The Toronto Production

Rebecca wrote:I'm not entirely certain what happened to the costumes and pieces that were shipped to Mexico. It does seem very odd to ship them there for use in promos, but not in the production. I can understand why they'd like to have their own costumes with their own look, as most countries do... though re-using the (very lovely) Canadian costumes would've saved a bundle of money.

I agree with that sentiment about adding their own look... I would think so too! But thing is that the Mexican production got new costumes made in England, identical to the London/European ones... And I find that whole "making new costumes" deal odd as long as they seemed to have had the Canadian ones at hand. It just puzzles me.

But, I should add, I've only seen evidence of the blue Wishing gown from Canada being used in Mexico (and later Spain), maybe that was all they got from Toronto? I've heard from several that they got a container or four from Toronto, but it might have been sets and not costumes (and to be honest, I can't tell the Canadian sets apart from the others).

Canadian Wishing gown in Mexican promo stunt + backdrape recycled in Spain:
https://s638.photobucket.com/albums/uu101/potocostumes/wishing/can10mexico.gif
https://s638.photobucket.com/albums/uu101/potocostumes/wishing/latin8farag.jpg

And of course there were a few items that were simply thrown out. Jeff managed to save a lot of the items, but I'm sure it wasn't everything. Although he was pretty thorough in his 'dumpster diving'. He returned every day for a week, I think, picking through things, sometimes with other phans, sometimes not... despite the pouring rain. He got really sick after that! Apparently his and the other phans antics were all caught on security camera and the cast had a good laugh at it at a get together after the closing.... That's my Jeffrey

Jeff, I'm proud of ya'!

Following up the "where the heck did the Canadian costumes and sets go?":

"La mayoría de la escenografía está fabricada en Londres, el 'set' de vestuarios viene de Canadá y se fueron integrando artículos londinenses, porque el diseño es el mismo, reproducido sobre los originales".

(Roughly translated: Most of the scenography (sets and costumes?) was made in London, one set of costumes came from Canada and were integrated into the London items, because the design is the same, reproduced from/as the original.)

http://www.swissinfo.ch/spa/portada/La_mujer_detras_de_El_Fantasma.html?siteSect=108&sid=10467951&cKey=1237569394000&ty=st

Ga! *crying* That's unbelievably sad about the decline in ticket-sales during the last years of our production! How could we? And damn! If I'd known it was that easy to get cheep or free tickets, I'd have gone twice or three times as often! Serves me right for not making more of an effort to stay informed and in the loop! And I will *never*, *never*, *never* take a sit-down production of Phantom for granted again! None of us should!

And I totally agree. Phantom has to come back, and it has to come back to the Pantages. And the Pantages has to have its name restored! Can we start a petition or something?

As for the sets and costumes, I'm sorry to hear that they weren't reused. It would have been nice to think that part of our production lived on somewhere!

The Toronto production opened 21 years ago today.

Phantom Shadowwalker wrote:As for the sets and costumes, I'm sorry to hear that they weren't reused. It would have been nice to think that part of our production lived on somewhere!

Turns out at least a couple of the costumes were re-used. Saulo Vasconcelos (Phantom in Mexico and Brazil) wore Colm Wilkinson's cloak (I think it was... him, or Peter Karrie's). The original tag was left inside the cloak. Got that tidbit of info from the horse's mouth, and for some odd reason it made me really happy.

Hooray for the Toronto production!! *insert confetti and balloons*

operafantomet wrote:

Phantom Shadowwalker wrote:As for the sets and costumes, I'm sorry to hear that they weren't reused. It would have been nice to think that part of our production lived on somewhere!

Turns out at least a couple of the costumes were re-used. Saulo Vasconcelos (Phantom in Mexico and Brazil) wore Colm Wilkinson's cloak (I think it was... him, or Peter Karrie's). The original tag was left inside the cloak. Got that tidbit of info from the horse's mouth, and for some odd reason it made me really happy.

I wonder what they've done with the sets and costumes for the UK tour all these years? In storage, do you think? I heard off the grapevine that we may be getting another UK Tour next year to celebrate the 25th anniversary...wonder whether that's true...

I want to find some of the costumes in a flea market, or a resale shop, or something in the future. I *do* live in Michigan, and a lot of people who were in the show frequented or lived in Michigan, or so I kind of discovered. Apparently my father was friends with someone who had a relative that worked in the show. Don't know as what, since this was about twenty years ago. ;D

ML6 wrote:I want to find some of the costumes in a flea market, or a resale shop, or something in the future.

I know this may be slightly off topic...but not so much. You mentioned you were looking for costumes at a flea market or resale? I know you wont find the Toronto costumes anywhere. But you should really check out the Broadway Cares flea market. They always have some amazing things. Rebecca and I went there a few years back and came home with a boatload of stuff. Also, keep you eyes peeled on ebay. Always some great finds.

For example - this one was just added by one of our fellow Phans! She did an amazing job with it!
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=270639791553#ht_1551wt_1139

~Jeff

PhantomJT wrote:

ML6 wrote:I want to find some of the costumes in a flea market, or a resale shop, or something in the future.

I know this may be slightly off topic...but not so much. You mentioned you were looking for costumes at a flea market or resale? I know you wont find the Toronto costumes anywhere. But you should really check out the Broadway Cares flea market. They always have some amazing things. Rebecca and I went there a few years back and came home with a boatload of stuff. Also, keep you eyes peeled on ebay. Always some great finds.

For example - this one was just added by one of our fellow Phans! She did an amazing job with it!
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=270639791553#ht_1551wt_1139

~Jeff

You forgot to mention that you and Rebecca own some of the Toronto costumes and sold others.

PhantomJT wrote:

I know this may be slightly off topic...but not so much. You mentioned you were looking for costumes at a flea market or resale? I know you wont find the Toronto costumes anywhere. But you should really check out the Broadway Cares flea market. They always have some amazing things. Rebecca and I went there a few years back and came home with a boatload of stuff. Also, keep you eyes peeled on ebay. Always some great finds.

For example - this one was just added by one of our fellow Phans! She did an amazing job with it!
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=270639791553#ht_1551wt_1139

~Jeff

Well, I gotta say, I've always wanted to do the flea market. Hopefully when I go back in 2012, I'll go the week of.

SenorSwanky wrote:

PhantomJT wrote:

ML6 wrote:I want to find some of the costumes in a flea market, or a resale shop, or something in the future.

I know this may be slightly off topic...but not so much. You mentioned you were looking for costumes at a flea market or resale? I know you wont find the Toronto costumes anywhere. But you should really check out the Broadway Cares flea market. They always have some amazing things. Rebecca and I went there a few years back and came home with a boatload of stuff. Also, keep you eyes peeled on ebay. Always some great finds.

For example - this one was just added by one of our fellow Phans! She did an amazing job with it!
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=270639791553#ht_1551wt_1139

~Jeff

You forgot to mention that you and Rebecca own some of the Toronto costumes and sold others.

The majority of our costumes were actually from London, but we did have a few pieces from Toronto too...

Well, I gotta say, I've always wanted to do the flea market. Hopefully when I go back in 2012, I'll go the week of.

The flea market is fantastic! They do sell some pretty amazing things! I'd really love the opportunity to go back again (as if we need more stuff in this condo....LOL!)

Oh, I thought most of your costumes came from dumpster diving outside the Pantages.

SenorSwanky wrote:Oh, I thought most of your costumes came from dumpster diving outside the Pantages.

Most of our props and some of the 'minor' costume pieces came from there, but the 'major' costume pieces are from London.

Ive spent the day googling and flikring. Maybe I should not ask because you were not allowed to take pics in the Pantages. But I am despirately looking for pics of the Toronto proscenium, can't find any anywhere. It was big, it was wide, it had more garlands than any other.

Man, this thread hasn't been posted in an over a year. Anyway, I was watching a CNN piece on KISS online, and they panned briefly over Paul Stanley's dressing room setup, and he has a picture of himself in the Final Lair. Not sure why he'd still be carrying that around when he's on tour with KISS, and it wasn't part of a collage--no other pictures around it. But evidently he still cares about the role and his time in it.

Ooooh, that's very cool! There's so few good pictures of the Canadian deformity, and also few of Paul Stanley in the role. This is an awesome combination of both.

Yeah, it's strange. I guess the Toronto production closed before the sort of prohibition on showing the deformity in public lapsed or before they got laissez faire about it. Nowadays, the London brochures almost always show each Phantom in the Final Lair, and in America, they'll often even show you how it's applied on Broadway.com and local TV news and stuff. I'm not aware of any brochure pics or videos with a clear shot of the Toronto deformity.

There is a tiny one in the 1996 Toronto brochure, showing Ciarán Sheehan sitting next to the monkey box in the Final Lair. It shows a bit of the deformity.

Ditto for one in the 1992 tour brochure, showing Jeff Hyslop facing the audience, with a kneeling Christine behind him. But again, too small and a bit wrong angle to really make out details.

wonderful shot, just how I remembered it looking the first time I saw the show, all red and shiny like a piece of raw bacon

I guess this will serve as somewhat of an introduction. I stumbled across this site online and thought I might start to try to get comfy... I wrote this for another forum but wanted to share with some phans since no one has replied to it yet. I realize it's an epicly long post but I figured someone might get a kick out of it. Hope someone here will too. Looking forward to the discussions this will hopefully start.


I just got home from my VERY FIRST Broadway show: The Phantom of the Opera. This was not, however, my first time seeing Phantom. It WAS however the first time I had seen it in nearly 12 years - when I was merely 11 years old. Needless to say it brought back a rush of memories, but better yet it means I now will have more vivid memories of the show I've loved since I was a toddler.

The production was phantastic (sorry), though I have some questions about differences in this production and the original Toronto show I saw (more on that later). Clearly the stand-out of the show was Mr. Panaro. I was never the biggest fan of Crawford, and while the previous actors I saw play the role were excellent (Ciaran Sheehan and Jeff Hyslop - of which Hyslop was my favourite) my favourite Phantom was always Colm Wilkinson. While many have criticized his performance over the years there was something about his darker rougher voice that I found was far more suited to the darker character than that of Crawford (I know that to some this will sound sacrilegious, please do not hate me).

That was, of course, until tonight. From the moment Hugh Panaro's voice echoed through the theatre I knew I was in for something special. While it's true it took a little bit to adjust to his voice (I was so used to Colm and the Canadian cast recording it was strange to hear his different choiced) by the time he got to Music of the Night I knew I had found my new favourite Phantom. As if that wasn't enough, by the time we got to the final 20 minutes of the show (in Phantom's layer) I was absolutely stunned by what I was seeing on stage. Not only did this man have an incredible voice but his performance and his acting was just unparalleled. He was that perfect blend of maniacal evil, but also had moments of pure subtlety that made the character not only more terrifying ("you try my patience... make your choice" was so subdued, the exact opposite of every other performance I had experienced, it gave me absolute chills) but also more human. While Kyle Barisich was hamming it up as Raoul here was Mr. Panaro creating a very real, very human, very monstrous character, and I truly felt his pain, his sorrow, and his passion. To be honest, in all my years of going to see musical theatre I had never had a moment like that. It was remarkable.

The rest of the cast was good, but nothing stellar. Miss Sara Jean Ford was a perfectly acceptable Christine, but I didn't find her all that remarkable - she didn't have the vocal power I would have expected (though perhaps that was a technical error - the whole show felt very quiet this evening) and truthfully I find Rebecca Caine to be my standout favourite of all the Christine's I've heard over the years. Mr. Barisich, as I had mentioned before, I found too over the top and quite honestly quite campy. While I understand to some Phantom is a bit of a campy over the top show, it is rooted in very real, very true passion, and his over the top performance really took away from that. Never once did I side with Raoul. The managers were funny, but not as funny as I've seen or heard in the past (their timing felt off in many places) and Carlotta and Piangi were also passable. Meg was alright, and Madame Giry was good but didn't have that same commanding presence that I felt others in the past had, and that the role requires. As for the rest of the ensemble they were all very good (the "director" was hilarious). Having said all this I feel that part of it could be chocked up to the audience. A monday night crowd on Halloween night is probably not the ideal audience for the performers and it was made no better by the fact that the audience was constantly coughing and there was a surprising amount of chatter throughout the theatre (does no one have any manners anymore!?). I was somewhat hoping for a fun halloween surprise but short of Hugh coming out in a spiderman mask at the end (perhaps thats what they always do I dont know) nothing unique happened. Having said all that I'm glad I saw the show when I did. Had I missed the chance to see Hugh it would have been a great loss.

As for the production itself, it seemed somewhat different than I remembered it as a child in Toronto. Granted I'm sure in the 12 years its been since I saw the show my memory has inflated the experience but I feel as though perhaps the Broadway show was MISSING some things from Toronto? I distinctly remember Raoul swan-diving into the stage in Toronto (complete with water splashes as he hit the water which really sold the effect) whereas tonights Raoul simply just jumped. I also remembered phantom dropping through a trap door at the end of masquerade but didn't remember the phantom re-appearing but after a little reading it would appear that was always the case (though perhaps the trap door bit is now gone?). I also dont remember the giant pillars of fire at the end of the graveyard scene - they were a nice surprise. They probably were in Toronto, and I just forgot but either way it was fantastic (all the Pyro tricks were). Again, memory isn't perfect. I also seem to recall the murdered Piangi reveal being much more shocking. Tonight I could barely tell what was there... it just looked like a bunch of robes draped over a shelf. That said, everything did seem much more... minimal in this production. Again I'm sure that's just because I'm now 23 and not 11 and had a FULL view of the stage rather than being on one side or the other of the stage but closer up. Does anyone know for SURE if there were specific differences between Toronto's production and the Broadway/London show? Aside from Lyrical/Musical changes (yes, I'll just say it, I absolutely DETEST the electric guitar solo during the title song which seemed to have first made an appearance in that god-awful film adaptation and has stuck around)? One small goof (i think) tonight that I enjoyed was as the ballet happened with the Phantom doing all his fun shadow play as the backdrop fell the actor playing him was still on stage and quickly hurried off to make sure no one saw him... but we did. Again, not sure if this is always the case but I feel like it probably ISNT meant to happen that way...

My seats were quite good, Row Q seat 110. My friend who joined me had MUCH better seats but due to illness had to leave at intermission. Which is a real shame since he was in something like row K so would have gotten to be right near the chandelier... which was completely obstructed by the balcony from where I was sitting. While it would have been wonderful to be closer (and had no obstructions) it was nice to have a nice full view of the entire stage. The only downside were all the coughers, chatters, and yes, even cell phone users near me. Really frustrating to say the very least. But again, not bad for my first time here on Broadway. Speaking again to the sound tonight which seemed very quiet, I found many of the scenes with multiple vocal parts (Notes, Prima Donna, etc.) was a jumbled mess - it was damn near impossible to distinctly make out any individual person or lyrics for that matter which was a shame. The whole overall sound of the show this evening just didn't have the power I had hoped for especially when compared to most of the shows I've seen lately, all of which nearly knocked me out of my seat with their power and volume (sometimes too much volume).

All in all, for a first Broadway show experience I really couldn't have asked for anything better. For those of you asking "why on earth would you go to see a show you already saw as your first broadway show" the answer simply is I was here for one day, and have been itching to see Phantom since it left Toronto in 1999. Yes, I could have seen something new (and possibly not enjoyed it) or something less popular, but the truth is the 11 year old me would never forgive me if I was here and didn't see it (and the cheap ticket deal made it somewhat of a no-brainer). But I'll be back. Trust me. I had such an amazing time that there's no way I couldn't return to see more. And truthfully I'll be back to see Phantom once again, because despite reservations that it could never live up to my expectations or memories it really did and walking out of that theatre I just knew I had to come back.

It should also be mentioned that I went a LITTLE overboard on the swag... and then they had to come out and tell us we could get autographed posters and support broadway cares so naturally I couldn't refuse. I have absolutely no idea how I'm going to get this thing back home though... I still have another 2 and a half weeks on the road. Damn.

Anywhoo thanks for reading, and I'd love to hear thoughts and such.

I'm new here so forgive me for intruding but, this is so interesting to read. I first saw the show when I was about 6 or 7 and then again in its final months when I was 11. In fact, it wasn't until last night that I saw the show for the first time again since I was 11 (I'm now 23) only this time on Broadway though believe me, I'd have much rather it of been in Toronto, where I am now living and working (if you want to read about my first broadway experience i posted about it here )

It was neat to read through this thread and see that many people were as in love with this show and production as me. While, true, most of it is a distant memory for me since I was so young they are still engraved in my mind and certain things will be there forever (such as the seats I had seeing the show for the very first time... right under the chandelier).

It's also interesting since I get the impression after reading through the thread that my suspicions from seeing the show last night are correct: the toronto production WAS slightly different from the Broadway show. If anyone could elaborate that would be amazing for me. Was it costumes? Sets? Makeup? etc.?

As for the cast, the Toronto cast recording is my go to (shame it's only a highlights...) and until last night when Hugh Panaro tied Colm for my favourite Phantom Colm was always the guy to beat (even if I never saw him live... again more detail in my other post). However Rebecca remains my favourite Christine, easily.

with the news that Les Mis is returning to Toronto it's nice to know that the classics can still have a life up here, even if most of what we see these days are tours of whats popular down south. Hopefully the Toronto theatre scene will return to what it once was, like in Phantom's hey-day. And maybe if we're really lucky Phantom can finally come back home to the Pantages (it will ALWAYS be the Pantages to me), the most spectacular theatre in downtown Toronto, and start another long-term run for us all to enjoy again.

Are you listening Mirvish!?

Also, don't know if it's taboo to discuss such matters here but if anyone is interested in watching the incredible Behind the Mask CBC Docu (NOT the BBC one but the CBC one about the Toronto production) let me know. I have a copy that I am more than willing to share.

Welcome woodsyallen (love your screenname, btw), we're glad to have you here. And congratulations on experiencing "Phantom" live after 12 years

woodsyallen wrote:Clearly the stand-out of the show was Mr. Panaro. I was never the biggest fan of Crawford, and while the previous actors I saw play the role were excellent (Ciaran Sheehan and Jeff Hyslop - of which Hyslop was my favourite) my favourite Phantom was always Colm Wilkinson. While many have criticized his performance over the years there was something about his darker rougher voice that I found was far more suited to the darker character than that of Crawford (I know that to some this will sound sacrilegious, please do not hate me).

We have phans of all different actors here (Wilkinson, Crawford, Panaro, Little, Bourg, Crivello, etc), and we all get along pretty well, so there's no need to worry. I myself am a huge phan of Crawford (the juxtaposition of an angelic voice and such a dark character is very appealing to me - I'm all about the duality), but I appreciate Wilkinson (he'll always be my favorite Valjean) and others too. Each actor brings something different to the role and more often than not there's something to enjoy there.

As for the production itself, it seemed somewhat different than I remembered it as a child in Toronto. Granted I'm sure in the 12 years its been since I saw the show my memory has inflated the experience but I feel as though perhaps the Broadway show was MISSING some things from Toronto? I distinctly remember Raoul swan-diving into the stage in Toronto (complete with water splashes as he hit the water which really sold the effect) whereas tonights Raoul simply just jumped.

Do you mean jumping in head-first? Well, knowing the way the stunt works, I'd say you're probably mistaken, but then again, I've never seen the Toronto production. We do have a few Canadian phans here that can probably answer that question, though.

I also remembered phantom dropping through a trap door at the end of masquerade but didn't remember the phantom re-appearing but after a little reading it would appear that was always the case (though perhaps the trap door bit is now gone?).

The star trap effect at the end of Masquerade hasn't been used in the Broadway production for awhile (I think they stopped using it during McGillin's run), but other productions still use it.

I also dont remember the giant pillars of fire at the end of the graveyard scene - they were a nice surprise. They probably were in Toronto, and I just forgot but either way it was fantastic (all the Pyro tricks were).

Yeah, that's always been there. Very effective in burning off your eyebrows if you're sitting in the front row

That said, everything did seem much more... minimal in this production. Again I'm sure that's just because I'm now 23 and not 11 and had a FULL view of the stage rather than being on one side or the other of the stage but closer up. Does anyone know for SURE if there were specific differences between Toronto's production and the Broadway/London show?

Aside for some lyric changes, updates to things like the title track (which all productions have updated to utilize the electric guitars), and minor costume details, I don't think there were/are any differences between the productions. Only the Hungarian and Polish productions have been distinctly different in terms of overall appearance/staging.

One small goof (i think) tonight that I enjoyed was as the ballet happened with the Phantom doing all his fun shadow play as the backdrop fell the actor playing him was still on stage and quickly hurried off to make sure no one saw him... but we did. Again, not sure if this is always the case but I feel like it probably ISNT meant to happen that way...

Not a goof. I've seen it happen several times

All in all, for a first Broadway show experience I really couldn't have asked for anything better. For those of you asking "why on earth would you go to see a show you already saw as your first broadway show" the answer simply is I was here for one day, and have been itching to see Phantom since it left Toronto in 1999. Yes, I could have seen something new (and possibly not enjoyed it) or something less popular, but the truth is the 11 year old me would never forgive me if I was here and didn't see it (and the cheap ticket deal made it somewhat of a no-brainer). But I'll be back. Trust me. I had such an amazing time that there's no way I couldn't return to see more. And truthfully I'll be back to see Phantom once again, because despite reservations that it could never live up to my expectations or memories it really did and walking out of that theatre I just knew I had to come back.

The first time I visited New York (as part of a high school class trip) I actually opted OUT of seeing Phantom - which I'd seen on tour less than a year prior) in lieu of attending "Miss Saigon." Had I gone with the rest of my classmates, I would have seen Mark Jacoby, Karen Culliver, and Hugh Panaro (then starring as Raoul). Suffice it to say that when I got back into the phandom seriously in the mid-90s, I very much regretted it (as I did when I skipped out on seeing "Phantom" on my first trip to London where I would have seen Peter Karrie in the title role. I know, I had a very bad track record early in my phan career).

Again, welcome to Deserted Phans, woodsyallen. I hope you enjoy it here!

TAFKaR

Raphael wrote:Welcome woodsyallen (love your screenname, btw), we're glad to have you here. And congratulations on experiencing "Phantom" live after 12 years

Well Thank you very much! It's great to be here!

Do you mean jumping in head-first? Well, knowing the way the stunt works, I'd say you're probably mistaken, but then again, I've never seen the Toronto production. We do have a few Canadian phans here that can probably answer that question, though.

Yes, heads first is what I remember but I could be wrong about that - maybe it's the fact that in the CBC Doc I have they mention "Diving" into the stage so my memory has changed the memory to be a head first dive. But I do remember the water splashes selling the effect - as an 11 year old even then I knew that was important.

The star trap effect at the end of Masquerade hasn't been used in the Broadway production for awhile (I think they stopped using it during McGillin's run), but other productions still use it.

So I'm NOT crazy. Good to know.

Yeah, that's always been there. Very effective in burning off your eyebrows if you're sitting in the front row

I guess what they say about memory is true

Not a goof. I've seen it happen several times

So it's happened more than once... but is it MEANT to? For me I feel like it'd be even more effective if the curtain dropped and there was no one there. But obviously things don't always go as we planned.

Again, welcome to Deserted Phans, woodsyallen. I hope you enjoy it here!

Thanks for the kind welcome, and for taking the time to read the post. I already think I'm going to like it here.

Welcome to the board. There's a Reviews section where this should've been posted, and I'm sure Anea or someone else will move it.

Interesting you saw Hugh as the subtle one and Barisich as the hammy one. I had the complete opposite impression.

This is the first review we've gotten on this board of the new managers, but I guess you aren't familiar enough with George Lee Andrews and David Cryer to compare.

Who did you see in all these supporting roles, by the way?

Ha, Hugh came out in a Spider-Man mask? Hadn't heard of that being done before.

woodsyallen wrote:I also remembered phantom dropping through a trap door at the end of masquerade but didn't remember the phantom re-appearing but after a little reading it would appear that was always the case

The re-appearance of the Red Death is a double. The Phantom himself no longer drops through a trap door on Broadway because Howard McGillin got hurt on it, apparently, not long after he returned to the show in 2005.

The pyro after Wandering Child has definitely always been there. Surprised that didn't make an impression on a young child sitting near the stage.

There are really just minor differences, mostly in costume fabrics and the Phantom's mask shape and a few set details, between productions (as well as some minor lyric differences).

The guitar solo and synth claps (which I hate too, but have become so accustomed to it now sounds weird when I listen to older recordings) actually originated in the Steve Harley/Sarah Brightman single before the show opened in '85 or early '86. But they revived it for the movie, then shortly after for London, then in Vegas, and then a few years ago for Broadway and the tour and probably everywhere now.

One small goof (i think) tonight that I enjoyed was as the ballet happened with the Phantom doing all his fun shadow play as the backdrop fell the actor playing him was still on stage and quickly hurried off to make sure no one saw him...

You sure that wasn't Christine heading to the rooftop? I swear I saw Christine back when I saw it in July.

I had the same problem with the sound system when I saw it in July compared to when I first saw it on Broadway in 2005. They "upgraded" in the interim, but to me it was a downgrade. Then again, I was much closer to the stage in 2005. The sounds was still better than when I've seen it on tour at least.

Raphael wrote:The first time I visited New York (as part of a high school class trip) I actually opted OUT of seeing Phantom - which I'd seen on tour less than a year prior) in lieu of attending "Miss Saigon." Had I gone with the rest of my classmates, I would have seen Mark Jacoby, Karen Culliver, and Hugh Panaro (then starring as Raoul). Suffice it to say that when I got back into the phandom seriously in the mid-90s, I very much regretted it (as I did when I skipped out on seeing "Phantom" on my first trip to London where I would have seen Peter Karrie in the title role. I know, I had a very bad track record early in my phan career).

Shame on you! No, Phantom is still the only show I've seen on Broadway. The two times I've been to NY since I could afford to see shows, I chose to see Phantom because, obviously, I love it so much. And when you have limited time, why risk seeing something else?

SenorSwanky wrote:Welcome to the board. There's a Reviews section where this should've been posted, and I'm sure Anea or someone else will move it.

Apologies. Again. it's because I'm new...

Interesting you saw Hugh as the subtle one and Barisich as the hammy one. I had the complete opposite impression.

To each his own I guess. I think it's just Barisich's liberal use of vibrato, something I grow tired of easily (yes I realize it's Phantom of the OPERA but it's a matter of taste).

This is the first review we've gotten on this board of the new managers, but I guess you aren't familiar enough with George Lee Andrews and David Cryer to compare.

No, I'm not really familiar with anyone beyond the commercially available cast recordings. My memories from 12 years ago are faint but I do remember thinking they were VERY funny. I just felt a lack of energy from the Managers last night. Hopefully as I become more familiar with performers I can add more insight.

Who did you see in all these supporting roles, by the way?

To be honest I'm not sure - I could type out the program if you are interested. The only replacement last night was the role of the Jeweller (which to be honest I have no idea who that is) so whoever is currently in the show is who I saw.

Not a very good answer is it. Again, this was really my re-introduction to the show after all these years so I've got a lot to learn.

Ha, Hugh came out in a Spider-Man mask? Hadn't heard of that being done before.

So it must have been a halloween thing

The re-appearance of the Red Death is a double. The Phantom himself no longer drops through a trap door on Broadway because Howard McGillin got hurt on it, apparently, not long after he returned to the show in 2005.

Yes, after some reading today I got that impression, and must have just forgot about the double at the top. I remember the trap door effect being very impressive. I guess NYC has higher safety standards. Especially now after "turn off the dark" and all it's mishaps (I remember hearing in Australia the chandelier falls at a BREAK NECK speed, and is much more terrifying for the audience, even if they know its coming).

The pyro after Wandering Child has definitely always been there. Surprised that didn't make an impression on a young child sitting near the stage.

I know right!? Although, perhaps Toronto didn't have the effect? I know I always remembered the fireballs from the staff so you'd think I'd remember those. Then again, fireballs from a staff are much more impressive/exciting than fire from the stage.

The guitar solo and synth claps (which I hate too, but have become so accustomed to it now sounds weird when I listen to older recordings) actually originated in the Steve Harley/Sarah Brightman single before the show opened in '85 or early '86. But they revived it for the movie, then shortly after for London, then in Vegas, and then a few years ago for Broadway and the tour and probably everywhere now.

yes. it's too much. I know Webber likes to think it's a rock song but it's not (Jesus Christ Superstar, now that's got some rock). There is such thing as to much of a good thing

You sure that wasn't Christine heading to the rooftop? I swear I saw Christine back when I saw it in July.

Pretty sure, yes. It looked like the Phantom's cape and pretty sure I saw the hat too. It was quick so I cannot be POSITIVE though.

I had the same problem with the sound system when I saw it in July compared to when I first saw it on Broadway in 2005. They "upgraded" in the interim, but to me it was a downgrade. Then again, I was much closer to the stage in 2005. The sounds was still better than when I've seen it on tour at least.

Again, glad it wasn't just me. It seems like EVERY other show I've seen (in Toronto at least) over the last few years has had extremely fantastic sound, the kind that you can FEEL in your chest that rattles your insides and imprints itself on your memory. Sure sometimes it's too loud (Looking at you Rock of Ages) but sometimes it's just right (Jersey Boys). I saw JCS in Stratford this year and felt it too seemed a bit reserved, especially considering the nature of the material.

But again, thanks for the warm welcome and for taking the time to indulge my questions and comments.

woodsyallen wrote:

SenorSwanky wrote:Welcome to the board. There's a Reviews section where this should've been posted, and I'm sure Anea or someone else will move it.

Apologies. Again. it's because I'm new...

Yep, no worries.

Interesting you saw Hugh as the subtle one and Barisich as the hammy one. I had the complete opposite impression.

To each his own I guess. I think it's just Barisich's liberal use of vibrato, something I grow tired of easily (yes I realize it's Phantom of the OPERA but it's a matter of taste).

Vibrato's a natural quality of the voice. He's a light baritone, I believe, so his is heavier than Hugh's. Everyone's vibrato is different.

Who did you see in all these supporting roles, by the way?

To be honest I'm not sure - I could type out the program if you are interested. The only replacement last night was the role of the Jeweller (which to be honest I have no idea who that is) so whoever is currently in the show is who I saw.

The Jeweler's in Il Muto. No, no need to type out the whole thing. I'm just always curious about casting and stuff. I've loved looking at the cast list ever since I saw my first Phantom Playbill when I was 5 or 6. I then "cast" my friends and family in my own production, even though I didn't yet know any of the show and it's music or plot or characters beyond what's in the OLC Highlights.

The pyro after Wandering Child has definitely always been there. Surprised that didn't make an impression on a young child sitting near the stage.

I know right!? Although, perhaps Toronto didn't have the effect?

No, it definitely did. All productions have it, even the tours.

I know I always remembered the fireballs from the staff so you'd think I'd remember those. Then again, fireballs from a staff are much more impressive/exciting than fire from the stage.

Speak for yourself. I've always been underwhelmed by the fireballs, but I love the fire from the stage. Then again, I'm a KISS fan.

yes. it's too much. I know Webber likes to think it's a rock song but it's not (Jesus Christ Superstar, now that's got some rock). There is such thing as to much of a good thing

Well, it is still a rock song, and it does always feel a little out of place in the show, but it doesn't need to have kitschy layers of guitars that overwhelm the singers' voices.

You sure that wasn't Christine heading to the rooftop? I swear I saw Christine back when I saw it in July.

Pretty sure, yes. It looked like the Phantom's cape and pretty sure I saw the hat too. It was quick so I cannot be POSITIVE though.

Sounds like Rafael's seen it too. I just saw a fleeting glimpse of this figure, but I thought it looked like Christine's rooftop cloak, not the Phantom's cape. No one's supposed to be there, of course. The Phantom double must just take a split second too long running off the stage. I honestly never knew it was someone directly behind the backdrop who was doing those shadows.

Again, glad it wasn't just me. It seems like EVERY other show I've seen (in Toronto at least) over the last few years has had extremely fantastic sound, the kind that you can FEEL in your chest that rattles your insides and imprints itself on your memory. Sure sometimes it's too loud (Looking at you Rock of Ages) but sometimes it's just right (Jersey Boys). I saw JCS in Stratford this year and felt it too seemed a bit reserved, especially considering the nature of the material.

Yeah, I like to really hear and feel music, especially live. I also probably have slight hearing loss from doing so and from five KISS concerts without ear plugs.

I've seen the Phantom "on stage" at the end of the shadow play stuff.

Vibrato's a natural quality of the voice. He's a light baritone, I believe, so his is heavier than Hugh's. Everyone's vibrato is different.

Very true. My personal taste is just that of a more subtle vibrato, but I understand that it's all in the voice and the individual. For me I just personally felt that he was just not what I wanted in the role. But again, chock it up to personal taste.

No, it definitely did. All productions have it, even the tours.

Then yes, it's insane I forgot. But I'm glad I did. It was a nice scare. Along with the guns firing which got me.

Speak for yourself. I've always been underwhelmed by the fireballs, but I love the fire from the stage. Then again, I'm a KISS fan.

I guess it was more the fact that a little staff was able to do that. OF COURSE a stage can shoot fire As for KISS, good choice. They sure know how to put on a show. (and I guess you would have enjoyed Paul as Phantom)

Well, it is still a rock song, and it does always feel a little out of place in the show, but it doesn't need to have kitschy layers of guitars that overwhelm the singers' voices.

An interesting point, when the first guitar wail comes in I thought that Christine had started singing a new line only until I realized it was a guitar, not a voice. And then it just got over the top...

This is the kind of discussion I love. Especially with people who can clear up all the mysteries for me.

From what I can remember (last time I saw the Toronto production was right after flying in from the Broadway one) the changes in sets are very subtle, like very very subtle.
things like the candelabras, in Toronto and canada they were very leafy (is that a word?) the loops at the top instead of your usual metal looking loops with a leaf at the end were made entirely out of curving leaves. The NYC production is very bad at seeing the phantom in the mirror or at the top of the masquerade steps if youre sitting up in the back of the theatre, the drapes always block him. In Toronto, when he appears in the mirror and at the top of the steps the drapw would rise a little to be sure everyone could see.
Their chandelier crash was also white nice, much quicker and very shaky and jerky before it hit the stage.
The most noticeable difference would be the stage shape itself. Toronto's stage opening is much wider than it is high, NYC is almost square. so in Toronto some scenes seemed much more stretched out. Also Toronto had a VERY shallow stage, so sometimes watching back things on youtube, when the large candles start to rise you wonder if there will be room for all 6.
And ofcourse the Pantages in itself was a sight to behold.