25th anniversary celebrations

does sierra boggess have an official web page or facebook/myspace page?

wasn't there a thread of the actor's official sites? or was that the other forum?

LiQuiD DiAmOnD wrote:does sierra boggess have an official web page or facebook/myspace page?

wasn't there a thread of the actor's official sites? or was that the other forum?

From what I remember, she had an official site which wasn't maintained, and then some porn site took over the domain... Which was rather unfortunate. I think it's totally gone from the web now.

List of web sites is here: https://desertedphans.forumotion.net/t5-web-sites-for-performers

phantomgirl110 wrote:

...I fully expected to be the only person in the theatre, but there were probably 50 people there! I never heard about it except on POTO-related sites, so I have no idea how all these people knew. (My first thought was that they must all be people like us, but upon listening to some of the conversations around me I deduced that that was not the case. One person insisted that the first time he saw the show the chandelier didn't rise or fall but that he "liked it better when it did". Another said that the only one of the guest Phantoms at the end that he was absolutely sure he'd seen in the role like was Peter Jöback.)

People like these puzzle me, especially the ones like the person who doesn't know whether or not the chandelier rises on a regular basis. Online, more than once, I've read posts by people who swear they saw Michael Crawford in POTO in Toronto or Milwaukee or wherever. I know most folks don't know or care as much about this show as I do and as a lot of people I interact with online do, but pig-headed statements of fact that aren't fact are a little harder to understand.

Leaving to see this in a little less than an hour. After the day I've had I could use the catharsis of watching a crazy guy strangle a couple people.

~LCD

Just spotted another LND reference in the concert staging. Raoul brings Christine a "single red rose" when he meets her in the dressing room for the first time (instead of the usual bottle of champagne), and that's also one thing that Christine mentions in LND, when remembering Raoul from 10 years before. I actually like the rose better than the bottle, to be honest

I am also trying to decide whether I like how the Mirror scene was staged. I mean, I'm finding giant Christine and giant Phantom's head in the screen a bit odd, but I think they made it like that, so that people sitting far away from the stage could see what was happening.

Miss von Krolock wrote:Just spotted another LND reference in the concert staging. Raoul brings Christine a "single red rose" when he meets her in the dressing room for the first time (instead of the usual bottle of champagne), and that's also one thing that Christine mentions in LND, when remembering Raoul from 10 years before. I actually like the rose better than the bottle, to be honest

I like the rose, too, but it makes me think of the movie. :/

So I'm having a thought here about Peter Joback appearing as one of the grand finale Phantoms.

Could it be that they put him on, despite his unpreparedness, because they could not get the legendary Phantoms they wanted to perform?

Remember, Peter Karrie turned down the invitation to appear at the 25th Anniversary, and it seems that MC would not give up his obligation to Wizard of Oz to make time to rehearse for the 25th and so would also not commit to a finale performance.

For my part, I'm still kind of bummed that they didn't have an American Phantom in the bunch. Perhaps someone like Brad Little, who has performed the role a ton of times all over the globe? Or Hugh Panaro, the current Broadway Phantom? Or Howard McGillin, the longest running Broadway Phantom? Lots of choices there. Of course, it could be that they were asked but couldn't commit, either.

~Madame~

So I finally saw the showing tonight. I have to say I was really, really underwhelmed through the first act. The only things that stood out as being excellent were Earl's Auctioneer and Stephen John Davis' Don Attilio. You know when the bit parts are the jewels that the show isn't working. But then the second act came on, and for the most part, it was quite good. Much, much better than the first act. You could tell they hadn't all rehearsed together much because there were some slight hitches.

It was awesome to see so many people on stage for Masquerade, though I hated the Red Death costume and how his appearance was staged. It was also awkward throughout that the chandelier just sat there in the rafters and didn't do anything but spark.

As for the cast, Ramin was just not very good in the first half. Just not my cup of tea. Sierra wasn't that great either, though part of it wasn't her fault because the sound levels on the orchestra were so loud that they were drowning her and a lot of the other singers out.

But then Ramin turned in a fantastic Final Lair, and usually if a Phantom does that, I can mostly forgive him for past transgressions because that's such a crucial scene. And Sierra was just great in the second act as well. Her Wishing almost had me on my feet, even though it wasn't a live performance.

Hadley Fraser was a pretty good Raoul, I thought. Kind of in the angry, smug TMG mold, but with a better voice.

I liked the managers' acting, but not their voices. Though that's often the case.

Whoever Piangi was just straight up sucked in every way. A total non-factor in the show. Wendy Ferguson was meh.

Now, as for the post-show stuff, I was almost in tears and had goosebumps when ALW mentioned Steve Barton, John Aron, and Mary Millar. And it was great to see MC get so lauded (and that ALW finally mentioned Hal), and to see Sarah. Though it was clearly awkward for MC to stand there while these other Phantoms sang his part. Colm and Anthony Warlow are great, and JOJ's pretty good, but it was totally inappropriate for Peter Joback to be there. He is utterly awful. Not the time to bring a new Phantom into the festivities when you're celebrating the past. Should have had Peter Karrie in his place. I'm sure MC chose not to sing to preserve his voice for Wizard, and that's fine. I just wish he'd snuck in to sing the final bit of MOTN. Though I do like that the camera zoomed in on him as the whole cast sang the final note of MOTN, and he was singing for that one note, and seems like you could hear him on Sierra's mic.

SenorSwanky wrote:Should have had Peter Karrie in his place.

Peter Karrie decided that he would not attend despite being invited. I believe that decision was at least partially based on his other commitments for that date.

~Madame~

Any info as to whether the sound issues will be corrected for the DVD release? I was very concerned by the mixing, as the singers' voices were often drowned by the orchestra. This was particularly noticeable for the managers and even Carlotta which was disappointing, as her stellar singing adds a lot to the ensemble harmonies.

Hope it can be rectified!

Thoughts on the show

1. I wish I'd gone. I was in London on Sat the 1st, flying home on the 2nd, just in time to see it in the cinema in Canada on the 3rd. I was considering buying tickets for the Sat evening show, but due to an uncertain flight schedule and broke-ness decided against it. I was disappointed in myself as I sat in Pizza Hut outside Heathrow then back in the no-tell motel watching dvds and reading #Phantom25 on Twitter

2. Sierra is a beautiful singer. I won't get into the politics of her selection, as regardless of all that drama I thought her singing was beautiful, and for me that's priority number 1. I thought Ramin, Hadley and the rest of the cast sounded great as well - I was glad that the powers-that-be chose such strong voices. I have often been disappointed in the vocal performances when I've seen Phantom in recent years, so enjoyed watching Sierra since I was never worried she'd miss her notes, slide and scoop around her pitches, or gasp for air. Hooray for a good, solid, lovely voice! I also enjoyed the dynamic between her and Ramin during Music of the Night - it was great to watch them up close. You can tell they have a good personal chemistry after working together so closely for so long.

3. Loved the scene with Carlotta changing behind the screen - that made me laugh.

4. I thought Sierra's tears at the end when she pressed her face to the Phantom's hand were really touching.

5. Raoul's attitude didn't strike me as mean or cruel - to me he was definitely frustrated by the way the Phantom was causing Christine anguish. In his attempt to 'fix' the situation, he definitely got aggressive, and possibly could have shown some more compassion and patience for Christine's feelings, but my impression was that his Raoul was more focussed on defusing the Phantom's threat to the woman he loved... and perhaps due to his zeal to eliminate the Phantom Menace he may have been a bit insensitive to how difficult the process was for Christine. Basically, if someone was stalking me, my boyfriend would be pretty focussed on getting the problem stopped. He would be right on board with the whole Don Juan setup, and if I was all 'twisted every way' about it, he'd be like 'look, darling, we can worry about your guilty conscience later - we need to do what we have to to end this for once and for all' Not sure he'd be too happy using me as onstage bait, but ya know, Raoul's got to do what it says in his script

6. Loved Ramin's tribute to MC at the end - it was so sincere and touching.

7. LOVED the Phantom Mens' Choir all holding hands and singing -- there were obviously a lot of good contenders to be singing the role that evening!

8. Wish Rebecca Caine had been there She's my all time favourite Phantom heroine

Madame Giry wrote:So I'm having a thought here about Peter Joback appearing as one of the grand finale Phantoms.

Could it be that they put him on, despite his unpreparedness, because they could not get the legendary Phantoms they wanted to perform?

Could be. Personally, I'm hoping they cast Fraser because no former Raoul would go along with the director and completely bastardize the character.

Picking past, present and future Phantoms is a tricky endeavor. As you said, MG, plenty of choices. They could have gone with current Phantoms (Owen-Jones, Panaro, Crivello... any other productions currently running?) and I would have been fine with that.

TAFKaR

Well, that was...nowhere near as bad as I feared (in fact pretty good in some places) but not as spectacular as one could hope. More later when I've had time to sleep and organize my thoughts.

~LCD

ML6 wrote:He also decided to shoot in an adlib, especially during the unveiling of his face to the audience after 'Point of No Return'. As soon as Christine lifted the hood he goes, 'damn'. ... damn?

That was "turn," as in the end of "return."

I agree with you. He should, in the end, be given a chance. How big or little that chance may be, he can certainly be entitled to a time trying on the mask. And yes, Crawford *did* work hard.

But this is how I see it, why showcase his voice last night if he still has a long way to go in terms of shaping it up to be what we're going to see in a couple months? That was a fault, I think, made by Cammie. I think that they should have not brought him out. I would rather see him after he has gone through the material and, I don't know, perfected his voice. I don't remember Crawford being thrust out onto a stage to sing some songs and his voice sounding like shit.

Very true.

Phantom on a Budget wrote:Disliked drunk!Firmin. Really distracting.

I thought that was a nice touch.

operafantomet wrote:I should add that the screening here in Oslo got totally screwed up. I'm still so angry. We missed everything up until Think of Me, and then we missed everything between Red Death entrance and the applause of WYWSHA.

Mine obviously wasn't live, but the idiot running the show forgot to dim the lights, and then there was no audio from the start of the show to Lot 664 or 665.

And the Phantom almost strangling Christine in the Final Lair, before realizing what he was doing, was a curious and cool detail.

I liked this too, and it was clearly only done because Raoul was not separated from them by the proscenium.

Seeing Sarah Brightman perform at the concert made me realize why they put in that scarf in "Think of Me"... And in WYWSHA, for that matter. She looks like she's knitting mid-air

LOL

phantomgirl110 wrote:Alas. I loved how visibly moved he was, though.

Yeah, his lips were quivering just from coming out on stage. I love MC.

phantomlove wrote:And what was up with Piangi's high C in Hannibal. Did he try to be funny portraying a tenor who can't hit a high C or did he miss it for real? What was it like in the earlier shows?

Yeah, WTH? It wasn't even played well. Just a dumb choice done terribly. Fell so flat it was like everyone in the audience had a simultaneous WTF face.

starryeyed wrote:The second worst casting choice was Wynne Evans, is it true he cracked some notes on Saturday and that's why he did that really embarrassing on purpose note in Hannibal on Sunday? It fell really flat with the audience.

So it was an inside joke/wink at himself that no one else got? Stupid and unprofessional.

Miss von Krolock wrote:It did cross my mind that it might have been a technical hitch, though I would never have guessed it was the wires. Guess we'll sadly never get to see that on the official DVD though, since they're probably going to pick clean footage from the other performances...

But yeah, if he really got caught up in the wires, major kudos to him for reacting quickly and making it look like nothing serious had happened!

I'm not sure how they would substitute footage. They'd have to replace the rest of the show. But I definitely didn't notice him seemingly struggling with the wires.

Did anyone else find the cheek microphones a bit annoying? Why couldn't they stick to the forehead mics we usually see in the theatre?

Yeah, they definitely were.

PhantomsGhost wrote:I remember the Les Miz 10th concert when a light exploded behind poor Cosette who was singing Castle on a Cloud and loud popping noise was left in.

I didn't know until recently that that's what happened there. I always thought it was the sound of Mme. Thenardier putting out chairs in the pub.

Anyway. If I had to gripe about one thing about the 25th anniversary it's effing projections. I hate them. With a passion. I find them a cop out for real set design. Maybe I'm showing my age, but projections just don't add anything to a production. It's just CGI for theatre. I was glad to see Bjornson's designs still being used, but c'mon! We don't need to see a phantom sitting at his organ playing while the theatre is being transformed in to the Palais Garnier, nor do we need to see him writing out notes, nor the big Red Death head showing up on the top of the screen.

I didn't quite hate them as much as you, but I generally don't like them, and I particularly didn't like showing the Phantom during first Notes or the overture. You shouldn't see him all the time. It takes away the mystery. It's one way the movie failed, making him too real and human in the moments he's supposed to be ethereal.

ette wrote:6. Loved Ramin's tribute to MC at the end - it was so sincere and touching.

Yes, and MC was clearly moved.

Interesting that Ramin used the original "music shall surround you / hear it, feel it, closing in around you" lyrics.

The only thing I didn't like about Sierra (well, the only main thing, other than minor quibbles) was her accent was weird and fake. I didn't mind the ending you guys are complaining about. It was pretty touching, I thought. Maybe weird to have Raoul kind of dragging her up the stairs. But I didn't immediately think of LND when watching it. But maybe that's because LND's hardly on my radar. I don't even know more than snippets of two of the songs, and I have avoided finding out most of the plot details. It shouldn't exist, and it doesn't in my mind.

I guess I don't mind Fraser's Raoul because I've never much liked the character to begin with. The show's all about the Phantom for me. I love a great Raoul like Barton (and there really are few other examples who've successfully managed to make the role special and sympathetic). But to me, it works if he's a bit of a prick. Fraser might've been a bit too much of a prick, but I didn't care.

I do think they should maybe re-edit the concert in parts before it goes to DVD. There were moments when the managers were saying or singing something offstage and the camera didn't cut to them, for example.

Madame Giry wrote:Peter Karrie decided that he would not attend despite being invited. I believe that decision was at least partially based on his other commitments for that date.

Ah, that's a shame. But I agree with you that they could've at least had Little or McGillin or Panaro or D'Ambrosio or another long-running Phantom.

SenorSwanky wrote:Whoever Piangi was just straight up sucked in every way. A total non-factor in the show. Wendy Ferguson was meh.

You're aware that we're the two only people on this very earth who didn't think Wendy Ferguson's Carlotta was DA bomb?

I agree about Piangi. I've never seen that commercial he's so famous for, and was quite open to him doing the role. But apart from a few gags here and there, he didn't really stand out in any way. Which I guess was good for this concert, as the more proper leads got to shine. He certainly didn't ruin anything either.

Yeah, clearly I (and I think anyone not in the UK) didn't know he was famous for anything. He had the comic acting skills of a rock.

I've forgot to mention a few things I loved:

*That Ellen Jackson (dresser/seamstress) and Phillip Griffith (Monsieur Reyer) were not just included in the concert, but also well featured. They've both been in Phantom "forever", and it made me happy to see them on stage there (and not just hidden away in the chorus, as many other great talents).

*That Sierra Boggess' Christine was so focused on the picture of her father in "Little Lotte".

*And it was also awesome to hear her sing the whole "Notes II/Twisted" and "Point of No Return".

*The filming seemed a bit rushed at times, but one of the details I did like was when the camera swept behind the balustrade in one of the upper tiers of RAH. It gave the feeling of someone spying, or carefully watching, the stage. In short, it gave a hint of the omnipresent Phantom. Good film editing.

*And Earl Carpenter, underrepresented as he was, did a great job with the auctioneer. I was kinda bummed they had toned down the "skull makeup" as much as they had, but I was glad to see the "snotty Oxford auctioneer" which Phillip Griffith originated being broadcast to the world. And I liked the little laugh and the tiny ad-lib Carpenter added when presenting the chandelier.

*And for some odd reason I thought Sierra Boggess looked better in the UK style of costumes and makeup than what she did in Vegas. I think because the UK one is more girlish in style, and it suited Boggess' portrayal better. It made her look sweeter and younger. She looked like one million dollar in Vegas, don't misunderstand, I just thought the UK style corresponded more with her interpretation.

SenorSwanky wrote:
I do think they should maybe re-edit the concert in parts before it goes to DVD. There were moments when the managers were saying or singing something offstage and the camera didn't cut to them, for example.

If they do do any of that type of editing, it's going to have to happen quickly because the DVD is slated for release in the UK on November 14.

And Anea, I, too, appreciated the camera panning through the stalls and over the chandelier at times. Reminded me of some of the shots used in the 2004 film, but as you said, it gives a great feeling of the Phantom keeping an eye on things.

~Madame~

I present to you all, Wynne Evans and his famous "Go Compare" advert:

Go Compare

I apologise to anyone in the UK for posting that since we of course have to put up with it almost all day, everyday, every single ad break on every single channel.

Strangely, I thought he played Piangi a lot of the time AS the Go Compare man.

starryeyed wrote:I present to you all, Wynne Evans and his famous "Go Compare" advert:

Go Compare

I apologise to anyone in the UK for posting that since we of course have to put up with it almost all day, everyday, every single ad break on every single channel.

Strangely, I thought he played Piangi a lot of the time AS the Go Compare man.

His next ad should be 'Don't compaaaaaare, don't compaaaaaare [me to any other Piangis that you've seen...]'.

I thought Earl's Auctioneer was very different from Philip Griffiths'. I prefer the latter's, though.

Raphael, I loved your review in the Reviews section and, aside from your comment about drunk Firmin (I actually like it!), I agree wholeheartedly with it. And you're right, Ramin's best moment even on the Saturday performance was the end of Act 1.

I feel all rather deflated and alienated at the moment with regard to this whole Phantom 25 thing. There is so much unqualified raving and stuff like 'omg, so awesome' comments on Facebook and sites like BroadwayWorld, that I begin to wonder if I am just some kind of Scrooge or whether people are just generally content with mediocrity. It is nice to be able to post in a forum like this of like-minded people (IMHO, like-minded but FAIR and not overly biased in any one direction) without fear of being flamed for daring to say something negative about Ramin, ALW, Hadley etc. It wasn't until I went home and stuck on the OLC that I was reminded why I like this show so much. If the future means lame attempts to seem congruous with LND, young Phantoms who can't sing and projections galore, I think I may just have to think of the past fondly when it comes to Phantom.

And ette, you should've told me you were in London on Saturday!!

Scorp wrote:Raphael, I loved your review in the Reviews section and, aside from your comment about drunk Firmin (I actually like it!), I agree wholeheartedly with it. And you're right, Ramin's best moment even on the Saturday performance was the end of Act 1.

Thanks, Scorp. Maybe it was just Leroux seeping in, but I prefer my Firmins as hard-nosed businessmen. This Firmin was more like a used car salesman I wouldn't have minded that portrayal in Buquet, though.

I feel all rather deflated and alienated at the moment with regard to this whole Phantom 25 thing. There is so much unqualified raving and stuff like 'omg, so awesome' comments on Facebook and sites like BroadwayWorld, that I begin to wonder if I am just some kind of Scrooge or whether people are just generally content with mediocrity. It is nice to be able to post in a forum like this of like-minded people (IMHO, like-minded but FAIR and not overly biased in any one direction) without fear of being flamed for daring to say something negative about Ramin, ALW, Hadley etc. It wasn't until I went home and stuck on the OLC that I was reminded why I like this show so much. If the future means lame attempts to seem congruous with LND, young Phantoms who can't sing and projections galore, I think I may just have to think of the past fondly when it comes to Phantom.

No reason to feel alienated; we've just been with Phantom long enough to remember when quality was valued. No need to lower our standards when we know the material can be (and has been) presented much better.

In Hal Prince we trust

TAFKaR

Scorp,

I don't necessarily think that all the people praising the 25th Anniversary are okay with mediocrity so much as many people aren't as heavily invested into the Phantom story and its meaning as many of us on this forum are. When we view this event, or any Phantom interpretation, we bring with us years of experiences with seeing various actors, reading numerous writings analyzing the story, reading and viewing adaptations on the work, researching the history of the Paris Opera House, immersing ourselves in Faustian legend, and even pouring over various translations of the book that started it all - the Leroux novel.

I think with such a popular musical as Phantom, and particularly with Phantom - because it seems to be a show that even people who don't generally like musicals appreciate, there is a high risk of drawing in people who simply don't have the literary, historical, and social context of the story, nor the exposure to a broad range of performers through which to assess technical and artistic quality. (I'm trying to say this without sounding like a Phantomy elitist, lol)

I also think that one's willingness to be flexible when approaching a Phantom event plays a role in one's enjoyment of said event. Even among our group, some of us are more tolerant of flaws if there were positive aspects that at least partially compensated (in our view) for missteps.

Finally, I think that the actual visual, auditory, and emotional impact of a professionally filmed, high definition, beautifully orchestrated presentation is lending a lot of fuel to the fires of enthusiasm for the event. This is the first time that we've really been able to see the show in its entirety up close and in minute detail. This is a far cry from the live theatre experience where the seats often dictate and limit what an audience member can perceive. Does this mean that live performances are inferior to a filmed production? Heck, no. But it does mean that for people who are more conditioned to expect dramatic camera angles and close ups because most of their visual storytelling experiences have been through movies and television shows, the filmed event will be more accessible.

Anyhow, just my thoughts in response to your comments. Hope they make some sort of sense.

~Madame~

Not being able to see it live or on cinemas because I live on another planet. I was able to 'listen' to a fairly good quality audio. Overall I loved it but there were a few drawbacks based on what I heard (and I hope these don;t pop-up on the CD/DVD.

Lots of heavy breathing and gasping before singing, particularly Ramin and Sierra.

Wendy sounded almost hoarse most of the time when singing/speaking in her lower voice.

PONR was REALLY slow

Again, Go Now and Leave me. what's with all the shouting, is it a London thing?

Things I loved......
They in parts used the movie orchestrations/additions, well the little new things, like just before TOP Cadenza there is that little extra flourish. In Masquerade they seem to use the Movie orchestrations.

Finally will be getting a recording of the new overture with the booming percussion towards the end, as well as the new title song.

"Carlotta Gudicelli, our leading soprano for 19 seasons now," lol

Ramin sounded fierce in the reprise, I am actually starting to appreciate his Phantom vocally.

"Go now and leave me" shouting seems to be more of a Ramin thing rather than a London thing, though sometimes JOJ can rival him in that department (my one bug bear with his Phantom is he is even more shout-y and growl-y than Ramin is) because I've seen a good few Phantom's who don't absolutely attempt to blow the roof off with those lines.

Also, I keep meaning to say, and then forgetting, the big wet patches under Daisy Maywood's eyes that were really noticeable weren't sweat, she was actually taking a reaction to her make-up throughout the evening show so her eyes were watering quite a bit. She seemed remarkably composed despite this (I've had it happen to me before, it hurts, a lot and you want to claw your skin off) so hats off to her.

Raphael wrote:I prefer my Firmins as hard-nosed businessmen.

I do too, which is why I love Tim Jerome's Firmin so much (along with his nice bass voice). Very stuffy. But I thought James, while not absolutely brilliant, worked in parts. I thought Snook's Andre was better, actually. But no George Lee Andrews.

justin-from-barbados wrote:"Carlotta Gudicelli, our leading soprano for 19 seasons now," lol

What was that a reference to? I'm surprised she didn't say "for the past 25 years these things do happen."

starryeyed wrote:Also, I keep meaning to say, and then forgetting, the big wet patches under Daisy Maywood's eyes that were really noticeable weren't sweat, she was actually taking a reaction to her make-up throughout the evening show so her eyes were watering quite a bit. She seemed remarkably composed despite this (I've had it happen to me before, it hurts, a lot and you want to claw your skin off) so hats off to her.

I also noticed that many other cast members had sweat in their faces, thanks to the camera close-ups, though not as extreme as in Daisy Maywood's case (^which turns out it wasn't sweat^). It's something I've never seen happen at the theatre, not even sitting in the front rows, so I wonder how hot it was in the RAH stage...

I've seen it once happen in a normal show, it was last July and it was stupidly hot, it was more noticeable on the guys though, and I remember Simon Bailey's hair was flat down his face most of the show. But you're right, it rarely (if ever) happens on stage so it must have been very warm on the RAH stage.

I didn't notice it too much but apparently it was very noticeable on everyone at the cinema broadcast, so perhaps if you were to say see a "normal" show on the big screen you would notice that they do actually sweat quite a bit. Anyway, moving on, all this talk of sweat is making me feel icky...

Anyone notice the tear (well, I assume it was a tear...) on Sierra's face during MOTN? But, now that I think about it, I guess it could have been sweat running down...

PhantomsGhost wrote:Anyone notice the tear (well, I assume it was a tear...) on Sierra's face during MOTN? But, now that I think about it, I guess it could have been sweat running down...

I think it's sweat.

Anyway, moving on, all this talk of sweat is making me feel icky...

Sorry starryeyed...

OK., I feel like a bit of a bad phan for not seeing this in the cinema on Sunday, but at the last minute, other plans came up.

I may still catch the last local showing, but I've been watching footage and, well, I'm not as impressed as I should be. It's not a complete horrible mess, but it's not as incredible as THE 25TH ANNIVERSARY OF THE PHANTOM OF THE OPERA deserves to be.

My main quibble at the moment is the Auction. I don't hold it against Earl Carpenter and was glad to see him at all...but I hated the whole scene. It seemed completely and totally without any mystery...without the eerie tension that sets the tone for darker moments later in the show.

Having a very normal gentleman Auctioneer at a podium on the level of the bidders just isn't as effective as an Auctioneer who looks rather like a Dickensian undertaker looking down on the bidders from above, controlling the auction with an ominously stoic voice. It makes for a better build up to that moment of "A little illumination, Gentlemen!"

And, because the logistics of the venue (and a lack imagination) limited what they could do for the chandelier, I feel like a really exceptional Auction scene was needed to set mood before the Overture and the not-exactly-dramatic unveiling of a large, expensive light fixture.

This wasn't eerie at all. It was, "Ladies and gentlemen, welcome to our auction of used theater goods. Here we have some nice old things to bid on...and here's the chandelier...oooooh...sparkles."

Scorp wrote:

I feel all rather deflated and alienated at the moment with regard to this whole Phantom 25 thing. There is so much unqualified raving and stuff like 'omg, so awesome' comments on Facebook and sites like BroadwayWorld, that I begin to wonder if I am just some kind of Scrooge or whether people are just generally content with mediocrity. It is nice to be able to post in a forum like this of like-minded people (IMHO, like-minded but FAIR and not overly biased in any one direction) without fear of being flamed for daring to say something negative about Ramin, ALW, Hadley etc. It wasn't until I went home and stuck on the OLC that I was reminded why I like this show so much. If the future means lame attempts to seem congruous with LND, young Phantoms who can't sing and projections galore, I think I may just have to think of the past fondly when it comes to Phantom.

And ette, you should've told me you were in London on Saturday!!

I loved the 25th anniversary celebrations. I mean, I really, really loved it. I would have preferred JOJ instead of Ramin, but I thought Ramin did a fair job, I would have preferred another Raoul too, but I really don't think he was that bad. I don't care about LND these days. It's gone, it doesn't exist in London anymore and I didn't see that much in the concert that was screaming "Oh my god LND, LND, LND. There were things that could be interpreted as being pro-LND, but I've seen some of those things years ago in the regular performances around the world too. I'm so curious about all these extremely negative reviews that is comming out, actually to the point where I'm wondering if we have seen the same thing. Don't get me wrong, we have different views and that is of course completely fine, but I honestly thought the show was great. And usually, I'm not easy to please when it comes to Phantom . Nor do I consider myself unqualified or content with mediocrity .