The London production 1

operafantomet wrote:
Oh believe me, I want to! I'm on such a serious POTO drawback after my Copenhagen spring. But I've spent the last three weeks trying to fix my sister a super wedding (including making her a wedding dress). There just aren't enough hours, and I'm exhausted. That, plus I live in the wrong country... But how do you feel like the early/mid December? I'm dead serious. I'm heading for Florence, and wouldn't mind stopping by London on my way down.

Yes! We can go check out the new cast with David Shannon. Come!

operafantomet wrote:

But first, Copenhagen. Les Mis. Tomas "Tomas" Kofod or Flemming Enevold as Valjean. Both awesome. Which reminds me, I should have emailed Josefine ages ago.

Yeah, I've been kinda wondering a bit if you wanted to come this weekend and it's already Thursday .

Phantomlove wrote:

operafantomet wrote:

But first, Copenhagen. Les Mis. Tomas "Tomas" Kofod or Flemming Enevold as Valjean. Both awesome. Which reminds me, I should have emailed Josefine ages ago.

Yeah, I've been kinda wondering a bit if you wanted to come this weekend and it's already Thursday .

This weekend is my sister's wedding, so no chance in h€ll. But I'll look into other dates and PM you ASAP - I promise. Really. Seriously.

Scorp, I'll also look into London tickets. I'm thinking December 8.-10. sometime.

operafantomet wrote:

Phantomlove wrote:

operafantomet wrote:

But first, Copenhagen. Les Mis. Tomas "Tomas" Kofod or Flemming Enevold as Valjean. Both awesome. Which reminds me, I should have emailed Josefine ages ago.

Yeah, I've been kinda wondering a bit if you wanted to come this weekend and it's already Thursday .

This weekend is my sister's wedding, so no chance in h€ll. But I'll look into other dates and PM you ASAP - I promise. Really. Seriously.

Scorp, I'll also look into London tickets. I'm thinking December 8.-10. sometime.

Happy to book if you want once you've decided the dates! (Can't believe I'm thinking about this having just gone to see it...how sad... )

Question: does anyone know when Steve Barton left the London production? I know MC left on 10 October '87, and Sarah left on 28 March '87...but I'm confused about Steve, because I always thought he left AFTER Sarah, yet in Marcus Tylor's book it says that by the time Sarah left Michael Ball had already taken over as Raoul. *confused*

EDIT: Wait, didn't Steve leave on the same night as Crawford IIRC?

Scorp wrote:Question: does anyone know when Steve Barton left the London production? I know MC left on 10 October '87, and Sarah left on 28 March '87...but I'm confused about Steve, because I always thought he left AFTER Sarah, yet in Marcus Tylor's book it says that by the time Sarah left Michael Ball had already taken over as Raoul. *confused*

EDIT: Wait, didn't Steve leave on the same night as Crawford IIRC?

I believe Steve left with Crawford. Because he was the Phantom understudy on Broadway (and the Raoul), so he'd have to be there.

Scorp when you were talking about Nigel on the last page you actually reminded me that I'd meant to post about my mum seeing him. She was actually really impressed at parts, she said he was good for the majority when he was actually "singing" (or what most people would count as singing.) But she found during times like the mirror/ bravo monsieur he was very shouty and bordered on snarling at times.

She also likened his voice at parts to David Bowie, I can't comment on that but I'm not entirely sure that sounds like something I would like. She did say though that she was actually pleasantly surprised by him and that she enjoyed seeing someone different as she has only ever saw Ramin.

I always thought Bowie would've made a good film Phantom, so that sounds good to me.

Scorp wrote:Yes! We can go check out the new cast with David Shannon. Come!

Hey Scorp! You and me, Her Majesty's Theatre, Wednesday December 9. or 10. 2009? Cause I'll be in London then.... Heading for Pisa/Florence the following Friday, but need some Phantom refilling after having lived without for months....

What things are different in the London Production than the US???

Callie Daae wrote:What things are different in the London Production than the US???

Wow, not easy to answer that.

The most obvious things are some features only to be seen in London - that the Graveyard scene is sung as a trio and not as a duo (almost, but not exactly, as in the OLC CD), that the Phantom catches Christine when she faints in MOTN, that Carlotta use a fan (and she use it a LOT!) in "Il Muto"... probably other things too.

The London production also make new brochures two times a year, while the US productions often use the same one for five or even ten years a row, only adding an updated insert. And I think the new Overture and title song orchestrations aren't used in the US yet? (but they've been included in some international productions, like Argentina).

There are of course differences in costumes, sets, casting etc, but that would need several pages to discuss... He-he.

Any other views on this?

operafantomet wrote:

Callie Daae wrote:What things are different in the London Production than the US???

Wow, not easy to answer that.



There are of course differences in costumes, sets, casting etc, but that would need several pages to discuss... He-he.

Any other views on this?

And also from videos I've seen, does the Phantom always touch Christine's breast in Point Of No Return? lol

And I also think that the US production should keep up to date on programs.

Callie Daae wrote:And also from videos I've seen, does the Phantom always touch Christine's breast in Point Of No Return? lol

It's a newer thing, the Phantom/Don Juan didn't do it originally. I think they added it in 2002/2003 sometime (Celia Graham/John Owen-Jones). But I think everyone else has done the blocking that way in the London production. Originally, and in other productions, Christine tries to kiss him instead, making him turn rapidly away. I like both versions, if done well. But if the London version is performed a bit over the top, it looks more funny than dramatic, he-he...

operafantomet wrote:

Scorp wrote:Yes! We can go check out the new cast with David Shannon. Come!

Hey Scorp! You and me, Her Majesty's Theatre, Wednesday December 9. or 10. 2009? Cause I'll be in London then.... Heading for Pisa/Florence the following Friday, but need some Phantom refilling after having lived without for months....

Sounds good! 10th Dec is better for me but I'm thinking we should go on the 9th instead, because Thursday is Christine alternate day and I think you should see Gina (plus I would rather see Gina than Tabitha Webb too, even though I haven't actually seen Tabitha in the role). What do you think?

operafantomet wrote:

Callie Daae wrote:
What things are different in the London Production than the US???

Wow, not easy to answer that.

The most obvious things are some features only to be seen in London - that the Graveyard scene is sung as a trio and not as a duo (almost, but not exactly, as in the OLC CD), that the Phantom catches Christine when she faints in MOTN, that Carlotta use a fan (and she use it a LOT!) in "Il Muto"... probably other things too.

The London production also make new brochures two times a year, while the US productions often use the same one for five or even ten years a row, only adding an updated insert. And I think the new Overture and title song orchestrations aren't used in the US yet? (but they've been included in some international productions, like Argentina).

There are of course differences in costumes, sets, casting etc, but that would need several pages to discuss... He-he.

Any other views on this?

Yeah, not easy to answer that at all! There's loads of stuff that's different, though someone not as familiar with the show wouldn't notice anything.

operafantomet wrote:And I think the new Overture and title song orchestrations aren't used in the US yet? (but they've been included in some international productions, like Argentina).

I believe those orchestrations ARE now used all over the US, including the tour and Broadway. They came as part of the whole new sound system deal. However, none of the US productions (or, for that matter, any other production) ever used the orchestrations that London used between 2004 and 2008 for the title song and the overture. That particular version remains my favourite orchestration for the title song. It was rocked up significantly, but not to the extent that you had howling electric guitars everywhere.

operafantomet wrote:the Graveyard scene is sung as a trio and not as a duo (almost, but not exactly, as in the OLC CD)

I really have missed that trio whenever I've seen the show anywhere else. It's such a beautiful moment. And yeah, it's not quite like the OLC these days and hasn't been for a long time. In fact, I think it's better. In the OLC The Phantom (Crawford) sings simply the main melody, whereas nowadays the Phantom sing a harmony (you can hear Alexander Goebel sing it on the Vienna recording, although there again it's a duo and not a trio).

Aside from the stuff operafantomet has already mentioned, the Phantom still goes down the trap door into the "underworld" after 'Why So Silent?' in London (they stopped doing that years ago in the US because too many Phantoms were getting injured that way!), the Angel's eyes don't light up as they do on the US Tour, and in certain scenes there are different lyrics, notably at the beginning of 'Masquerade' and also in some scenes like 'Stranger...' (in London it's "you little viper" as it is on the OLC; in the US it's "vixen"). Meg doesn't say her line about always having to rehearse after she gets thrown out of Christine's dressing room in London, whereas (I think???) she does do that in the US. Most of the London lyrics though were brought in line with the Broadway production back in 1988.

There are other technical details, like the fact that the real Phantom and Christine are seen on the travelator during the title song after the doubles are (I'm still not sure whether this is the case in the US... ). Comparing the London production with Broadway, the stage is much deeper and the proscenium much taller, but it's less wide, so some things had to be scaled up for the Broadway production. The chandelier falls much faster in London. And, of course, Maria Björnson's designs are particularly tailored to Her Majesty's in London in a way they weren't to any other theatre in the sense that they make use of the existing (and still operational) Victorian machinery. For instance, the candelabra in the title song rise thanks to the human hand operating Victorian cranks, whereas this is all done by computer in the States.

The London production also has a bit more different merchandise than the standard US (i.e. non-Vegas) productions these days (more different T-Shirts and more mugs, though I suppose that's inevitable for a nation of tea-drinkers). Hopefully at some point they'll find there way across to the other side of the pond.

I've kept meaning over the past few years to write to Hal Prince to try and get some definitive to answers to exactly why the ending of MotN and Wandering Child is done differently everywhere other than London. I've heard various stories re: both, but they've often varied and just confused me. Unless anyone here is absolutely certain as to why this is so. Need to write that letter.

I hate the new orchestrations for the title song (well, I really dislike them; I guess I can live with them); I'm not sure I've heard the difference in the overture. The OLC tracks are classics, more eerie and less cheesy, I think.

Some Phantoms in productions other than London's have caught Christine at the end of MOTN. Notably, I believe Peter Karrie and other Toronto Phantoms did this, though I think Karrie had to stop when he had a bad back at one point. I may be confusing him with another Phantom though.

SenorSwanky wrote:I hate the new orchestrations for the title song (well, I really dislike them; I guess I can live with them); I'm not sure I've heard the difference in the overture. The OLC tracks are classics, more eerie and less cheesy, I think.

I agree that the OLC are classics, though the 2004-2008 London orchestrations I thought were one step better. I'm not really a huge fan of the 2008-present orchestrations based on the Vegas production either, though that said it does add some things I do like from the original title song single (with Steve Harley and Sarah Brightman) that I quite like, namely the even weirder and creepier background orchestration in the intro to the third verse (just before 'Those who have seen your face...'). I think it would be a lot better if they removed the howling guitar at the end, because I find it can overpower the vocalisations of the Christines, which is surely counterproductive, unless you're Sarah Brightman and can somehow rise above them as she did in the original track.

The new overture is an improvement, but it only sounds like that live. I was really worried when I first heard it and hadn't seen it live because it sounded too happy as in the film-that-shall-not-be-named, but I needn't have worried; I'm not sure why this is, but the new overture live remains eerie AND adds extra power (there's this really cool percussion at the very end which are fantastic and which were never included in the original, a great touch!).

SenorSwanky wrote:Some Phantoms in productions other than London's have caught Christine at the end of MOTN. Notably, I believe Peter Karrie and other Toronto Phantoms did this, though I think Karrie had to stop when he had a bad back at one point. I may be confusing him with another Phantom though.

I think I remember the bad back thing being used as one of the many explanations I've heard for why it was done differently on Broadway and why it's never been changed since in the US (as in that Crawford had a bad back and couldn't do what he did in London), but again that could be confusing what may have actually happened to Karrie. If it was Karrie who did it that way in Toronto, I suppose the explanation is that he first did the role in London and just stuck with it out of habit/personal preference.

I remember getting scared when I saw Ramin do it the non-London way (i.e. not catching) as I thought London had got rid of the catch! Fortunately it turned out that this was only temporary due to (again) a bad back. I love the catch -- it's a nice tribute to the Lon Chaney film.

Scorp wrote:The new overture is an improvement, but it only sounds like that live. I was really worried when I first heard it and hadn't seen it live because it sounded too happy as in the film-that-shall-not-be-named, but I needn't have worried; I'm not sure why this is, but the new overture live remains eerie AND adds extra power (there's this really cool percussion at the very end which are fantastic and which were never included in the original, a great touch!).

Totally agree with you there! When I heard those extra drums live at the end I was like "WOW!!!". It booms throughout the theatre and it makes the overture even more spectacular.
I've also grown used to the new title song orchestrations and quite like the guitars now.
Overall, I think the London production will always be the better one IMO. I just can't get used to seeing Christine falling flat on the floor in MOTN everywhere else...

Scorp wrote:

operafantomet wrote:

Scorp wrote:Yes! We can go check out the new cast with David Shannon. Come!

Hey Scorp! You and me, Her Majesty's Theatre, Wednesday December 9. or 10. 2009? Cause I'll be in London then.... Heading for Pisa/Florence the following Friday, but need some Phantom refilling after having lived without for months....

Sounds good! 10th Dec is better for me but I'm thinking we should go on the 9th instead, because Thursday is Christine alternate day and I think you should see Gina (plus I would rather see Gina than Tabitha Webb too, even though I haven't actually seen Tabitha in the role). What do you think?

I vote for both.... I'd love to see both Christines. But you're free to join me for just one show, and choose which day you'd like to go.

operafantomet wrote:

Scorp wrote:

operafantomet wrote:

Scorp wrote:Yes! We can go check out the new cast with David Shannon. Come!

Hey Scorp! You and me, Her Majesty's Theatre, Wednesday December 9. or 10. 2009? Cause I'll be in London then.... Heading for Pisa/Florence the following Friday, but need some Phantom refilling after having lived without for months....

Sounds good! 10th Dec is better for me but I'm thinking we should go on the 9th instead, because Thursday is Christine alternate day and I think you should see Gina (plus I would rather see Gina than Tabitha Webb too, even though I haven't actually seen Tabitha in the role). What do you think?

I vote for both.... I'd love to see both Christines. But you're free to join me for just one show, and choose which day you'd like to go.

Yeah I only have the time/money for one show I think, plus I don't think I can handle seeing two performances in a row, lol. Thursday is technically the better day for me but given that I'm going to have to spend £££ I might as well spend it on a Christine I definitely like a lot rather than taking a risk with one whom I might not. So shall we go for 9th December then? Whereabouts do you want to sit? Can't say I'm overly keen on paying the highest price...but we could always do TKTS and hope we get front stalls which is what happened to me last week. Either that or book in advance for the Upper Circle of Death or something like that. Can we have an extra long geek-out session please??

OK I don't know if anyone can answer this, but I know that Sarah Brightman did the whole Hannibal ballet dance with the ballerinas. Does anyone know when they started just having Christine run out towards the end?? And also, does anyone know what other Christines have done the whole Hannibal dance????

The Japanese Christines (at least some, maybe not all) do the whole Hannibal ballet.
In some productions Christine comes out in the middle of the Hannibal dance and in other productions she dances in with the other girls right after Carlotta sings the opening lines, goes down with Meg on the left side when Piangi comes in. Then she leaves the stage through the left wing when the rehearsal is interrupted and comes out again in the middle of the ballet. In between she is seen wandering around at the back of the stage.
I would think that they started with the Christine dancing less routine right from the start. I don't think Claire Moore is a ballet dancer but don't quote me on it.

Scorp wrote:I agree that the OLC are classics, though the 2004-2008 London orchestrations I thought were one step better. I'm not really a huge fan of the 2008-present orchestrations based on the Vegas production either...

What?!? Okay, I admit I haven't seen the London production since October 2008. I'm saddened to hear they've changed the orchestrations! I looooved the backtracks in London! Though it sounds as if they still have an updated version, which is better than the old tracks. Those had become very outdated I think. It was disappointing seeing the US tour after London because the sound system and backtracks seemed so flat in comparison.

SenorSwanky wrote:Some Phantoms in productions other than London's have caught Christine at the end of MOTN. Notably, I believe Peter Karrie and other Toronto Phantoms did this, though I think Karrie had to stop when he had a bad back at one point. I may be confusing him with another Phantom though.

Peter Karrie was the only Toronto Phantom to catch Christine, another reason his performance was so special and he was such a phan favourite. The first time I went to see him it was specifically to see him do "the catch", as I hadn't yet had the opportunity to see the show in London. Of course, after that I thought he was amazingly talented with or without the catch and saw him a number of other times as well! He eventually had to stop due to back problems, as you mentioned.

Scorp wrote:So shall we go for 9th December then? Whereabouts do you want to sit? Can't say I'm overly keen on paying the highest price...but we could always do TKTS and hope we get front stalls which is what happened to me last week. Either that or book in advance for the Upper Circle of Death or something like that. Can we have an extra long geek-out session please??

I'm voting for TKTS or even popping into the theatre the same day. Is that risky? It's always worked out before, but then again I've often travelled alone... If it's too risky I will of course join you in booking in advance, we must sit together this time around.

Can we have an extra long geek-out session please??

Aaaaach, if you insist. That is of course the only reason why I would geek about POTO. Yeah. Sure.

But I MUST say hello to Ellen Jackson, if she's there. Take some goofy pics with her. We must ambush her, he-he. Last time I saw POTO in London I spotted her at the stage door and wanted to talk to such a long-running cast member. So I approached her and bursted out her name, and she looked at me like if I had talked Swahili while stepping in a moose costume. Total disbelief. She just couldn't believe someone recognized her. Sweet, sweet woman, and so much more famous amongst fans than she is aware of.

As for the question about dancing, Phantomlove has already given a good answer. I'd like to add that original understudy Maria Kesselman was a trained classic ballerina before she "discovered" her voice, I've always assumed she did the whole dance routine like Sarah Brightman. But I've never been able to find out if Claire Moore did. Maybe the alternate choreography originally started with her?

I think it's a pity they've skipped Christine from the dance. It might be a small detail, but it adds a lot to the role. And although most who's done the role after Sarah Brightman has lacked her dancing skills, there HAS been some talented dancers in between, many even dancing en pointe. And I'm thinking that if they can dance en pointe, they can surely dance the whole thing? It's cute enough that she joins towards the end, and I bet the general audience never notice she's lacking/blends in later. But... I like the idea of capable Christines dancing the whole thing.

(if I've understood it correctly, the Vegas Christine joins the dancers from the beginning, and they also dance en pointe... but much of the choreography is skipped there, so that's a different story)

Rebecca wrote:

Scorp wrote:I agree that the OLC are classics, though the 2004-2008 London orchestrations I thought were one step better. I'm not really a huge fan of the 2008-present orchestrations based on the Vegas production either...

What?!? Okay, I admit I haven't seen the London production since October 2008. I'm saddened to hear they've changed the orchestrations! I looooved the backtracks in London! Though it sounds as if they still have an updated version, which is better than the old tracks. Those had become very outdated I think. It was disappointing seeing the US tour after London because the sound system and backtracks seemed so flat in comparison.

I know what you mean. Yeah, London now uses the same backtracks as Las Vegas, Broadway (post digital-sound-sytem-installation...Broadway actually changed AFTER London) and now Argentina. It's the Steve Harley type version with the wailing electric guitar at the end. But I think these days I'd take that over the original, which does admittedly sound a bit flat when you compare them. RIP 2004-2008 London orchestrations, you were fantastic and should have been used elsewhere!

EDIT: Wait, you last saw the London show in October '08? Wasn't the digital sound installation before then? In which case nothing's changed since you last saw the London show. But the orchestrations for the title song between around February 2004 and the introduction of the digital sound system were very different to both the original track and to what you hear today.

operafantomet wrote:I'm voting for TKTS or even popping into the theatre the same day. Is that risky? It's always worked out before, but then again I've often travelled alone... If it's too risky I will of course join you in booking in advance, we must sit together this time around.

Cool, TKTS/buying at the theatre it is then. I very much doubt it's risky, especially on a weekday when no-one's on holiday yet. Shall I pen the 9th December geek-out into my diary then?

Oh and sure re: Ellen Jackson! I loved watching her during the 'Hannibal' scene last time, she was so funny! I have her autograph I think but I've never met her. I haven't stage-doored at the London production in ages. We have to say hello to Fiona Morley too because apparently I'm bad for not saying hello to her the other week, lol. And that'd give me an opportunity to catch Steven John Davis and tell him what a good job he did last week when Ramin and Nigel were absent.

Scorp wrote:EDIT: Wait, you last saw the London show in October '08? Wasn't the digital sound installation before then? In which case nothing's changed since you last saw the London show. But the orchestrations for the title song between around February and the introduction of the digital sound system were very different to both the original track and to what you hear today.

I believe the installation of the new sound system at HM's happened in April 2008.

Miss von Krolock wrote:

Scorp wrote:EDIT: Wait, you last saw the London show in October '08? Wasn't the digital sound installation before then? In which case nothing's changed since you last saw the London show. But the orchestrations for the title song between around February and the introduction of the digital sound system were very different to both the original track and to what you hear today.

I believe the installation of the new sound system at HM's happened in April 2008.

Just to be really pedantic - which you'll have to excuse me for - the Guardian had an article on this matter (click me), which stated that the sound system was installed 5th-7th May 2008. I saw the show in April 2008 and it was definitely the 2004-2008 orchestrations then (which I vastly prefer, though the wailing guitar version does sound more contemporary. Plus I always thought the synth intro to the older version was a bit anti-climactic and lacked power - which the souped-up version has in spades).

operafantomet wrote:
I think it's a pity they've skipped Christine from the dance. It might be a small detail, but it adds a lot to the role. And although most who's done the role after Sarah Brightman has lacked her dancing skills, there HAS been some talented dancers in between, many even dancing en pointe. And I'm thinking that if they can dance en pointe, they can surely dance the whole thing? It's cute enough that she joins towards the end, and I bet the general audience never notice she's lacking/blends in later. But... I like the idea of capable Christines dancing the whole thing.

Actually I like Christine not dancing the whole thing. I think it fits with her character of "having her heads in the clouds" that she leaves, then wanders around aimlessly at the back of the stage just to realise that Mme Giry is going to be sooo mad because she isn't paying attention.

But help me remember Operafantomet, didn't the Christines in the spring production in Copenhagen dance very little of the Hannibal ballet? As far as I remember I don't think they did the ending bit for some reason. Didn't they come out from the right wings just after the rehearsal is finished and some of the girls go and sit down to the right? I remember thinking that it was really weird that they did so little of the Hannibal ballet, especially when they danced the whole masquerade routine.

Lycanthrope wrote:

Miss von Krolock wrote:

Scorp wrote:EDIT: Wait, you last saw the London show in October '08? Wasn't the digital sound installation before then? In which case nothing's changed since you last saw the London show. But the orchestrations for the title song between around February and the introduction of the digital sound system were very different to both the original track and to what you hear today.

I believe the installation of the new sound system at HM's happened in April 2008.

Just to be really pedantic - which you'll have to excuse me for - the Guardian had an article on this matter (click me), which stated that the sound system was installed 5th-7th May 2008. I saw the show in April 2008 and it was definitely the 2004-2008 orchestrations then (which I vastly prefer, though the wailing guitar version does sound more contemporary. Plus I always thought the synth intro to the older version was a bit anti-climactic and lacked power - which the souped-up version has in spades).

Ha! Missed by a month... You obviously should know ^that^ better than me

Scorp wrote:EDIT: Wait, you last saw the London show in October '08? Wasn't the digital sound installation before then? In which case nothing's changed since you last saw the London show. But the orchestrations for the title song between around February 2004 and the introduction of the digital sound system were very different to both the original track and to what you hear today.

Hmmm... well, pardon my (hopefully momentary) brain fart! I know I really noticed the change in 2004, when I was visiting, and then the same orchestrations when we lived there in '05-'06....

I'm gonna blame this one on jet-lag, I think.... or maybe on my excitement at being back in London? Oh no wait! Maybe my memory is going as I age... Or my hearing.... or my attention span....

Yeah, I dunno. I got nothin'. LOL!

Phantomlove wrote:But help me remember Operafantomet, didn't the Christines in the spring production in Copenhagen dance very little of the Hannibal ballet? As far as I remember I don't think they did the ending bit for some reason. Didn't they come out from the right wings just after the rehearsal is finished and some of the girls go and sit down to the right? I remember thinking that it was really weird that they did so little of the Hannibal ballet, especially when they danced the whole masquerade routine.

Mia Karlsson said something about that, that they adapted the choreography in "Masquerade" to the dance skills of the Christines, but since both Copenhagen Christines were capable dancers they did the whole routine. And I agree with you that it would be odd to cut them out of Hannibal then. But I don't think they did?

I seem to remember they ran in at the usual place, right after Meg has "danced into" the new managers (right before Madame Giry yells as Christine), posed in the mid formation at the end of the dance sequence and kept stage right (to the left in the formation) for the rest of the dance. Must double check, but I remember Eva Malmgren's awesome expression when the ballet girls was in the kneeling position - she always did a "threatening" move towards Christine before kneeling herself. Aaaaaw, awesome Carlotta. But not London related at all, so I'll stop here...

The new London brochures should be out by mid December, oui?