The Broadway production + US tour

BroadwayWorld has a little feature on John Cudia today.

Click here

There's an interview with Trista Moldovan here.

Phantom was a huge influence on me growing up … sort of what got me into musical theater. I grew up in Cleveland and saw it whenever it came through … it's very special to me.

...

I watched a bit of the movie and then stopped … it was so different, it's not really comparable, so no, I haven't seen it. I didn't really like what I did see.

I love her. Also,

...I'm planning on staying with the show another year and a half.

Yay!

I'm really frustrated because I missed Phantom in Charlotte this summer because of my finances, and now, still cash-strapped, I was hoping to maybe get a cheap seat for a performance when it comes to Durham in November and December, but I checked StubHub, and the cheapest seat I could find was $97. I didn't look, but I imagine that was a nose-bleed. Prices at DPAC are ridiculous.

Here is a wonderful article on the oldest usher at Phantom on broadway, she sounds a wonderful lady, love her last comment

http://www.nytimes.com/2009/10/12/nyregion/12bus.html?_r=2

Bonnie

aussiephan wrote:Here is a wonderful article on the oldest usher at Phantom on broadway, she sounds a wonderful lady, love her last comment

Agreed! That's the kind of attitude I like.

SenorSwanky wrote:I'm really frustrated because I missed Phantom in Charlotte this summer because of my finances, and now, still cash-strapped, I was hoping to maybe get a cheap seat for a performance when it comes to Durham in November and December, but I checked StubHub, and the cheapest seat I could find was $97. I didn't look, but I imagine that was a nose-bleed. Prices at DPAC are ridiculous.

Senor: Try the box office or Ticketmaster. They had tickets for as low as $32 today.

I saw POTO in Charlotte and it was great. The Box office may also have a student discount....worth talking to someone!

Good luck!

Thanks for the suggestion. Ticketmaster does seem to have cheaper tickets for some reason. Unfortunately, I haven't been a student for over 2 years, so I wouldn't qualify for that discount. I still use my old student ID to get into basketball games at my alma mater and occasionally for movies, but it probably wouldn't fly at the box office. Or would it...?

I hope you at least get one ticket for a fair price!

SenorSwanky wrote:Thanks for the suggestion. Ticketmaster does seem to have cheaper tickets for some reason.

From what I know of StubHub, it lists tickets from third party sellers. Plus Stubhub takes a commission from each transaction. So it quite often is more expensive than Ticketmaster/the box office etc. To me going to SH is rather like going through scalpers. I paid around $123 for 2nd row for Phantom through Telecharge, while my friends got seats in rows far behind me through SH and paid $180 each for the same night I attended(why they did that is beyond me). I just had a peak and $123 seats at the Majestic for a particular date go for $275-425 on SH.

I really hope it works out that you'll be able to attend a show while it's nearby!

Here's a BroadwayWorld video feature about the 9000th performance: Clicky!

Strange they kept using tour footage, but I guess that's because that's the only pro-shot of Cudia.

You could tell Hal found it awkward when ALW mentioned the sequel; I bet Hal isn't a fan of continuing the story. I wonder if ALW ever offered Hal the opportunity to direct the sequel or if he just assumed he wouldn't want to.

Also, has anyone ever thought JHW looks a lot like Jennifer Morrison (Cameron on House)?

Does anyone happen to know how long Trista Moldovan is contracted with the touring company? I'm seeing the show in April in Baltimore and am curious to know if she'll happen to still be in the show. I know it's way far in advance but thought I'd ask anyway. I've heard nothing but wonderful things about her and am extremely anxious to see her :] Thanks!

Oh, and I have always thought that JHW and Jennifer Morrison are very similar in appearance, too! They're both so beautiful!

Amberly_Nichole wrote:Does anyone happen to know how long Trista Moldovan is contracted with the touring company? I'm seeing the show in April in Baltimore and am curious to know if she'll happen to still be in the show. I know it's way far in advance but thought I'd ask anyway. I've heard nothing but wonderful things about her and am extremely anxious to see her :] Thanks!

She says in the article I just posted a bit up the page that she's planning to stay with the show another year and a half. ^_^

Hah. Clearly I pay close attention to certain posts ;] Silly me for not noticing your posted article! Thanks so much!

Love the video. Yes Hal did look a little uncomfortable when the sequel was mentioned. Heres to another 9000

Looks like I'm going to be able to see the tour on December 8th. My alma mater's alumni association reserved several rows of seats in rear orchestra, for $25.25 each (good group rate for those seats!). As soon as I hear back from various family members, I'm going to jump on them. Hopefully it's not already sold out because I know a lot of people have already reserved seats.

Glad to hear that! Looking forward to your review already...

operafantomet wrote:Glad to hear that! Looking forward to your review already...

Thanks. I'm going to try to get my first backstage tour too. Not the same as going backstage at a sit-down production, but it would still be cool.

SenorSwanky wrote:

operafantomet wrote:Glad to hear that! Looking forward to your review already...

Thanks. I'm going to try to get my first backstage tour too. Not the same as going backstage at a sit-down production, but it would still be cool.

Backstage is backstage. The people are what makes it fun, not necessarily where it's located.

A brief interview with TMG from when the show was in Houston:
http://www.39online.com/news/local/kiah-phantom-of-the-opera-story,0,500571.story

Now a fascinating, much more lengthy Charlotte NPR interview with TMG and the tour's advance stage director:
http://www.timmartingleason.com/audio/charlotte-talks-interview.mp3

Just got my ticket. No one else wanted to go, so I'll be among 100-some fellow phans and Carolina alums. But that just means I won't feel obligated to rush any stage-door or backstage visit.

I'm waiting (impatiently) for tickets to go on sale for the Dallas stop next year so I can jump on them immediately.

I know my mom wants to see it again, and since I'm taking my friend for her Christmas/birthday present, I'm thinking just maybe I can go see it twice this time. One can only pray...

Ok I won't know what other topic to ask this in and I know it was posted on Phansonline. Anyways, what are the requirements an actor/actress need to play one of the principle roles. Like voice type and such.

Callie Daae wrote:Ok I won't know what other topic to ask this in and I know it was posted on Phansonline. Anyways, what are the requirements an actor/actress need to play one of the principle roles. Like voice type and such.

I copied and saved this from an Equity audition notice not too long ago.

CHRISTINE DAAE: 20’s: beautiful young singer. Soprano voice that combines elements of classical and pop singing. A light, floaty soprano. She sings briefly to high E. Principal Role.

THE PHANTOM: 30’s – 40’s: high baritone or tenor (with a good low range) from low A flat to high A flat. Needs a dynamic, bravura, 'star' performance, both frightening and irresistible. Principal Role.

RAOUL, VICOMTE de CHAGNY: Late 20’s – early 30’s: dashing, handsome young aristocrat. High baritone (2 octave range from A flat to A flat). Principal Role.

FIRMAN & ANDRE: Late 30’s – 50ish; the managers of the Paris Opera House. Trying to be elegant, they are slightly befuddled and bumbling. Need good instincts for stylish comedy. Good supporting roles. Baritones; one sings to A, one to G. Principal Role.

CARLOTTA GIUDICELLI: 30’s – EARLY 40’s; the prima donna of The Paris Opera. A diva in every sense of the word. Coloratura soprano, to high E. Requires opera training. Principal Role.

MADAME GIRY: Late 30’s – early 50’s; the Opera’s ballet mistress. An ominous, stern, forbidding figure. Mezzo soprano to high B flat. Principal Role.

UBALDO PIANGI: Late 30’s – 50’s; the opera’s leading tenor, Italian style singer, sings to high C. Requires opera training. Principal Role.

DON ATTILIO/PASSARINO: (Chorus contract – excellent small specialty role) 30’s – 40’s. Bass or Bass baritone with a solid and legitimate low F. Should be a physically interesting character man with a good sense of comedy.

WARDROBE MISTRESS/CONFIDANTE: (Chorus contract –excellent small specialty role) 30’s – 40’s. Contralto or low mezzo. Physically interesting character woman. Short and round or tall and thin.

MONSIEUR REYER: (Chorus contract-excellent small specialty role) 30’s – 40’s. Tenor. Character role. The repetiteur (vocal coach) of the Paris Opera. An agitated, finicky, meticulous fellow. A strict disciplinarian. . always on the verge of hysteria.

LEFEVRE: (Chorus contract - excellent small specialty role) Late 30’s – early 50’s: Manager of the Paris Opera House who is handing over his position at the top of the show. Eager to be rid of the whole situation. Good instincts for stylish comedy.

Paula74 wrote:

Callie Daae wrote:Ok I won't know what other topic to ask this in and I know it was posted on Phansonline. Anyways, what are the requirements an actor/actress need to play one of the principle roles. Like voice type and such.

I copied and saved this from an Equity audition notice not too long ago.

CHRISTINE DAAE: 20’s: beautiful young singer. Soprano voice that combines elements of classical and pop singing. A light, floaty soprano. She sings briefly to high E. Principal Role.

THE PHANTOM: 30’s – 40’s: high baritone or tenor (with a good low range) from low A flat to high A flat. Needs a dynamic, bravura, 'star' performance, both frightening and irresistible. Principal Role.

RAOUL, VICOMTE de CHAGNY: Late 20’s – early 30’s: dashing, handsome young aristocrat. High baritone (2 octave range from A flat to A flat). Principal Role.

FIRMAN & ANDRE: Late 30’s – 50ish; the managers of the Paris Opera House. Trying to be elegant, they are slightly befuddled and bumbling. Need good instincts for stylish comedy. Good supporting roles. Baritones; one sings to A, one to G. Principal Role.

CARLOTTA GIUDICELLI: 30’s – EARLY 40’s; the prima donna of The Paris Opera. A diva in every sense of the word. Coloratura soprano, to high E. Requires opera training. Principal Role.

MADAME GIRY: Late 30’s – early 50’s; the Opera’s ballet mistress. An ominous, stern, forbidding figure. Mezzo soprano to high B flat. Principal Role.

UBALDO PIANGI: Late 30’s – 50’s; the opera’s leading tenor, Italian style singer, sings to high C. Requires opera training. Principal Role.

DON ATTILIO/PASSARINO: (Chorus contract – excellent small specialty role) 30’s – 40’s. Bass or Bass baritone with a solid and legitimate low F. Should be a physically interesting character man with a good sense of comedy.

WARDROBE MISTRESS/CONFIDANTE: (Chorus contract –excellent small specialty role) 30’s – 40’s. Contralto or low mezzo. Physically interesting character woman. Short and round or tall and thin.

MONSIEUR REYER: (Chorus contract-excellent small specialty role) 30’s – 40’s. Tenor. Character role. The repetiteur (vocal coach) of the Paris Opera. An agitated, finicky, meticulous fellow. A strict disciplinarian. . always on the verge of hysteria.

LEFEVRE: (Chorus contract - excellent small specialty role) Late 30’s – early 50’s: Manager of the Paris Opera House who is handing over his position at the top of the show. Eager to be rid of the whole situation. Good instincts for stylish comedy.

AHHH! Thanks sooo much!

Anyone knows what they look for in a Meg? Yeah, yeah, I have some idea... But I wonder what the audition note say.

operafantomet wrote:Anyone knows what they look for in a Meg? Yeah, yeah, I have some idea... But I wonder what the audition note say.

I know what *I* look for in a Meg...

R.

Raphael wrote:

operafantomet wrote:Anyone knows what they look for in a Meg? Yeah, yeah, I have some idea... But I wonder what the audition note say.

I know what *I* look for in a Meg...

R.

Oh God, I asked for that one, didn't I?

Pure awesome, folks....