The Broadway production + US tour

About ensemble contracts in America-

They are "run of the play", so actors in ensemble and swing tracks are contracted to be with the show until it closes, and it is up to them to decide when they leave (they can get fired, but ONLY for extraneous circumstances). That is why so many actors in the smaller roles in PHANTOM (America, at least) are constantly entering and exiting at random times. But if you're really good at understudying several roles, your chances of never being asked to take on a role full time increase.

MajesticPhantom wrote:About ensemble contracts in America-

They are "run of the play", so actors in ensemble and swing tracks are contracted to be with the show until it closes, and it is up to them to decide when they leave (they can get fired, but ONLY for extraneous circumstances). That is why so many actors in the smaller roles in PHANTOM (America, at least) are constantly entering and exiting at random times. But if you're really good at understudying several roles, your chances of never being asked to take on a role full time increase.

^ Truth.

It's the same for any show really. If you've had the chance to swing in any show, it will catch the eye of those in casting. Swings are near priceless, and if you can do it well? Chances are you're not going to be moved/promoted any time soon.

I have the most respect for swings, honestly I don't know how they do it. Then again I could never learn the steps for 1 dance let alone cover 3 or 4.

Still no words on the new Broadway Phantom?

Random note: is it only me, or do the American Phantoms and Christines sing "Phantom of the Apura"?
/random note

lol

sometimes the wonderful Davis Gaines would sing Thaa Ph-EEEn-tom of the Op-U-raaa

Christine's Shadow wrote:

MajesticPhantom wrote:About ensemble contracts in America-

They are "run of the play", so actors in ensemble and swing tracks are contracted to be with the show until it closes, and it is up to them to decide when they leave (they can get fired, but ONLY for extraneous circumstances). That is why so many actors in the smaller roles in PHANTOM (America, at least) are constantly entering and exiting at random times. But if you're really good at understudying several roles, your chances of never being asked to take on a role full time increase.

^ Truth.

It's the same for any show really. If you've had the chance to swing in any show, it will catch the eye of those in casting. Swings are near priceless, and if you can do it well? Chances are you're not going to be moved/promoted any time soon.

It's definitely understandable that they're a valuable commodity, but also a shame that they don't get to shine for an extended time in any one role.

operafantomet wrote:Random note: is it only me, or do the American Phantoms and Christines sing "Phantom of the Apura"?

You mean like Ah-purr-uh/Ah-purr-ah? That's how we say it. Or do you mean some other nuanced pronunciation? I don't have a problem with how that word is pronounced, but too often, whether the directors tell them to or it's their own choice (probably the former, since it's so annoyingly common), the Christines and Raouls particularly, though generally all the performers, use really stark Midwestern American accents, with hard "r"s, which I find really inappropriate for the European period piece that is Phantom.

SenorSwanky wrote:

Christine's Shadow wrote:

MajesticPhantom wrote:About ensemble contracts in America-

They are "run of the play", so actors in ensemble and swing tracks are contracted to be with the show until it closes, and it is up to them to decide when they leave (they can get fired, but ONLY for extraneous circumstances). That is why so many actors in the smaller roles in PHANTOM (America, at least) are constantly entering and exiting at random times. But if you're really good at understudying several roles, your chances of never being asked to take on a role full time increase.

^ Truth.

It's the same for any show really. If you've had the chance to swing in any show, it will catch the eye of those in casting. Swings are near priceless, and if you can do it well? Chances are you're not going to be moved/promoted any time soon.

It's definitely understandable that they're a valuable commodity, but also a shame that they don't get to shine for an extended time in any one role.

Yeah, I get that. Now and again you'll have someone move up, but it's rare. I would like to see a lot of the Phantom swings move up now and again.

operafantomet wrote:Random note: is it only me, or do the American Phantoms and Christines sing "Phantom of the Apura"?

You mean like Ah-purr-uh/Ah-purr-ah? That's how we say it. Or do you mean some other nuanced pronunciation? I don't have a problem with how that word is pronounced, but too often, whether the directors tell them to or it's their own choice (probably the former, since it's so annoyingly common), the Christines and Raouls particularly, though generally all the performers, use really stark Midwestern American accents, with hard "r"s, which I find really inappropriate for the European period piece that is Phantom.

I've also found that many North American productions stick to their "A"s very closely. Coming more from the front of the mouth/nose versus the darker more open vowel sound most European casts have. The only exception I found really was the majority of the LV cast who had the more open vowels (and sounded even better for it.)

It's official! Hugh Panaro and Sara Jean Ford will be the new "Phantom" and "Christine" on Broadway.

http://www.playbill.com/news/article/142156-Hugh-Panaro-and-Sara-Jean-Ford-Will-Sing-Phantoms-High-Notes-Starting-in-September

Yay!

I wonder if they will give him an up-to-date style mask or just reuse his old ones.

I knew Hugh was going back...and, in fact, just discussed this with him last night. We were both supposed to be sworn to secrecy until tomorrow, but Broadway.com posted a day early.

Yay! I've always wanted to see Hugh!

Congrats to Hugh Panaro. I think we all knew he would return someday, but I don't think too many guessed it would be this time around!

And congrats to Sara Jean Ford too - I wonder if they'll give her a new Wishing dress this time around! The one she wore in the tour was not made of the stripy fabric, and was from the early days of Phantom.

I JUST GOT THE CHILLS AND TEARS! I AM SO EXCITED. He is incredible, and I am so excited to see him play this role again. Last time I was 13!

Still wish they'd get some new people in...but yeah, definitely could be a lot worse than that.

~LCD

Could be worse; could be better. He was only 35 when he took on the role, and 41 when he left. At 46 now (though he still doesn't look a day over 35), he's more at the prime age for Phantoms, so his portrayal might have more of the maturity and world-weary gravitas I like to see in Phantoms.

Just heard him sing MOTN in Atlanta last month and he's in great voice! I'm so excited about this news!!

Panaro opposite Silverman? That's not Phantom, it's Attack of the Man Candy!

R.

Raphael wrote:Panaro opposite Silverman? That's not Phantom, it's Attack of the Man Candy!

R.

^ I think I'll have to referee.


on a side note: my next trip to new york has suddenly moved it's date MUCH closer than I've expected

Raphael wrote:Panaro opposite Silverman? That's not Phantom, it's Attack of the Man Candy!

R.

Well, I do have a bit of a sweet-tooth.

I definitely think there will be a lot of changes to how he plays the role. His performance always varied according to the rest of the cast...different chemistry with different Christines, etc..

I have definitely seen little changes in Hugh himself over the past few years and I think he'll bring that to the role.

I've heard the performance that Mme. Reyer mentioned and it completely blew me away...probably the finest MOTN I've heard from him, in the show itself or in concert.

I can't wait to hear his voice fill that space again. His voice, to me, has that ghostly quality that Crawford had (and so many other Phantoms lack), but more trained, resonant, and enticing. Really a PHANTOM, and I am especially excited because he's older now. It's going to be wonderful seeing him be very grounded and matured in this role!

justin-from-barbados wrote:Yay!

I wonder if they will give him an up-to-date style mask or just reuse his old ones.

Well, I don't know what style it will be, but he mentioned today that he was in the middle of getting fitted for his costumes, wigs, and mask. So we'll see!

One thing that really stands out is how damned excited he is about the role. And it's a contagious sort of excitement...not that I was already terribly happy about this before, but the enthusiastic tone of his e-mails has me .

Also, he said he really feels he can "bring more to the role five years later."

Paula74 wrote:Also, he said he really feels he can "bring more to the role five years later."

When it comes to the role of the Phantom I'm age discriminating... the older, the better. The Phantom needs to convey a lived life, a life of humiliation and experiences beyond what you thought possible. Few under 35 has managed this, in my book. They might have the voice, the idea, everything, but they still come off as too lightweight. Which is why I never was a fan of the current trend of casting "young and sexy" Phantoms.

And that brings me to Hugh Panaro. He's the only Phantom I've seen where I've liked the androgyne style, because he also had the depth and an interesting voice. I loved him back in 2003(ish), and I'm sure he'll bring a whole new confidence and experience to the role today. I was hoping for a new Phantom face on Broadway, but if they were to bring back an old timer, I can't think of any better bloke than Panaro! OK, maybe Crawford, but we all know that is as unlikely as it gets...

Paula74 wrote:

justin-from-barbados wrote:Yay!

I wonder if they will give him an up-to-date style mask or just reuse his old ones.

Well, I don't know what style it will be, but he mentioned today that he was in the middle of getting fitted for his costumes, wigs, and mask. So we'll see!

One thing that really stands out is how damned excited he is about the role. And it's a contagious sort of excitement...not that I was already terribly happy about this before, but the enthusiastic tone of his e-mails has me .

Also, he said he really feels he can "bring more to the role five years later."

Yay, I know it is only a minor detail but i'm thrilled he will be getting a new mask, I really didnt like the style mask he had (even though it suits his features)

Lets just hope they will also do some new production photos.

Hugh was my Phantom the only time I saw the Broadway production in 2005. I've never been keen on his voice, just personal taste, but I did very much like his acting. His final lair was great.

See, I'm the opposite--love his voice, not as keen on the acting. Anea hit on part of that--the androgyny, and the whininess was probably too childish. The Phantom should obviously be immature and nuts, but not quite in that way, to my preference.

operafantomet wrote:
And that brings me to Hugh Panaro. He's the only Phantom I've seen where I've liked the androgyne style

SenorSwanky wrote:Anea hit on part of that--the androgyny

I don't understand how this word is being used here. I thought androgyny meant not being able to tell if someone is male or female. How does that fit Hugh's interpretation of the character? He seems very similar in style to Crawford. Would you describe Crawford as "androgynous" as well?

http://dictionary.reference.com/browse/androgynous

It's not just a literal term. Hugh's Phantom is a little too effeminate in parts for my taste--it's mainly in the FL, with the whining and the dripping sarcasm when Raoul arrives. I wouldn't say that of Crawford, no. But, who knows, that may no longer be the case 5 years on from Hugh's last performance.

Cape Twirl of Doom wrote:

operafantomet wrote:
And that brings me to Hugh Panaro. He's the only Phantom I've seen where I've liked the androgyne style

SenorSwanky wrote:Anea hit on part of that--the androgyny

I don't understand how this word is being used here. I thought androgyny meant not being able to tell if someone is male or female. How does that fit Hugh's interpretation of the character? He seems very similar in style to Crawford. Would you describe Crawford as "androgynous" as well?

The word is of greek origin, andros meaning male, gyne meaning female. The word can be used in different ways, but nowadays it usually refers to someone mixing masculine and feminine qualities in their style. Androgyny in popular culture include David Bowie, Boy George, Prince and to some degree Michael Jackson. As for not being able to tell if someone is male or female: the word you think of is probably hermaphrodite (combination of Hermes and Aphrodite), which relates more to the physical ambiguity ( http://en.wikipedia.org/wiki/Hermaphrodite ). It's related, but not the same.

Crawford would NOT count as androgynous, in my book! I can't point out exactly what I find androgynous with Panaro's Phantom portrayal, but I definitely get those vibes from him. Yes, he is sensual and all that, but in a... I dunno, genderless way.

Paul Stanley's another somewhat androgynous Phantom (though it's nothing compared to his onstage KISS persona).

SenorSwanky wrote:Paul Stanley's another somewhat androgynous Phantom (though it's nothing compared to his onstage KISS persona).

I was about to mention him! I agree about him being one too. But I still can pinpoint why.