The London production 2

SenorSwanky wrote:Ramin belts a lot. He isn't a trained classical singer.

SenorSwanky wrote:

PhantomsGhost wrote:If we're going to talk about making characters younger/sexier, let's also not forget Jean Valjean. There's a role that's definitely going for a younger actor than it should.

Yes, and partly because of Ramin! Also Drew Sarich. And I'm honestly not the biggest ValJOJ fan. For some reason, he's more convincing to me as the Phantom than as Valjean.

StrangerThanUDreamt wrote:I always felt Raoul should be the younger while the Phantom was suppose to be the mature "wiser" man; It's been stated many times that the Phantom is Christine's sexual awakening, and Raoul is more her roamantic awakening, both very different things; If the actor is good age shouldnt matter, BUT...I am partial to the more mature Phantoms, I just think alot of life experiences that you dont have up until 30's and 40's are needed to pull out the depth of this character. I thought Ramin was great in the RAH version, but that version (while as close to the original show) was also slightly "hollywood-ized" (grammar nazis dont strike lol) in terms of casting; Slightly different subject but I remember seeing the tour and getting our Programme with the lovely color insert of the photos of the current cast; and a friend of mine was startled when he saw Marie Danvers as Christine simply because he said "she's way too old looking to play this", However after the show we both just HAD to meet Marie after her amazing performance, because simply put she had the talent! So I think this issue can go both ways.

SweetChristine wrote:Maybe we talked about it but I watched some video with Michael Ball. I think he could be a great Phantom. What do you think?

TheFinnishPhantom wrote:

SweetChristine wrote:Maybe we talked about it but I watched some video with Michael Ball. I think he could be a great Phantom. What do you think?

I think he'd make a great Phantom, he was a wonderful Sweeney recently.

And it seems that I will be seeing Peter Jöback. Don't know if I should be really exited or horrified.

EarlFan wrote:Peter Jöback is now living in London and has started rehearsal for Phantom. For anyone interested you can read his blog here. He usually writes in swedish but if you use Google translator you can understand most of it.

SweetChristine wrote:When is his premiere?

thephanfullerton wrote:Hi all, does any one have a list of the current London creative team? Like resident director, stage manager (although I heard that they alternate), etc...?
OG

operafantomet wrote:
As for the Christines, the alternate usually follows the principal track, and the understudy does the alternate track. That's how it's been done in the past, at least.

MajesticPhantom wrote:You can almost definitely see Claire Doyle do two performances whenever Sofia Escobar takes a whole week off (since, generally, the alternate does 6 of the shows during such weeks). Claire is a FANTASTIC Christine...would love to see her play it again (I caught one of her early ones in November, opposite Scott Davies... I think it might have been their first show together).

MajesticPhantom wrote: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 wrote: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).

MajesticPhantom wrote:Below are my earlier posted thoughts on their performances. To further explain "gesture" from the first paragraph.... Doyle explains/communicates through song as if in dialogue...she will gesture in very clear and personalised ways what her heart is expressing. Really, REALLY remarkable work. In addition, the Davies/Doyle pairing is complementary... Her desire for something to believe in was accentuated by his age and interpretation- a mentor, a figure of authority, A GUIDE... and to see her realise he wasn't these things was devastating.