The London production 2

justin-from-barbados wrote:I cant remember who that second pic reminds me so much of............yes he kinda resembles Kevin Gray but thats not it, maybe its just the mask, it looks very Swiss, i guess the same person that made the london masks did the ones for the Swiss show. Let's just hope he sounds as good as he looks

Lycanthrope wrote:I attended today's matinee and just thought I would post a few remarks about the show. I must admit I saw Earl some six years ago and wasn't keen, but I feel I was unfair on him then as he is not the vocal powerhouse that JOJ is (the only Phantom I'd seen prior to that point), although his voice is good. However, Peter Jöback has some big shoes to fill: Earl was fantastic today. He simply understands the character, bringing back the sense of majesty and elegance that Ramin lacked. POTO and MOTN are marked by slow, deliberate movements as he quite literally enchants Christine with his music - and even then there are brief glimpses of the fear beneath that, in the vehement refusal to allow Christine to touch his mask. The carry was quite deliberate, he considered what to do with Christine and was most delicate in covering her with the cloak (which he did very late). My impression of his Phantom was of a masterful one, controlled and yet there is the hint of a sensitivity and tenderness beneath the facade. The end to STYDI brought tears to my eyes as he made it most clear - by gesticulating to the mirror bride and to Christine - that his hopes of transcending his miserable existence lay on her and her talents and the quiet devastation that these were now dashed.

Although I can't deny his Phantom appears cold and calculating for most of the show - his "You try my patience" was magnificent, interspersed with a chuckle to himself - this cool veneer falls away during and after the kiss, where his entire physicality shifts into a quivering wreck of a man. His "Christine, I love you" was so soft it was almost inaudible; he refused to take the ring back, then when Christine insisted, fell to one knee and held out the ring to her (he did this in his previous run but it was heart-rending here: it was him begging her, his head bowed in recognition of how unworthy he was and how he did not deserve her and yet he felt compelled to give it one last attempt). There were indications of his shift in physicality during PONR, where, as Christine approached him during her verse, he seemed to 'freak out', for want of a better term - he simply had no idea how to handle the situation, in spite of him being its mastermind, with his entire upper body trembling.

My only question in Earl's performance would be why his recorded track for the title song is as bad, if not worse than the one he had during his run as principal 2005-7 - he appears to really strain for the high notes in the first verse. Such a shame as the rest of the performance was first-rate - as an actor he really excels at subtly playing key moments (quite different to Scott Davies who I felt overplayed the Final Lair so that it seemed affected). Also he appears to really live the moment and think onstage, a trait which I admire in any actor performing in a long-running show.

(...)

I'm quite intrigued as to how Peter Jöback will be, and if I do see him perform, I'll go in with an open mind. From the articles posted here he seems to have really worked hard on the character of the Phantom (and comes off as a nice guy with considerable humility). However, Earl has most definitely set a high benchmark.

operafantomet wrote:
This! This! Exactly this. His Phantom might appear controlling and cold, but you never need scratch deep under the surface to see his vulnerability and fear. When I saw him the first time, he spent the whole show avoiding letting Christine touch him, or so it appeared, and I remember that STYDI detail so well. Totally loved what he did, and I am so sad I missed him this time around. I doubt he'll return doing the role at HMT after doing the tour.

As for Peter Jöback, very cool pictures. Are anyone seeing him in his first week performing?

London-Phan wrote:

operafantomet wrote:
This! This! Exactly this. His Phantom might appear controlling and cold, but you never need scratch deep under the surface to see his vulnerability and fear. When I saw him the first time, he spent the whole show avoiding letting Christine touch him, or so it appeared, and I remember that STYDI detail so well. Totally loved what he did, and I am so sad I missed him this time around. I doubt he'll return doing the role at HMT after doing the tour.

As for Peter Jöback, very cool pictures. Are anyone seeing him in his first week performing?

I shall be there tomorrow for his opening night, I'm looking forward to it I have a feeling he'll be good. Hope I'm right.

starryeyed wrote:Apparently our new Phantom got a complete standing ovation! If this is right (which I don't see why not) that's pretty good going especially from a Monday audience.

Can't wait to see a review from the members who were there tonight!

TheFinnishPhantom wrote:I umm.. heard his MOTN, and I was positively suprised. Not bad at all. Once he settles down, he'll be wonderful.

TheFinnishPhantom wrote:I umm.. heard his MOTN, and I was positively suprised. Not bad at all. Once he settles down, he'll be wonderful.

operafantomet wrote:

What did bother me, however - and this came as a total surprise - was that he was not too synced with the orchestra. It sounded like he started too early at one point, and came in late another place, and he didn't hold the notes very long so the orchestra soared on without him.

operafantomet wrote:
As for standing ovation, it was probably well deserved. But if there were many Scandinavians in the audience, they probably contributed to it. Brits only do it if immensely pleased by an extraordinary good stage experience, while in Scandinavia it's almost always done.

EarlFan wrote:

operafantomet wrote:
As for standing ovation, it was probably well deserved. But if there were many Scandinavians in the audience, they probably contributed to it. Brits only do it if immensely pleased by an extraordinary good stage experience, while in Scandinavia it's almost always done.

I think some of the Brits were impressed to, most people in my row were British and they were standing up even before I did. And also when leaving the theatre I listened to people talking about the show and most people seemed to think he had done it really well.

Madame Giry wrote:I wonder how long it will be before we get some pro-shot promotional footage of him?

~Madame~

operafantomet wrote:There is a MOTN clip circulating on the internet, at wild speed, so I gave in an listened to it. And yes, we have a good Phantom in making!

He told in an interview he was asked to darken his voice, and you can tell there is a difference from RAH to now. His voice is pleasant to listen to, and with an interesting sound. I can still hear his nasal "twang" underneath, but as long as it's as toned down as it is, it don't bother me. I liked what I heard. He also sounded like he knew what the role was all about, I would like to see his acting live.

What did bother me, however - and this came as a total surprise - was that he was not too synced with the orchestra. It sounded like he started too early at one point, and came in late another place, and he didn't hold the notes very long so the orchestra soared on without him. I've heard another Phantom making it hard for the conductor to follow him; Flemming Enevold in Denmark. But his "syncoped" singing was a deliberate choice. He showed that he was the one in charge both through vocals and the acting. With Jöback it just sounded like insecurity, or even lack of rehearsals. I hope he gets more in sync with the orchestra when he settles in the role.

Also, he has the Scandinavian need to pronounce the R's, which makes him jump to American rather than British pronounciation of certain words. "SoaRRR" comes to mind. It's probably nitpicking this early on, but I was surprised by the technicalities. He is a seasoned performer, I see no reason why he and the orchestra should not follow eachother better, and it didn't sound like the issue was with the conductor.

starryeyed wrote:It's nearly West End Eurovision time again... here is Phantom's ident:

The Only Way is Phantom

For those outside the UK, it's basically taking the mick out of a show here called "The Only Was is Essex" I won't go into what the show is about because, seriously, just count yourselves lucky it isn't on your screens. (And also it isn't actually about much...)

operafantomet wrote:

starryeyed wrote:It's nearly West End Eurovision time again... here is Phantom's ident:

The Only Way is Phantom

For those outside the UK, it's basically taking the mick out of a show here called "The Only Was is Essex" I won't go into what the show is about because, seriously, just count yourselves lucky it isn't on your screens. (And also it isn't actually about much...)

Ahahahaha! I love them so much!