The London production 2

SenorSwanky wrote:Davies' acting in the Final Lair owes hugely to Peter Karrie; in fact, in many areas, he apes him. So if you don't like PK, you probably won't like Davies. And if you do like PK, you might like him because you didn't get to actually see PK, or you might just wish you had the real thing.

I like Davies it's just a couple of things he does aren't to my liking. I'm really not a fan of what i've seen of PK, that might change if i ever saw him live but he does lots of strange things acting and singing wise almost like he's just trying to be different.

Is it known who else is leaving/joining at the cast change in march?

So Katy Treharne (very soon to be London's new alternate Christine) twittered this:

First Phantom show is 16th January, and I'm on Mondays and Fridays!

It's also Layla Harrison's first Meg show

Off topic (slightly) and a bit light hearted but this evening two fighting women were ejected from Her Majesty's just as Prima Donna began. The jokes write themselves...

starryeyed wrote:It's also Layla Harrison's first Meg show

Off topic (slightly) and a bit light hearted but this evening two fighting women were ejected from Her Majesty's just as Prima Donna began. The jokes write themselves...

LOL! Any goss on what happened?

Oh they went to the toilet and when they came back one fell on someone! Obviously the person who had been fallen on wasn't too pleased and one of the women hit the person the other had fallen on! It all kicked off from there apparently and the two women were thrown out. I think it sounds as if they may have been drunk? Or maybe just really aren't used to theatre etiquette... I never see things like that. Most I've seen was a bit of the roof narrowly missing someone in the audience!

starryeyed wrote:Oh they went to the toilet and when they came back one fell on someone! Obviously the person who had been fallen on wasn't too pleased and one of the women hit the person the other had fallen on! It all kicked off from there apparently and the two women were thrown out. I think it sounds as if they may have been drunk? Or maybe just really aren't used to theatre etiquette... I never see things like that. Most I've seen was a bit of the roof narrowly missing someone in the audience!

As in bits of the roof were falling down? Doesn't surprise me with Really Useful Theatres. God knows when they'll take a leaf out of Cammie's book. At least that thing they used to cover the ceiling of the Upper Circle with isn't there any more. They really need to replace all the seats though.

They got rid of that aufull net thing? I always wondered what that was all about, seemed too small to me to be something to stop things falling off, I thought maybe it was to do with deflecting or absorbing sound or something

Oh this was about a year ago now so my memory is a tad fuzzy but I'm sure the netting was still in place at the time? I remember it was definitely something like plaster just fell from the top of the theatre narrowly missing the person in the aisle seat of row D and for some reason one of the lighting people got shouted at for it? It was very odd, and the person who almost got hit was offered ice cream and free drinks if I remember correctly!

I remember too it was mentioned in the program that they were able to repair the entire roof with out having to stop the run, maybe they were talking about the outside roof, lol.

It definitely hasn't been there since at least September 2011.... Probably even further back, though.

Katy Treharne's first night is now tomorrow as there's a lot of people ill!

starryeyed wrote:Katy Treharne's first night is now tomorrow as there's a lot of people ill!

I hope someone see her and can tell about her performance...
Oh so many ill?

When lots are ill, despite a bare stage, the show is quite fun (although being ill is totally not fun!!!)! I purposely went in late November where...

Phantom: Scott Davies (s/b)
Christine: Claire Doyle (u/s)
Raoul: Killian Donnelly
Andre: Tim Laurenti (u/s)
Firmin: Duncan Smith (u/s)
Carlotta: Wendy Ferguson
Piangi: Joseph Claus (u/s)

Ellen Jackson and Nadim Naaman were also out, probably a couple of others. With more ensemble out or covering principals than there are swings, there was lots of doubling up! Reyer, for example, ran out and pushed the bed upstage after the croaking in Il Muto! Seeing them band together like that made for a really fun night at the show. (Plus, Clare Doyle was a divine Christine!).

MajesticPhantom wrote:When lots are ill, despite a bare stage, the show is quite fun (although being ill is totally not fun!!!)! I purposely went in late November where...

Phantom: Scott Davies (s/b)
Christine: Clare Doyle (u/s)
Raoul: Killian Donnelly
Andre: Tim Laurenti (u/s)
Firmin: Duncan Smith (u/s)
Carlotta: Wendy Ferguson
Piangi: Joseph Claus (u/s)

Ellen Jackson and Nadim Naaman were also out, probably a couple of others. With more ensemble out or covering principals than there are swings, there was lots of doubling up! Reyer, for example, ran out and pushed the bed upstage after the croaking in Il Muto! Seeing them band together like that made for a really fun night at the show. (Plus, Clare Doyle was a divine Christine!).

How was her Christine? I like to see understudies. And how was Scott Davies?

From a technical standpoint, Claire Doyle gave a very physically dynamic performance. She has this knack for really expressing with every gesture what she is communicating. Additionally, her vocal prowess was exceptional. She has a lovely soprano, but could switch into what seemed to be an incredible belt/mix, which she only really used during WISHING and the Final Lair, I suppose to accentuate the shift in Christine's journey (plus, these are very cathartic moments in the REAL life of Christine, not for the onstage soprano).

Interpretation wise, she was really outstanding, and her strong technique as an actor/singer made her choices all the more clear. Her Christine seemed to be a girl with a lot of faith. Faith in God? Spirituality? Something...I would have expected her to pray in a chapel daily, actually. She seemed very much hopeful and in need of this love to come from her father's ghost, from her work... When it all falls apart, and the truth is revealed, she wasn't necessarily angry, but she was a lost sheep, looking for her way again...for something to believe in.

Obviously, Doyle may not necessarily be specifically doing these things, but her commitment to the work, and her very specific reactions onstage indicated a very passionate young girl.

Onto Scott Davies- He is really fascinating in this role. First of all, he couldn't be more different from John Owen-Jones (and this is why I love this show so much...people can vary DRASTICALLY from one another, and, overall, this is good for the growth of a show). Technical points first: He takes a lot of liberties with the blocking, particularly in Music of the Night. He spent most of "Softly, deftly...." leaning against the organ, for example... It all worked, these liberties. They never seemed contrived, but very truthful...he's very much an explorer of the terrain, which I admire. His voice is so rich, too...

His Phantom, being older and more mentally/emotionally disturbed, is a sympathetic creature. His odd stance, his desperate need for physical connection... this point was highlighted after the kiss, when he took the time to touch and explore Christine's lips with his hand. He "loves" Christine in the wrong, needy ways, and he crumbles in defeat by the end. When she returned to give the ring back, he stood up with a cry of hope, which was crushed.

I wish I had had the chance to see Davies again before my time to move back to the States had ended (for the record, I saw JOJ/Escobar/Barratt, Karimloo/Boggess/Fraser, JOJ/Escobar/Donnelly, Davies/Doyle/Donnelly, and JOJ/Hall/Naaman). But I digress, and am grateful to have seen his very interesting, poignant work.

@MajesticPhantom: Thank you for your review. It´s great to see so many different casts. I like it. I like it very much. Everyone is different and some I like more and some not. I hope I´ll see JOJ and Katie on the Tour. I don´t know where I should be next...London, the Tour, Hungary... but I want it.

And what can you tell me about Sofia Escobar and Katie Hall?

Ugh ugh ugh.... I am not liking what I'm reading on Peter Jöback's blog. Seems like Cameron Mackintosh & co cast Jöback because they want to take the show in a new direction and that he'll be a very different Phantom. If I'm reading it with the wrong, quarrelsome glasses I also read it as he thinks all previous Phantoms has been copycats, and he's going to reinvent the role. I'm sure that's not what he means, but the phrasing just rubbed me the wrong way.

Repar på Phantom of the Opera nu vilket är fantastiskt kul och spännande - det är en hel del att bita i och en enorm utmaning för mig och en oerhört nyttig utveckling för mig på alla plan - rollen är jäkligt spännande och det känns som man har möjlighet att visa upp ett stort register - jag vet ju redan nu att jag kommer bli en annorlunda Fantom mot mina föregångare men det är ju också det dom engelska producenterna vill - lite läskigt är det ju för jag vet vilka hardcore fans det finns där ute som förväntar sig en viss stil på Phantomen - men jag tror att med öppna sinnen och lite tid så tror jag dom kommer Gilla det jag gör - jag känner sådan enorm respekt och ödmjukhet inför dom fantastiska prestationer som mina föregångare har gjort med rollen men målet för mig är ju inte att kopiera någon utan att inspireras och bidra med något genuint och eget till rollen - ni fattar vad jag menar - ni som känner mig vet mina ambitioner!

Roughly translated:
Rehearsing for Phantom of the Opera now, which is incredibly cool and exciting - there's a lot to digest and a huge challenge for me, and an extremely useful development for me on every level - the role is darn exciting and it feels as if one has the possibility to show a huge range - I know already now I'll be a different Phantom compared to those before me, but this is also what the English producers want - slightly scary because I know what hardcore fans are out there expecting a certain style from the Phantom - but I think that with open minds and a bit of time they'll like what I do - I feel such a huge respect and humility for the fantastic achievements in the role of my predecessors but my goal is not to copy anyone but to be inspired and contribute something genuine and own to the role - you know what I mean - you who know me knows of my ambitions!

http://www.peterjoback.com/blogg_swedish.php

If the "new" style of Jöback bombs, he'll luckily only be there half a year. But it gets me worried of further casting, of those to follow him... I'm getting Uwe Kröger vibes, for some reason. The "young and sexy" ego approach resulting in one of the most awkward portrayals in Phantom history. I hope the English in-house directors avoids that disaster to repeat itself, and rather canalize Jöback's talents and different style into something interesting. But the last time I was told to keep an open mind, I got "Love Never Dies, and I haven't fully recovered from that one...

What he wrote, as you translated it at least, doesn't at all come across the way you're interpreting it, but I'm certainly not looking forward to his Phantom based on the snippet he sang at the RAH concert or any of the YouTube clips of his other roles.

operafantomet wrote:Ugh ugh ugh.... I am not liking what I'm reading on Peter Jöback's blog. Seems like Cameron Mackintosh & co cast Jöback because they want to take the show in a new direction and that he'll be a very different Phantom. If I'm reading it with the wrong, quarrelsome glasses I also read it as he thinks all previous Phantoms has been copycats, and he's going to reinvent the role. I'm sure that's not what he means, but the phrasing just rubbed me the wrong way.

Repar på Phantom of the Opera nu vilket är fantastiskt kul och spännande - det är en hel del att bita i och en enorm utmaning för mig och en oerhört nyttig utveckling för mig på alla plan - rollen är jäkligt spännande och det känns som man har möjlighet att visa upp ett stort register - jag vet ju redan nu att jag kommer bli en annorlunda Fantom mot mina föregångare men det är ju också det dom engelska producenterna vill - lite läskigt är det ju för jag vet vilka hardcore fans det finns där ute som förväntar sig en viss stil på Phantomen - men jag tror att med öppna sinnen och lite tid så tror jag dom kommer Gilla det jag gör - jag känner sådan enorm respekt och ödmjukhet inför dom fantastiska prestationer som mina föregångare har gjort med rollen men målet för mig är ju inte att kopiera någon utan att inspireras och bidra med något genuint och eget till rollen - ni fattar vad jag menar - ni som känner mig vet mina ambitioner!

Roughly translated:
Rehearsing for Phantom of the Opera now, which is incredibly cool and exciting - there's a lot to digest and a huge challenge for me, and an extremely useful development for me on every level - the role is darn exciting and it feels as if one has the possibility to show a huge range - I know already now I'll be a different Phantom compared to those before me, but this is also what the English producers want - slightly scary because I know what hardcore fans are out there expecting a certain style from the Phantom - but I think that with open minds and a bit of time they'll like what I do - I feel such a huge respect and humility for the fantastic achievements in the role of my predecessors but my goal is not to copy anyone but to be inspired and contribute something genuine and own to the role - you know what I mean - you who know me knows of my ambitions!

http://www.peterjoback.com/blogg_swedish.php

If the "new" style of Jöback bombs, he'll luckily only be there half a year. But it gets me worried of further casting, of those to follow him... I'm getting Uwe Kröger vibes, for some reason. The "young and sexy" ego approach resulting in one of the most awkward portrayals in Phantom history. I hope the English in-house directors avoids that disaster to repeat itself, and rather canalize Jöback's talents and different style into something interesting. But the last time I was told to keep an open mind, I got "Love Never Dies, and I haven't fully recovered from that one...

I don´t know what I should think...what his Phantom would be...!
Uwe was disappointing as Phantom. In the movie and on stage...

I hope he understands the role, but I am not sure! Absolutly!

Whats your meaning about LND?

Quick question about what is currently happening in London brochure wise...
With Earl now back as Phantom for a short time before Peter starts, are they doing a new brochure for him? or are they doing an insert? or are they just sticking to the previous JOJ/Sophia one?

justin-from-barbados wrote:Quick question about what is currently happening in London brochure wise...
With Earl now back as Phantom for a short time before Peter starts, are they doing a new brochure for him? or are they doing an insert? or are they just sticking to the previous JOJ/Sophia one?

In the front of the brochure where it lists the main cast it has JOJ and Earl's name side by side and under JOJ's name it says until 10th December 2011 and under Earl's it's says from 12th December 2011. And the brochure was printed in November.

Ok, just wondered if there might be a new brochure or insert to look forwatd to in the interim. Although I would not be suprised if Dewynters photoshopped Earl's head on John's body

That Joback quote is interesting, but he didn't seem to say that the predecessors were copy cats... He was seeming to genuinely hope to create his own work not copying anyone else, which is always the hope of a mature replacement actor.

@SweetChristine, I'll respond to your question as to my opinion on the work of Sofia Escobar and Katie Hall later on... I want to give the time I gave Doyle and Davies.

The actors are basically stuck with what the producers/ resident directors want them to do. Recently, a new resident director (Sam Hiller) came on board and that could be the reason for wanting a change.

However, the last time that happened we were presented with David Shannon's interpretation and we all know what many thought about him. I did stick up for him though, I didn't find his performance as awful as others found it but did see what was "wrong" with it in a way, and it was all down to the resident director but unfortunately, it was all seen as David's fault.

Another explanation could be that they have to work within the limitations of what PJ can do and perhaps they don't really see him fitting in with previous styles perhaps. Of course that opens up a whole can of worms of why they cast him in the first place but we shall see...

ETA: Incidentally, speaking of DS he has some big news coming this week apparently and it is to do with Ireland. Is the Phantom tour going to Ireland does anyone know? For some reason I thought it could be perhaps to do with that but then remembered he'd said he didn't really have many intentions to return to musicals for some time...

MajesticPhantom wrote:That Joback quote is interesting, but he didn't seem to say that the predecessors were copy cats... He was seeming to genuinely hope to create his own work not copying anyone else, which is always the hope of a mature replacement actor.

@SweetChristine, I'll respond to your question as to my opinion on the work of Sofia Escobar and Katie Hall later on... I want to give the time I gave Doyle and Davies.

Ok thank you and I am waiting..thanks!

starryeyed wrote:The actors are basically stuck with what the producers/ resident directors want them to do. Recently, a new resident director (Sam Hiller) came on board and that could be the reason for wanting a change.

However, the last time that happened we were presented with David Shannon's interpretation and we all know what many thought about him. I did stick up for him though, I didn't find his performance as awful as others found it but did see what was "wrong" with it in a way, and it was all down to the resident director but unfortunately, it was all seen as David's fault.

Another explanation could be that they have to work within the limitations of what PJ can do and perhaps they don't really see him fitting in with previous styles perhaps. Of course that opens up a whole can of worms of why they cast him in the first place but we shall see...

ETA: Incidentally, speaking of DS he has some big news coming this week apparently and it is to do with Ireland. Is the Phantom tour going to Ireland does anyone know? For some reason I thought it could be perhaps to do with that but then remembered he'd said he didn't really have many intentions to return to musicals for some time...

What happend with David Shannon? What was his Phantom and the people behind his interpretation of the role?
Why this happend?

starryeyed wrote:The actors are basically stuck with what the producers/ resident directors want them to do. Recently, a new resident director (Sam Hiller) came on board and that could be the reason for wanting a change.

However, the last time that happened we were presented with David Shannon's interpretation and we all know what many thought about him. I did stick up for him though, I didn't find his performance as awful as others found it but did see what was "wrong" with it in a way, and it was all down to the resident director but unfortunately, it was all seen as David's fault.

I don't think I ever saw someone call David Shannon's interpretation and/or performance awful. Far from it. Go look at the reviews in this forum, for example.

Most people seemed to mourn over how a man with so much talent seemed to hold back so much. He had some moments of brilliance - his "I gave you my music" and his "Final Lair" was splendid - but way too often it felt like he held back both on the vocals and the acting. Which made his overall performance uninspired. And I think we all wondered why, until you and others told about he only did what the resident directors more or less demanded of him.

Some new resident directors came in (who it was I'm unsure but will look out a brochure from then) at the time David Shannon was principal and Nigel Richards was standby. They had some different ideas on how they wanted the performance of The Phantom to be, I can't remember exactly all the different directions they did but I know one of the most obvious was in the performance of "Music of the Night."

In "Music of the Night" they wanted The Phantom to be more restrained, they wanted no arm movements or gestures and I believe they wanted notes almost clipped short too. They really wanted the idea of it being a "lecture about music" to come across apparently. I don't know why as in my opinion The Phantom wouldn't "lecture" Christine on music anyway so in my opinion it was a rather odd choice. Once I found out that was how David had been directed a lot of his interpretation of The Phantom became glaringly obvious it was down to how the resident directors wanted it.

David most definitely followed what the resident directors wanted and a lot of people didn't like his interpretation as it was, on the whole, a very restrained performance due to how he was being directed. However, I know Nigel Richards had his own ideas and only lasted around 6 weeks as standby before being replaced by Scott Davies.

Scott Davies is a whole other ball game, he certainly didn't follow what the resident directors were telling him and he is still there so I'm unsure how he got away with it! The resident director(s) have changed a couple of time since the David Shannon cast so this direction doesn't apply anymore but we'll see what happens once Peter starts. I think it would be hard to influence performers such as John Owen Jones and Earl who will really have their own way of doing things by now so I think we'll really see how the direction is now once Peter starts.

ETA: Sorry operafantomet I do take on board what the members of this board thought of him, the "awful" comments I referred to were elsewhere (Twitter and WOS at the time for example.) I think I just feel strongly as I spoke with him after his run as The Phantom and you could tell that he had definitely read some of the things elsewhere and had got to the point where he himself had written his Phantom off which is a real shame.

starryeyed wrote:ETA: Sorry operafantomet I do take on board what the members of this board thought of him, the "awful" comments I referred to were elsewhere (Twitter and WOS at the time for example.) I think I just feel strongly as I spoke with him after his run as The Phantom and you could tell that he had definitely read some of the things elsewhere and had got to the point where he himself had written his Phantom off which is a real shame.

Oooh, that hurts to read. His Phantom could have been one of the great ones, I kinda expected him to blossom after a few months, and to reveal what the fumbling start indicated he was capable of. He had moments of brilliance, really touching, and if he had been allowed to continue down that road he would have been splendid. Instead he seemed to become more restrained. So unnecessary that rigid instructions was the reason.

Feel free to tell him that if you happen to talk to him again.

starryeyed wrote:The actors are basically stuck with what the producers/ resident directors want them to do. Recently, a new resident director (Sam Hiller) came on board and that could be the reason for wanting a change.

That makes sense, and something I've always suspected having seen a few actors move from one company to another and the changes in their interpretations once they got there. I think it's a shame when it's mandated rather than allowing the actor room to bring something of their own to the role yet still within the confines of an overall approach the directors want.

R.