The London production 1

Helen wrote: A special mention must go to Ellen Jackson, who was on top form!

ruthy wrote:My mum commented on Ellen this time too, I was telling her how much we both liked her!

See, operafantomet? I TOLD you Ellen Jackson had deliberately fled the country to avoid you stalking her and would come back as soon as you left!

EDIT: By the way, I agree with Mandrake's comparison of David Shannon's Phantom to David Bowie... I just read that comment now and that's exactly what I said to operafantomet when we saw him. I can't make up my mind on him though. He does by far the most interesting Angel scene I've ever witnessed and his final lair's pretty good, but I felt it was so-so elsewhere and a bit lacking in 'The Mirror' (and he didn't hold the note in MotN, which always means a minus point from me ). Would be interested in seeing what he can do in six months' time if he stays that long.

David is contracted until May 8th at the moment.

Scott is performing both shows on Tuesday. Want. To. Go. Haha.

Scorp wrote:

Helen wrote: A special mention must go to Ellen Jackson, who was on top form!

ruthy wrote:My mum commented on Ellen this time too, I was telling her how much we both liked her!

See, operafantomet? I TOLD you Ellen Jackson had deliberately fled the country to avoid you stalking her and would come back as soon as you left!

She must have been warned by someone visiting this forum.

And I remember you comparing David Shannon's Phantom (singing style) to David Bowie, just like Mandrake. I think that's quite accurate. He has a special style going on, but I hope he's grow into the role and make it... maybe grander and bolder?

ruthy wrote:ETA: I am VERY disappointed in the "new" London brochure. Same front and back cover. Masquerade a completely re-used shot (with Tori as Meg etc) NO new photos of Simon, David Shannon photoshopped into the boat with Gina, at least one Ramin picture, Emma and Nicky basically photoshopped in a lot of pictures... yes sorry for that rant, I just really was looking forward to the brochure and the whole cast went in and clearly shot pictures that weren't used.

That's a real shame. Do they not think this cast is going to last long or something?

Scorp wrote:Plus it should be extra-interesting now that he's aged and has spent the last few years bringing up a kid; should hopefully add the whole older, wiser, 'father' aspect that I think has been missing in the portrayals of recent younger Phantoms.

Totally agree. Phantoms are like fine wines and cheese...a bit seasoned and aged...or something. Life experience, as it contributes to method acting, is huge in this role.

ust want to add that I would like to praise whoever's decision it was to make Buquet more prominent. I didn't realise it was possible even to have a favourite Buquet, but Stephen John Davis has definitely become mine (would love to see him as the Phantom again too), and I love how he's got a bit more to do with his role now! He goes onstage just before 'Angel of Music' to provide the ballerinas with...er, I can't remember the word for it. What's it called, the thing for pointe shoes?

Really? New staging that major?

David Shannon signs like David Bowie in this role? I'd love to hear that. I've always thought Bowie would have made an awesome Phantom.

On another note, is the London production becoming like the American productions in its casting? This cast has so many returnees from the past...Shannon, Davies, Adams, Morgan, Tickell, SJD, Webb. Davies and Tickell are even returning in the roles they previously played for a few years. But they're both good in those roles, which is better than retreads who aren't notable.

SenorSwanky wrote:On another note, is the London production becoming like the American productions in its casting? This cast has so many returnees from the past...Shannon, Davies, Adams, Morgan, Tickell, SJD, Webb. Davies and Tickell are even returning in the roles they previously played for a few years. But they're both good in those roles, which is better than retreads who aren't notable.

I think the economic recession is to blame. Lots of "old timers" returns to their usual roles, and many stars are sought out for the lead roles (Rowan Atkinson in "Oliver", for example). Seems like both casting people and singers are playing safe. And in the US, don't singers usually return to the same roles as before?

But yeah, that Buquet staging is rather noticeable, and a change I found highly interesting. Not sure I want all Buquets to do it, but Stephen John Davis adds enough slyness to the role to pull it off.

SenorSwanky wrote:

ruthy wrote:ETA: I am VERY disappointed in the "new" London brochure. Same front and back cover. Masquerade a completely re-used shot (with Tori as Meg etc) NO new photos of Simon, David Shannon photoshopped into the boat with Gina, at least one Ramin picture, Emma and Nicky basically photoshopped in a lot of pictures... yes sorry for that rant, I just really was looking forward to the brochure and the whole cast went in and clearly shot pictures that weren't used.

That's a real shame. Do they not think this cast is going to last long or something?

I'm surprised that there's a Ramin picture in the new brochure, but I'm not surprised that there's a lot of photoshopping going on. That's happened before when it's been a relatively small cast change.

Helen wrote:

SenorSwanky wrote:

ruthy wrote:ETA: I am VERY disappointed in the "new" London brochure. Same front and back cover. Masquerade a completely re-used shot (with Tori as Meg etc) NO new photos of Simon, David Shannon photoshopped into the boat with Gina, at least one Ramin picture, Emma and Nicky basically photoshopped in a lot of pictures... yes sorry for that rant, I just really was looking forward to the brochure and the whole cast went in and clearly shot pictures that weren't used.

That's a real shame. Do they not think this cast is going to last long or something?

I'm surprised that there's a Ramin picture in the new brochure, but I'm not surprised that there's a lot of photoshopping going on. That's happened before when it's been a relatively small cast change.

That's true. I guess a lot of people did stay on.

Is it inconceivable that Rebecca Lock would ever play Christine? I think this is something I would pay very good money indeed to see.

She doesn't have the "traditional build" of most Carlottas, so could conceivably fit the role in every way.

I feel almost like a giddy schoolgirl talking about her. She is just incredibly good. She has all these little touches and affectations that bring a character to life. I love how she pinches thumb and forefinger in a mocking gesture at the Wardrobe Mistress to shush her; and when she flounces offstage after Hannibal she raises a shielding, denying, rejecting (talk to the) hand at Giry to counteract her evil eye. I sometimes feel she is actually too good to play Carlotta because she seems to demand the eye in every scene she's present, she's always up to something interesting or noteworthy.

End of gush. More gin required.

Tabitha Webb was Christine tonight. Hadn't seen her before but I liked her pocket rocket performance which seemes quite subtle and capable; I'd like to see her again. I'm very reluctant to comment on Christines these days, though, as my likes and dislikes seem to be the precise inverse of everyone else's! I'm afraid I'm still targetting dates the principal Christine isn't likely to be on.

I'm increasingly enjoying Simon Bailey's Raoul, too. His hair had a sort of Jack Nicholson (The Shining) thing going on tonight; and anything Nicholson is automatic win. I think if serious critics ever looked at Phantom they might patronisingly say he's "grown up" in the role. He seems somewhat less boyish and a bit more cynical latterly, darker and richer. Though I find he still clenches his hands and jaw too much, to signify angst... I think that's a bit too easy. All clenching and no acting makes Raoul a dull boy.

On the Bowie note, I think he does sound a little like Bowie in terms of the elongated, slightly mockney vowells; but it's also the sort of smiling sneer he always has that is more Bowie-esque. Plenty of teeth and Ashes to Ashes.

Bowie as Phantom... Now that IS something I'd pay to see.

To let you know Gina never does a Monday or a Thursday unless she specifically has to change her schedule so if you were aiming to see Tabitha (or an understudy) it would be good to aim for those days.

I enjoyed that mini review, but at the end I assume you were talking about David yes? I don't understand the Bowie reference everyone is making but a lot of people seem to say it.

And I think the clenching of the hands is a nerves thing with Simon but have never seen him clench his jaw... unless you mean that thing he does with his mouth that looks almost like a sneer.

Yes, sorry... I meant Phantom (David Shannon) for the Bowie reference. The hand-clenching thing with Simon is just a personal thing of mine that I don't like, I don't think it's really a big deal... It just jars with me, a little, I think, after seeing it so often. I like his Raoul, generally.

I don't think the Bowie thing with David shannon is intentional or even very obvious. Just something that struck me one night, might have been the drink.

I was looking out for it tonight to see why he reminded me of Bowie and it seemed more of the toothy sneer and slight snarl he has as Phantom... Perhaps "sneer" is too strong a word... Just that thing Bowie does, seems to have too many teeth in his mouth. And a little bit mockney in his voice, which I thought was Ripperish and a bit like Ian Pirie's Phantom although not Scottish... errr... losing track now...

Oh don't worry, sometimes it really annoys me when Simon does it too because sometimes he does it a lot, but other times he only does it a few times and I can deal with that.

Oh, I get what you mean about David now. My mum actually thought he was quite lispy at times, and I think the only way I can describe it, is it's as if he isn't used to the mask yet or it is somehow impacting on his singing. There is definitely something in his voice that wasn't there when he was Valjean.

Can someone help me solve a little mystery never fully explained? Requires someone very clued up on the history of the London production or someone who was following the show when it first opened.

From what I understand, Sarah Brightman's last show in London was on 28th March 1987, while Michael Crawford and Steve Barton's last night was on 10th October 1987 (exactly one year after the show opened, more or less). However, this always confused me because in Marcus Tylor's book Sarah is photographed doing a curtain call with Dave Willetts and Michael Ball. I've now discovered that Sarah actually returned to the role at some point around the end of Crawford's run/beginning of Willett's run for a period of four weeks, which I never knew before. Can anyone tell me exactly (or at least roughly) when her return happened? Did she spend more time with MC on returning or more time with Willetts? And was there a specific reason for her returning like that after leaving many months beforehand?

I didn't know that either, Scorp! Hope someone can fill in on that info.

I never knew that either. Exciting.

Mandrake wrote:Is it inconceivable that Rebecca Lock would ever play Christine? I think this is something I would pay very good money indeed to see.

Ever since I saw Rebecca play Mary Poppins a few years ago, I've thought that she'd be a great Christine.

ruthy wrote:
Scott is performing both shows on Tuesday. Want. To. Go. Haha.

Did you?

I can't justify going again I don't think for quite a few months... I can't believe I ended up seeing the ALW show four times this year despite not supposedly having the time (OK, 4 times isn't that much, but generally I don't like seeing any show more than twice a year if I can help it if it's the same production, don't like the overkill).

If anyone goes, I'm very interested if Scott still does the little unique touches he put into it that I still remember from ten years ago. I loved his slow and menacing "You try my patience!" and I adored the way he giggled at the monkey playing while he was composing just before "I remember...".

EDIT: Are all of these included in the new brochure? http://bit.ly/7AZHHE I like the one of David at the organ and the one of him carrying Christine, but some of the photoshopping is very odd! Esp. the boat scene pic! I assume you still want your copy of it, operafantomet?

Scorp wrote:some of the photoshopping is very odd! Esp. the boat scene pic!

That one look so strange! I'm almost embarrassed, it's really not very good, it's so obvious it's photoshoped.

Scorp wrote:I loved his slow and menacing "You try my patience!"

A direct copy, along with many of his other acting and vocal touches, from Peter Karrie.

I love the shot of Shannon in the angel over the backdrop of the rooftop.

I also had never heard that Sarah Brightman returned to the London production. I wonder if Claire Moore was sick. With the nature of multi-month contracts and the fact Moore was Christine afterward, something must have happened to her.

The majority of them are... the one of David carrying Gina is, the boat one of course and the angel one. However there are a few of those pictures unique to the site clearly. However, the one of Emma is in the brochure but it's just her (you can't see Ellen etc in the background and it is slotted in the Angel of Music part) and you won't believe this but the boat picture looks far better on the site than in the brochure!

ETA: I've come to the conclusion the boat picture is in fact perhaps different from the brochure... in the brochure i am sure it is all David (not photoshopped onto Ramin) but photoshopped very badly beside Gina.

It makes me sad that they've taken perfectly good photos and ruined them in Photoshop...

And Scorp, I definitely want the brochure still. I'm first and foremost a collector. Of course I prefer NICE brochures... and I must admit I gave up on the generic US ones with inserts because I grew so tired of them. But the London ones are still a must.

Confirmed performing dates for Tabitha Webb (Christine alternate), according to her web site:

Jan 4, 7, 11, 14, 18, 21
Feb 2, 3, 5, 6, 8, 11, 15, 18, 22, 25
Mar 1, 4, 8, 11, 15, 18, 29
Apr 1, 3, 5, 8, 12, 22, 26, 29

( http://www.tabithawebb.com/ )

I wish when I first heard Nicola was on as Carlotta I had went. Simon's since went off while she has been on and I'd love to have seen them both on again, they were really good together when I saw them last June. Sigh, that's what I get for not going on a whim at times!

I've actually been ill myself though and they really don't need more sick people in that theatre so probably best I didn't go.

Hi everyone -- new poster, but long-time (first perf was in 91) fan....err phan, I guess! I've been reading for a long time but only just signed up today.

I thought I'd contribute what I can to the discussion -- which is to say that I saw Nicola Rutherford as Carlotta twice last season when Kate Radimlovic was on vacation. Of course, I had seen her many times in the ensemble before then. I believe that the first night that I saw her as Carlotta (in early December 2008) was one of her first performances. She was very nervous (who wouldn't be with that opening bit?), but she warmed up as the night went on. The second time I saw her a few months later, she did a great job - and nailed her entrance. She's actually been with the company on and off for quite a few years now, so she's a reliable member of the ensemble to keep the group cohesive (along with Philip and Ellen). Carlotta is a high pressure part, though, I would think -- the opening of Hannibal, all alone on stage -- having to do the run and stay on pitch with no orchestra!

That being said, I do need to add how lucky I think we are in London right now to have two such extraordinary female leads as Gina Beck and Rebecca Lock. Surely these are two of the strongest leading ladies we've seen in some time. Gina Beck has impressed me every time. Both she and Rebecca Lock bring relatively fresh interpretations to the role (it's hard to be completely original after 23 years, I guess!), and both are vocally quite strong. I believe that Gina Beck is destined for great things, which sadly means that we'll probably lose her in the fall (after having completed two years in the role).

I also saw Nicole twice with the last cast, she had clearly settled in by the time I had seen her and having also seen Melanie I think at the moment with Rebecca as principal I need never be worried which one of them is on. All are absolutely fantastic.

Rebecca and Gina really do make the show though and I completely agree with your comments on the both of them. However, I know next September I'll need a lot of tissues at cast change, very likely so many good people are going to be leaving, I can't bare the thought!

Definitely. It would appear that the sickness bug has affected the company lately, including Rebecca Lock. The upside is for her understudies, who have been able to tread the boards quite a bit. I imagine that the role of Carlotta is quite difficult for someone feeling poorly.

I'm interested in seeing who will stay on in the next cast change. I tend to think that we will be losing Gina Beck, Simon Bailey, and Emma Harris for sure. My instinct is that David Shannon will not stay on - and if he does, it will most likely not be for the entire season. Gareth Snook and Barry James could well stick around - they're great roles for experienced stage actors who are undoubtedly in the latter part of their careers. That said, if Gareth Snook were to leave, please God promote Philip Griffiths, as he's earned the part and does it quite well! Let the speculation begin...!

David is currently only contracted until May so we could well see him go before September!

True - I guess it depends on if something comes up for him in the meantime, though he did renew his JVJ contract with Les Mis after the first six months last year. Regardless, though, how cool is it that we have Scott Davies on deck as standby Phantom just in case? Davies was quite strong around 2000, and I imagine that he must be quite extraordinary now. Would love to hear a report from anyone who might happen to catch him in action. (As a sidenote, Stephen John Davis is quite accomplished himself - a cross between Nic Greenshields and JOJ, I think).

auctioneer wrote:Regardless, though, how cool is it that we have Scott Davies on deck as standby Phantom just in case? Davies was quite strong around 2000, and I imagine that he must be quite extraordinary now. Would love to hear a report from anyone who might happen to catch him in action. (As a sidenote, Stephen John Davis is quite accomplished himself - a cross between Nic Greenshields and JOJ, I think).

I've heard wonderful things about Stephen John Davis' Phantom, I would love to see him live. And Scott Davies. Why am I not a millionaire? (a question many people has asked themselves...)

auctioneer wrote:Hi everyone -- new poster, but long-time (first perf was in 91) fan....err phan, I guess! I've been reading for a long time but only just signed up today.

Yay, another Londoner! We've been fans of the show around the same amount of time as well.

That being said, I do need to add how lucky I think we are in London right now to have two such extraordinary female leads as Gina Beck and Rebecca Lock. Surely these are two of the strongest leading ladies we've seen in some time. Gina Beck has impressed me every time. Both she and Rebecca Lock bring relatively fresh interpretations to the role (it's hard to be completely original after 23 years, I guess!), and both are vocally quite strong. I believe that Gina Beck is destined for great things, which sadly means that we'll probably lose her in the fall (after having completed two years in the role).

Completely agree! Their 'Il Muto' antics are especially enjoyable to watch, lol. Gina's unofficial Facebook group says she's leaving the show this September ( )...is this definite?

Regardless, though, how cool is it that we have Scott Davies on deck as standby Phantom just in case? Davies was quite strong around 2000, and I imagine that he must be quite extraordinary now. Would love to hear a report from anyone who might happen to catch him in action. (As a sidenote, Stephen John Davis is quite accomplished himself - a cross between Nic Greenshields and JOJ, I think).

Scott Davies was never my favourite Phantom, but I immensely enjoyed his Final Lair scene back in 2000 and am delighted we've got a more operatic, classically-trained and OLDER Phantom instead of the recent trend of young rock tenors. Would love to hear what Davies is like now.

I was very impressed by SJD's Phantom (in addition to his Buquet). Interesting you find him a cross between JOJ and Greenshields...I think when I commented previously I chose to compare him to Glyn Kerslake and Earl Carpenter.

So what's more likely do we think...David to leave in May or likely to renew his contract?

Hi Scorp - Cool that we've been going to the show for about the same amount of time! I can't believe it's been almost twenty years since I first saw the show. It's also amazing how many loyal London Phantom goers there are. While there seem to be a few here online, over the years, I've gotten into chats with others who have also been going but who are, for lack of a better term, luddites!

My hunch is that David Shannon will stay for a year. Of course, I have nothing to back this up, but I would think that he would unless something else comes along. Someone told me that he doesn't stay in roles for too long (and if you look at his CV, he's done a LOT of big parts for such a short career -- and he's only 37!). Why not roll the contract over so as to finish off with the rest of the cast? Of course, this is speculation, but he did extend his JVJ role in Les Mis to leave at the 'mini' cast change with Earl Carpenter and Katie Hall. He does seem like someone who likes to move around and take on new projects, though.

I absolutely agree with your comments about Scott Davies being an older, more experienced Phantom. It seems that ALW has been wanting to hire younger, "sexier" cast members lately into principal roles (see Lee Mead et al) -- he even introduced Ramin as a "sexy Phantom" at the press launch -- and I doubt those were the lines he was thinking of in the eighties, and I doubt that it's how Ramin would want to be introduced, too! When I think of great Phantoms of the past like Karrie, Jacoby, McGillin, Willetts, Carpenter, JOJ - I think older Phantoms, and this of course changes the on-stage chemistry. That said, I do have to stick up for Ramin to a great degree, as I found his early work with the role to be quite good. I found that as time went on, he just became an 'angrier' Phantom (maybe to keep up with Simon Bailey?), and something was lost for me. He always gave a good final lair, though.

SJD was quite promising when I saw him. It was one of his first performances, and some things went wrong (the candle fired early before letting Raoul out of the lasso, the boat was wonkey, and the music cut out briefly during the title song), but he got through it like a pro and didn't miss a beat. I found that his physical moves were much like Greenshields - a Wilkinson-like slower, deliberate movement with a dominating physical presence (much like Carpenter, as you suggest - his Javert is much the same) - but his voice was less rich but clear and precise. He's had quite a few runs in the role, so I imagine that by now he's quite good. I was sorry for him that he didn't get the standby role when Nigel Richards left...but this seems to be in keeping with almost never promoting in-house and always bringing in someone from the outside. To move up in Phantom, it appears that you have to leave and come back!