Sohlman
Fireman - Roland Häggström
Waderobe Mistress/Confidante (Il Muto) - Lotta Merhammar
Princess (Hannibal) - Katarina Agorelius
Madame Firmin - Kerstin Melin
Inkeeper's Wife (Don Juan Triumphant) - Randi Gunn Severeide
Swing (tenor) - Per-Olof Ehrlin
Swing (baritone) - Dag Metin Ardel
Male Swing - Olle Ingeson
Swing (soprano) - Susanne Sahlberg
Female Swing - Helena Jonason
The Ballet Chorus - - Toshiko Alfaro - Karin Hedlund - Johanna Lervik - Petra Lichtenecker - Marianne Sandin - Linda Selensjö
Swing (dancer) - Petra Norman



Understudies

The Phantom - Jan Kyhle, Bengt Nordfors
Christine Daaé - Katarina Agorelius
Raoul, vicomte de Chagny - Bengt Nordfors, Björn Olsson
Carlotta Giudicelli - Rita Saxmark
Meg Giry - Karin Hedlund
Madame Giry - Lillemor Höglund
Monsieur André - Anders Sohlman
Monsieur Firmin - Johan Jern, Johan Schinkler
Ubaldo Piangi - Roland Häggström

OPENING CAST OF THE COPENHAGEN PRODUCTION, SEPTEMBER 15. 2000:

Phantom: Flemming Enevold
Christine Daae: Susanne Elmark
Raoul, Vicomte de Chagny: Tomas Ambt Kofod
Carlotta Giudicelli: Eva Hess Thaysen
Ubaldo Piangi: Hans Dornbusch
Monsieur André: Morten Staugaard
Monsieur Firmin: Steen Springborg
Madame Giry: Bodil Øland
Meg Giry: Anna Grönros

The role of the Phantom, Christine and Carlotta was double cast. The ones above performed at the actual opening night, but they were equally shared between Flemming Enevold/Peter Jorde (Phantom), Susanne Elmark/Hanne Damm (Christine) and Eva Hess Thaysen/Rita Saxmark (Carlotta).

Just a general question....

When did Phantom close at the DetNy Teater??

Devon wrote:Just a general question....

When did Phantom close at the DetNy Teater??

Which time? Ha-ha. There's been two different productions (three, if you're picky), but all within the same theatre, and with many of the same cast members and orchestra. In my head I count it as one production.

September 15th 2000 - April 28th 2002.
September 10th 2003 - December 14th 2003
January 16th 2009 - May 24th 2009

They did seven performances a week - dark on Mondays, performance every evening Tuesday to Friday, matinée and evening on Saturdays, and mid-day at Sundays. In the autumn season of 2002 they did Cats. From what I've understood, they wanted to continue performing Phantom, but they had already secured the rights for Cats and made investments. But it "only" played half a year, before they put Phantom back on in 2003. And then again in spring 2009.

Other dates:
September 11th 2001: First performance of Viktoria Krantz (Tocca). Yeah, great date. She replaced Susanne Elmark.
January 4th 2002: First performance of Preben Kristensen and Agnete Munk Rasmussen. They replaced Flemming Enevold and Hanne Damm. As Tomas Kofod also had a short break in 2001, being replaced by Björn Olsson, Peter Jorde was the only lead staying the whole run from 2000-2003/2009.


Det Ny Teater functions more as a small opera house than a Broadway/West End theatre. They have a permanent orchestra and conductor, and also permanent costume workshop and other in-house departments. But unlike operas and officially funded theatre, all roles for their musicals are cast anew for each production (though there are several re-occurring faces. They don't have a permanent performer staff. In that aspect they're similar to Broadway and the West End.

operafantomet wrote:

Devon wrote:Just a general question....

When did Phantom close at the DetNy Teater??

Which time? Ha-ha. There's been two different productions (three, if you're picky), but all within the same theatre, and with many of the same cast members and orchestra. In my head I count it as one production.

September 15th 2000 - April 28th 2002.
September 10th 2003 - December 14th 2003
January 16th 2009 - May 24th 2009

They did seven performances a week - dark on Mondays, performance every evening Tuesday to Friday, matinée and evening on Saturdays, and mid-day at Sundays. In the autumn season of 2002 they did Cats. From what I've understood, they wanted to continue performing Phantom, but they had already secured the rights for Cats and made investments. But it "only" played half a year, before they put Phantom back on in 2003. And then again in spring 2009.

Other dates:
September 11th 2001: First performance of Viktoria Krantz (Tocca). Yeah, great date. She replaced Susanne Elmark.
January 4th 2002: First performance of Preben Kristensen and Agnete Munk Rasmussen. They replaced Flemming Enevold and Hanne Damm. As Tomas Kofod also had a short break in 2001, being replaced by Björn Olsson, Peter Jorde was the only lead staying the whole run from 2000-2003/2009.


Det Ny Teater functions more as a small opera house than a Broadway/West End theatre. They have a permanent orchestra and conductor, and also permanent costume workshop and other in-house departments. But unlike operas and officially funded theatre, all roles for their musicals are cast anew for each production (though there are several re-occurring faces. They don't have a permanent performer staff. In that aspect they're similar to Broadway and the West End.

Okay, was a bit confused...hehe But thanks for clearing it up. And OMG, BAD date for Viktoria to start LOL!! Well, bad for the United States that is....but thanks for listing off the dates, etc.

Copenhagen Cultural Night October 10th 2003

One of the coolest Phantom experiences I've had, which is by now mostly a faint memory, was in 2003. A faint memory, still: here's a write-up about it. The whole of Copenhagen participate in what's called "Cultural Night" each autumn, which means museums, theatres, restaurants, galleries, amusement parts etc. is open until midnight, if not longer. They all create special events which people can participate in for free, for for a small fee. I got to experience this at Det Ny Teater in 2003.

Though, first things first. I saw Viktoria Krantz as Christine for the first time in 2002, and I adored her in the role. I emailed her to tell just how much I enjoyed her interpretation. We emailed a bit back and forth, and she turned out to be the sweetest of persons. When I had bought my tickets for the Copenhagen Cultural night, I emailed her to ask if she was performing that evening. And she was. She asked if I wanted to meet her before the show, so I could look at her costumes. You betcha!

Not only did I get to see many costumes up close, she also spoiled me rotten by:

*Letting me stand on stage during a boat scene rehearsal (yes, I almost died)
*Letting me take pictures of some of the costumes
*Getting basically the full cast to sign my souvenir brochure
*Showing me the whole backstage world
*Letting me see the spare costumes as well (I swear, they had at least five of each Christine costume...!)

After she gave me the backstage tour of my life I saw the evening performance. It was stellar. I saw Peter Jorde, Viktoria Krantz, Tomas Ambt Kofod and Eva Malmgren - which apart from Krantz all repeated their roles in 2009, and which I was thrilled to see again. I was sad not not see Jorde/Krantz again in 2009, they had a wicked chemistry on stage. But anyway... I met Viktoria after the show, to thank her for a fantastic performance and a fantastic day. She did me one last favour: smuggle me in the stage door, to skip almost half an hour of queue for the Copenhagen Cultural Night event...

The whole theatre was transformed into Palais Garnier that evening. One of our first stops was the room in the round dome. It was a rehearsal room for the ballet girls, still in Degas costumes. If I remember correctly, Madame Giry was there with them, to instruct them, and they did the routine from "Angel of Music/Little Lotte". I liked the meta-meta reference; that the ballet girls was rehearsing after the performance, just like in the show. Pictures were alas not allowed, but it looked like a mixture of these:




The next stop was up at the rooftop, where there were no actors or costumes, but the view was SO much alike "All I Ask of You" that several were humming the tune. Myself included. We continued through the attic, where "Mr Smith", Det Ny Teater's own ghost, was usually seen/experienced. We saw the flies and the stage from above (hello Buquet), and a technician room. I'm a bit fuzzy about where we went next, I think it was the costume workshop on the fifth floor. Carlotta's grand Elissa skirt was on display, as it was mended at the hem, and I was allowed to take a picture of it.


It was mended because one of the golden X ribbons on the hem had come loose during the performance. Look to the left of the center tab. But they needn't have put the bodice on to make that repair, so it was probably also to show off the splendor of the costume workshop. The second picture is the Elissa skirt Viktoria Krantz wore that evening. I think this one was highly Frankensteined, with inherited red skirt from Belgium, brand new new pleated hem, inherited tabs and backdrapes from Sweden, and brand new apron, belt and false bodice. I also got to study her Wishing dress:



Viktoria Krantz's Wishing dress skirt in front and back. This was a hand me down costume from Susanne Elmark, which had most (if not all) of her costumes made new in London, as she was one of the tallest woman ever to play Christine. The details of this one therefore corresponds exactly with the London costumes of the time. Other Wishing dresses in Copenhagen was a lot older, with totally different backdrapes and trims, and with different tailoring. I don't think this dress appeared in 2009, as both Christines then were fairly small.


We continued through the wardrobe corridors in the floors below, and got to take a sneak peek in various rooms. So many costumes. SO many costumes! And also pretty crammed, but I guess that goes for most old theatres.


A ballet girl dressing room, shared by three female dancers. The second picture is from the costume warehouse/room, where multiple of each costumes were hanging side by side. These two Wedding dress bodices were both very old. The one to the right came from Stockholm, and was from the early 90s. The ribbed fabric and the yellowed lace spoke of its age, but some new rosettas had ben put on it. This one was worn by the mirror bride in Copenhagen. The one to the left was also old, but not as old. The flat appliqués over the bust rather than lace fans is typical for ca. 1998-2001.


We continued through the green room (I think), where various tables was set up with set models, props and smaller costume items. There were a table with the Phantom's prosthetics, which was mighty cool, and we were all encouraged to touch it and hold it. Very funky texture, very soft and light. But again: no pics allowed. His mask was also on display, and various other masks and wigs and shoes. One table had the general set model in cardboard, plus a souvenir brochure and the Phantom's cloak. It was so much more beaded than I had imagined!



Our last stop was on stage. It was odd to be back there and not be allowed to walk anywhere or touch anything, after having experienced the boat scene there some hours earlier. But I chatted to one of the technicians (which I think might have been the same guy which gave us a tour at Josefine's 100th show!), and he explained a bit about the dry ice they used and how many candles they had come up through the floor (105!). All this time they were playing three or four backing tracks from the Danish production - the title song and Music of the Night for sure, possibly also WYWSHA. I wanted to badly to record it, as it sounded marvellous, especially the MOTN one. But no photos or recording were allowed. They showed us some basic scene changes - I should remember which ones, but it's too long ago and I'm getting old... I seem to remember a simplified boat scene and Final Lair, possibly also something with Hannibal. And did they do a chandelier drop or two? I think they did. We crossed the back of the stage, went down a small stair into the auditorium, and was escorted out.




Obviously my big hope is that Det Ny Teater will perform Phantom again, and that they will do it in the autumn and not spring. Cause the Copenhagen Cultural Night is an annual event! Last year they had "Take a picture with Mary Poppins" and lots of Poppins event at the theatre, and this year I assume they're having an Annie theme. Who's joining me if they're doing Phantom again?



(Note: not all pics above is from the Cultural Night event. Simply because pics were for the most not allowed. But most are, as I asked at each stop if I was allowed to take pictures despite being told at the beginning we weren't allowed, and some said yes... Some of the costume pics are also from earlier on the day).

Operafantomet:

Whoa. That is just waaay too cool for words. And what an awesome experience.

I love that little model pic. Soo adorable.

operafantomet wrote:Copenhagen Cultural Night October 10th 2003
Who's joining me if they're doing Phantom again? [/i]

If they do bring it back I would love to come see it. So far I have seen phantom 5 times, but only in London. I am really hoping to come down to Vegas a t some point.
OG

Well, I'll come with you to Copenhagen cultural night that's for sure .

Are you sure that red skirt Victoria wore was from Belgium? The red fabric looks a lot like the one Tua Åberg wore in Stockholm, at least according to the pictures I saw of her in her Elissa skirt two years ago.

Phantomlove wrote:Well, I'll come with you to Copenhagen cultural night that's for sure .

Are you sure that red skirt Victoria wore was from Belgium? The red fabric looks a lot like the one Tua Åberg wore in Stockholm, at least according to the pictures I saw of her in her Elissa skirt two years ago.

I'm not sure at all, but it looks so similar to that other Belgian skirt which wandered into the Madrid production, and even more similar one from Switzerland (where Belgium got their costumes from). I know the skirt Susanne Elmark used was from Sweden (though also Frankensteined), I think the one Elisabeth Berg used. So no, I'm definitely not sure about the Viktoria one. Mostly going by typology, as all traces of the origin was long gone,

Lets cross our fingers for a Phantom fall season in Copenhagen next, then. Cultural Night during Phantom kicked ass.

Speaking of souvenirs in another thread reminded me of my Phantom laptop bag from Copenhagen. I love it SO much, and would wear it all the time had it not been for the somewhat slippy shoulder strap. I want to replace it somehow (it's only clip on, so technically I could make/buy another strap and clip it on). The size is perfect for my MacBook, notebooks and pens.

I've got that bag too and I love it! It's really cool, but as you say the strap is not the best. I've been thinking about replacing it but have not yet come to it, and therefore I haven't really used the bag that much yet. More cool merchandise like this, please

I need a damn laptop bag. That looks perfect. But I had a bag that was once made out of that kind of fabric and it ripped.

Is the outer fabric the same as the fabric lining the inside of the bag? Do they still sell them?

I haven't found a use for my bag yet... I have a different bag for my MacBook Pro. Maybe I'll keep some souvenir brochures in it since my boxes full of them are overflowing now...

ML6 wrote:I need a damn laptop bag. That looks perfect. But I had a bag that was once made out of that kind of fabric and it ripped.

Is the outer fabric the same as the fabric lining the inside of the bag? Do they still sell them?

I bought the last one... They had one on display even after they were sold out. So I convinced the souvenir stand seller that there was no point in displaying it when they had no more items to sell. People would only get annoyed, ya know... That said, they might have put away a few of them for archival use, or found some in a box in their stock room or whatever. It never hurts to ask. You could ask them at their official FB site, where they tend to be quick with replies: https://www.facebook.com/detnyteater

The fabric is actually very solid. It seems to be made of two layers sandwiched together. I was more concerned about the seams, so I whipstitched some of the exposed corners. No damages there yet. But as mentioned, the shoulder strap (or rather the plastic parts clipping the strap to the bag) is not the best. I want to replace the whole strap. It has a little handle at the top of the bag, though, for carrying it in the hand. I like that one.

But ideally I would love this type of bag in a thick, coarse canvas.