#Did I reinvent phantom of the opera

[cynautica]

sorry I’m not great at colors on procreate

had this idea woke up in the middle of the night... am I cooking

Pre expansion/ Human Al-an AU

A biologist in an age where all things biological on Earth were well documented, Robin Ayou had only one financially strapped startup to her name. When her sister Sam Ayou goes missing under the watch of the shady Alterra corporation, Robin doesn’t hesitate and opts to travel alone to a remote coastline in South America to join an already abandoned search effort. There she gets sidelined by a distress signal on her equipment.

An abandoned lab reclaimed slowly by the elements— the last place she expected to find a man trapped in stasis by his own machine. His name is Alan Meyer. The system seemed to keep his body alive. He had no idea how long he’d been trapped, and stranger yet he refused to remove his helmet. He seems to be experiencing some pretty significant amnesia— but by his recounting he was a tech prodigy in his youth. There seems to be things he’s hiding too…

In return for her assistance, Alan offers tech and augmentations that allow her to better search for her missing sister.

AU NOTES:

Robin cares a lot about her health and fitness - and enjoys triathlons.

Despite Alan’s stasis his body is in decent shape, though a bit skinny. He is rather huskily built so it’s hard to tell at a glance, and that combination creates the illusion of fitness.

Robin wears more casual/ semiformal, but frequently changes in to a wetsuit for diving.

Alan’s helmet is able to provide some visual input directly in to his brain, but even this way he is partially blind.

Alan prefers floor length dresses and robes which are pretty common in fashion at this time. It’s Robin who dresses retro.

Alan seems estranged from humanity and does not consider himself part of it. Robin thinks his time trapped in AR fried his brain.

Alan is suspiciously wealthy (for lore reasons)

jungle setting instead of ice for 1) it’s a refresh 2) it’d quickly show the similarities and differences in how both of them approach science and danger

[the-lunar-library]

Beauty and the Beast Novel Master List

I like Beauty and the Beast, I bet you do too, here's all the retellings I've read.

I'm not selecting for quality, I'm just listing them.

Art by anonymous. Beast has put on his nicest pompom shoes to win Beauty's heart.

Some of these are retellings (girl swaps places with father, is isolated with a beastly love interest of some type, leaves for some reason, returns to find the beast dying, confesses her love and saves the day), others are only inspired by BatB, but I'm including them as long as there's a clear reference. So Rose Daughter goes, but things like The Phantom of the Opera, Shrek, or Jane Eyre, despite their many overlaps, don't.

Art by Horace Elisha Scudder. Beauty has found Beast, here played by a distant cousin of the Berenstain Bears family.

Also for your consideration: What do you call your heroine when canonically she has a painfully literal name?

Hmmm...

E: explicit

NF: not fantasy or any adjacent genre

YA: young adult

BOOKS:

Beauty's names: Beauty, Lucy, Eider

A Rose for Beauty – Irene B Brand

NF. Novella length. I don't remember much about this one despite reading it just last year, but it's modern day and I think it's Christian. Featured in the Once Upon a Time collection. (No connection to the Once Upon a Time book series.)

Beauty and the Clockwork Beast – Nancy Campbell Allen (Steampunk Proper Romance)

Despite the title, I don't think this one follows the fairy tale quite faithfully enough to really be a retelling. It's more of an original steampunk gothic-mystery-romance. But the BatB inspiration is there.

The Price and Prey of Magic – Rachel Day

I wrote this one. It riffs on both the classic BatB and an alternate version called “The Green Serpent” where the beast is a snake and the Beauty character is thought to be hideous. Other fairy tales are incorporated.

Beauty's names: Belle, Violaine, Lindy

Belle – Cameron Dokey (Once Upon a Time)

YA. The Once Upon a Time series did novella retellings of the classic Disney fairy tales (as well as some outliers) in the 2000s. Some of them are fairly original, some of them play it more safe. There were multiple authors, but I always felt the Dokey entries were the strongest. Belle doesn't try to reinvent the fairy tale that much (see Spirited farther down the list), though it does make the magical rose a more central element in the story.

The Prisoner of the Castle of Enlightenment – Therese Doucet

E. Not a close retelling, but definitely inspired by BatB. Even set in 1700s France for good measure with a strong focus on the Enlightenment. Nods to the fairy tale early on, then heads off into unexpected original territory and gets magical and folkloric.

Beastly – Alex Flinn (Kendra Chronicles)

YA. Probably the best-known modern retelling. The author makes the risky choice of telling it from the beast's point of view, in this case a conceited rich prep boy, and I think a lot of the reader's enjoyment depends on how much they like being in his head. There's a companion novella from the Beauty character's perspective, but I haven't read it.

Beauty's names: Isabella, Caitrin, Beauty

Spirited – Nancy Holder (Once Upon a Time)

YA. The other Once Upon a Time retelling. This one is more original, less by-the-book, setting it in colonial America. But it makes the questionable decision to cast the beast character as an American Indian who takes a beautiful white colonist captive. I suspect this is why the series' creators revisited BatB with the Dokey version, with the hopes this one would quietly vanish.

Heart's Blood – Juliet Marillier

A historical fantasy set in medieval Ireland. This one decides to cast the beast as disabled, but if you can put that aside, he's an interesting and well-rounded character. Another book that deviates pretty substantially from the original and goes off and does its own thing. There are ghosts, not talking knickknacks. Even so, it feels like a legitimate retelling, not merely inspired by BatB.

Beauty and the Beast, The Only One Who Didn't Run Away – Wendy Mass (Twice Upon a Time)

YA. What I remember most about this one is reading it while waiting to see if I'd be impaneled for a jury. It doesn't stand out much in my memory, but as I recall it was lighthearted and aiming for humor.

Beauty's names: Beauty, Beauty, Beauty

Beauty – Robin McKinley

YA. Robin McKinley's first foray into BatB retellings. It's one of my favorite novels, period, with a thoughtful bookish Beauty (way before Disney did it) and a brooding but gracious beast. It's an intelligent slow burn with loads of introspection, but still has many sweet, warm, and funny moments.

Rose Daughter – Robin McKinley

YA. McKinley's better known BatB retelling. This one is a lot more original, expanding on the fairy tale, incorporating Beauty's siblings a lot, and overall giving you a longer, richer read. I still prefer Beauty, but this one has a lot going for it and includes an unusual twist. Also, while I won't list it as its own entry, Chalice is an original McKinley fantasy novel with a strong BatB vibe.

Beast – Donna Jo Napoli

YA. Another book from the beast's p.o.v. Also casts him as a person of color (Persian) with a white Beauty, and in this case turns him into a lion rather than a fantastical monster. Yes, him being a literal animal rather than a slightly humanoid beast does introduce some specific elements to the story. Probably part of why the cover touts it as sophisticated.

Beauty's names: Belle (Annabelle), Shelley

Belle – Sarah Price

NF. The Amish one. Modern setting. It has a YA feel (the heroine is very young), but given that it deals with marriage, and to a significantly older man, I'm not exactly sure which audience it's ultimately for. This Beauty takes a Disney-inspired approach, being bookish and spirited. But the beast is a crotchety Amish guy, so that's new.

The Gentle Prisoner – Sara Seale

NF. 1940s Cornwall. A gothic-tinged romance novel with an otherworldly, innocent, sensitive heroine, who's also very young and marries a significantly older man with a troubling scar and no end of brooding. Not exactly a retelling, but leans heavily on the fairy tale and isn't afraid to draw attention to it.

SHORT STORIES:

"The Rose and the Beast" – Francesca Lia Block

YA. Modern day. I did read this one, a hundred years ago. I don't remember much except for a general impression of the whole collection – dark, urban, sensuous. Can be found in the collection of the same name.

"The Courtship of Mr Lyon" – Angela Carter

Modern (to the 1970s, when it was published). A feminist retelling. Been forever since I read it, so I don't remember specifics, but I have a clear memory of enjoying it.

"The Tiger's Bride" – Angela Carter

As you can guess from the title, also sophisticated.

"Beast and Beauty" – Vivian Vande Velde

YA. A lighthearted, cute take on the story from the beast's perspective. VVV's writing is often very funny, and this is one of my favorites of her retellings. It can be found in Tales From the Brothers Grimm and the Sisters Weird.

That was tiring. I think I'll just lie here and stick my tongue out and die.

I would love to find more retellings, so please feel free to add to this list.

[flyfishfly]

COWES FRINGE: INTERVIEW WITH ISLE OF WIGHT BASED BROADWAY STAR EARL CARPENTER

Thursday, May 25th, 2023 3:47pm (x)

A musical theatre star based in Ryde is set to appear at the inaugural Cowes Fringe — sandwiched between performances in Shanghai and a Disney tour!

Earl Carpenter has been incredibly prolific over the past two-and-a-half decades, since breakout roles in Les Miserables and Beauty and the Beast.

He spoke to Isle of Wight Radio about his impending performance at the first ever Cowes Fringe.

Hi Earl, for people who aren't aware of your background in the arts, how would you describe your career?

I am a performer in musical theatre and have been for 30 years, I've been very lucky over those years to play some of the biggest musical theatre roles ever, including on Broadway.

I've found myself on the Island for the past 15 years, and have a production company based around musical theatre, I love it here!

What are your thoughts on the inaugural Cowes Fringe?

It's nice to see a gig like Cowes Fringe bringing something a little different to the Island.

It's reassuring that in-between all of the uncertainty there are fringe events that encompass everything to do with arts and culture.

What better place could there be for it than the Isle of Wight?

Are there any acts on the bill you're looking forward to seeing?

I really wanted to see Rob (da Bank) but unfortunately he's on right after us and I need to skedaddle to get a ferry and fly to Glasgow for a Disney arena tour!

I think what's really great to see is the variety of stuff that's on - a really good selection of things for people to go along to and support.

What are your links with Claire Sweeney?

We know of each other through the theatre and have met at some events but have never worked together.

She's a great person from the point of view of having a laugh and I think the intention for us on Sunday is to enjoy being on the Island, singing some good tunes and enjoying a giggle together.

Is theatre on the Isle of Wight in good health?

There are some great venues on the Island - Shanklin Theatre for example has got its programme really sorted.

The industry is dictated by venue more than anything.

I did look into buying Ryde Theatre with a consortium but it was in such a state of disrepair internally that we weren't able to do so — that's a terrible loss of a historical venue.

When you have something like Ryde Theatre, you'd want some way of reinventing it to be somewhere to take professional productions.

How much more challenging has it become for theatre since the pandemic shut everything down?

Our little industry has taken quite a battering through the pandemic and subsequently trying to juggle what people's priorities are with regards to the cost of theatre as well.

Earl will join the Disney 100 UK Tour straight after Cowes Fringe, before heading to Italy to join a reimagined version of The Phantom of the Opera as Monsieur Andre.

[awholelotofladybug]

Enter the Phantom: A Phantom of Paris AU Moment

After beating Hawkmoth and making a run for it, Chloe soon discovers how hideous her new deformity is as she sees disgusted faces and hears cruel comments. Desperate to get out of sight, Chloe rushes into an abandoned opera house, raiding it for any clothes, books, and other such essentials before vanishing into the catacombs, not realizing she had been followed.

Chloe:  *sobbing*

Pollen: *holding the Miraculous* My Queen? 

Chloe: *sees Pollen, then looks away*Go away, Pollen. Run away like all the others. No one should be seen with someone as ugly as I am... especially you after the way I treated you...

Pollen: No. I won't leave you, even if you did hurt me, I can't leave you like this

Chloe: *hugs Pollen* Dear Pollen, I am so sorry

Pollen: I forgive you, Chloe. No matter what you look like or what you’ve done, you are still my queen.

Chloe: *sniffle* Thank you, Pollen. *gets a grip on herself* I’m making two promises. One, I will never be the person I used to be, and two, no matter how long it takes, Hawkmoth will pay. But first, I need to reinvent my look. *looks at the opera house stuff.* Hmm...

*Chloe proceeds to dye her hair to make it blood-red, tie it into a downward bun, put on a lady’s tuxedo, a cape, a half-mask, and a crooked fedora*

Chloe: Well, if it worked for the Opera ghost, it works for me. *turns to Pollen* How do I look?

Pollen: Perfectly mysterious, my queen. 

Chloe: Good. Now Hawkmoth can sleep in fear of...*covers her face with the cape* The Phantom of Paris.

[takeabreathandsmile]

I agree that animating T.S. Eliot’s poems would be great, but Webber’s musical is primarily about the dancing, which works much better in live action.

I actually fully agree with you there, the heavy focus on dancing in the show would not work nearly as well in animation. 

I think they certainly could do a fully-animated ballet, and it would be kind of a neat artistic project - but would it have the same effect as real life choreography? Definitely not. So if we’re focusing on dancing; I agree, it absolutely has to be done using real people.

But if I’m being honest, I think there’s a fundamental flaw in attempting to make a live-action Cats movie in the first place?

Live theatre is such a different medium from film, it often requires the audience to use their imagination for the story to work (along with a few helpful lighting effects, makeup, and clever staging.) Granted, some shows - like, for example, Phantom of the Opera - translate beautifully onto the big screen. But Cats is not one of those shows. 

Cats is a musical that pretty much has to be done on a stage, and here’s why I say that:

So much of this show is pure atmosphere. Part of the reason it feels so organic is because the set acts more like a giant prop; it allows the characters to duck in-and-out from behind objects throughout the show. This brings life to the stage as the background is almost always just as lively and fun to watch as the center-stage action. 

There are no scene changes, no different sets, no time-lapsing or flashbacks.

The entire plot is focused on simply getting to know the characters themselves 

And if all of that wasn’t problematic enough –

The show requires the audience to pretend that the obviously-human actors they’re watching on stage are, in fact, cats. It’s all imagination-based, none of it is meant to be taken literally. Which is something you really cannot do with film, as the visuals are meant to be literal. Everything that’s being presented to you is implied to look exactly the way you’re seeing it, it’s job of the director to figure out how to play with that dependence on visualization and use it to tell the story. Therefore, the audience can’t just pretend the humans on screen are cats, when they’re obviously not.

In order for this story to be translated into movie format at all (without simply filming it like they did for the 1998 version, which I still love,) the people making it would pretty much have to find a new way to tell the core story. Dancing worked beautifully for a stage show, but it completely loses its poetry when translated into film. 

Which is why I personally think, rather than trying to make a carbon-copy of the stage show itself, it would have made a lot more sense to try and incorporate the songs and the plot in a new way. The same story could be told through methods other than dance, that was just the method that worked best for live theatre. In my opinion, they should have used methods that are more compatible with a cinematic film style, they had a chance to completely reinvent the musical in an entirely new light.

So in that respect, although it would mean taking the focus off of the dancing, I do think the musical could have been fully-animated. And I think doing that would have far been more creative, intriguing, and more visually-pleasing than a CGI ballet of anthropomorphic cat-people. Bar-none.

I hope this clears up my thoughts on the subject a bit better for you, Anon.Thanks, also, for your insightful input!

[stirringwinds]

This is making me think back to that Ken doll my sister and I stripped naked and ‘tattooed’ with red permanent markers. We hog-tied him with twine and hung him up next to his companion, an unfortunate Stacey who was also similarly starkers. I can’t remember what sacrilege they committed or if we were just being edgy children seized with momentary sadism. I do remember that we threw numerous pairs of Barbie shoes at them, in a good re-enactment of medieval punishment and turned it to some sort of game. 

We had a lot of Barbies and she escaped this fate, but my sister did turn one into a Lady Phantom of the Opera by using alcohol to scrub off the factory paint and reinventing her with liquid paper. 

[darcyfirth]

Johnlock fic recs (1/?)

[AU edition 1/?]

As usual the fics I rec are complete except for one in this post and I try not to spoil the plot by keeping my comments to the minimum. I love how there’re so many AUs of Johnlock and they’re all so so good and hey they’re soulmates in every universe.

🔎 All We Ought To Ask by @achray. E, 56k. Victorian AU, John is a reverend.

“It’s a quiet parish,” Stamford added, beckoning to the maid to pour more.

“Apart from that heretic Holmes, of course,” said the Archdeacon. where the good things grow - anchors.

🔎 Mise en Place by @azriona. M, 161k. How can you make falling in love in 7 days believable? This is how. I adore this series as a whole and this in particular is a must-read.

John Watson had no intentions of taking over the family business, but when he returns from Afghanistan, battered and bruised, and discovers that his sister Harry has run their restaurant into the ground, he doesn’t have much choice. There’s only one thing that can save the Empire from closing for good – the celebrity star of the BBC series Restaurant Reconstructed, Chef Sherlock Holmes.

🔎 Bel Canto by @bendingsignpost. T, 127k. Phantomlock, secret identity, the times I’ve reread this.

After years of waiting for wealthy patrons to faint, Dr John Watson discovers a far more interesting patient in the opera house basement. (AU through a Phantom of the Opera lens.)

🔎 Cooperative Principle + Magnificent by bendingsignpost. E + T, 56k + 3k. Teacher!John, honestly I just adore every work of bendingsignpost.

As the newest instructor at St. Bart’s, John has been explicitly warned to never do Sherlock Holmes any favours. Too bad the sex is so good.

🔎 Watches ‘Verse by bendingsignpost. T to E, 66k. John in multiple realities  

First, he is shot in Afghanistan. Second, he wakes to a phone call in Chelmsford, Essex. Third is pain, fourth is normalcy, fifth is agony and sixth is confusion. By the eighth, he’s lost track.

🔎 Empathy by Blind_Author. T, 36k. Psychic!John. I love John-centric or John’s POV fics and this one is an oldie but goodie.  

John is an empath. Which isn’t nearly as much fun as it sounds. Most of the time, it’s not even useful.

🔎 Faerie-Touched by Blind_Author. T, 9k. They’re still the same but magical. Cute and would make you want more sequels.

In a world of sorcerers and magic, Sherlock is a Faerie-born and John, lacking any kind of magical talent, often seems a bit out of place. But he has a gift all his own…

🔎 To the Sticking Place by @blueink3. E, 122k. Theatre AU. Both of them are cast for Hamlet and the UST is just *-*

Renowned Shakespearean actor Sherlock Holmes has finally burned all of his bridges in the theatre industry save for his constant director, Greg Lestrade. John Watson has made a name for himself in the musical theatre circuit, but age and injury are working against him. Can they reinvent themselves for an all-male Macbeth without killing one another?

🔎 Mental by Boeshane42. E, 18k.

Sherlock Holmes is a patient in a closed psychiatric ward. John Watson is his new psychiatrist.

🔎 Dehumanise Me by deuxexmycroft. E, 27k.

John is sent down for life after accidentally murdering someone, and gets snatched up to play prison wife for a strange man named Sherlock Holmes.

🔎 The Loss of Flesh and Soul by deuxexmycroft. E, 70k. Hannibal AU. WIP, probably dropped but it’s so good I couldn’t resist.

Five years after John Watson puts the murderous Sherlock Holmes behind bars, a vicious copycat killer emerges. A reluctant John is pulled out of retirement to seek the expertise of the only man who can help, a man who has developed an unsettling obsession with John himself.

🔎 Misdialed by DLanaDHZ. T, 63k. It has everything I love: time travel, communication via phones, creative plot, meet-cute (?).

John needs a new phone, one that doesn’t bend time and have an amazing man on the other end who claims to be the world’s greatest detective, except that he can’t figure out how he called Dr. Watson instead of his brother. However, with a criminal mastermind on the loose, John’s phone connection may be the only thing that can save them both.

🔎 The Bang and the Clatter by @earlgreytea68. M, 137k. Baseball AU. For someone who hates sports I sure read a lot of sports au fics.

Sherlock Holmes is a pitcher and John Watson is a catcher.

🔎 John Watson’s Twelve Days of Christmas by @earlgreytea68. M, 53k. Christmas fic. Fake dating and meet-cute

It’s the holiday season. John Watson needs money. Sherlock Holmes needs something else.

🔎 On His Majesty’s Secret Service by eyeus. E, 12k. Spy!John.

It’s a question of limits, and a fine line that John treads in the struggle to balance his duties and his burgeoning affection for his flatmate. AU where John is a retired spy recruited for one final mission.

🔎 Across the Desert, Upon the Wind by hogwartswitch. E, 33k. I love Eros and Psyche and I feel there are elements of it in this.

While out on a routine sweep in the desert, John and one of his teammates get lost in a sandstorm and end up at the foot of an enormous palace. They meet - and anger - a cursed prince who spares their life in exchange for John staying behind. But the prince has a secret and John soon discovers it, plunging himself in a quest across the desert fraught with danger.

Loosely based on the fairy tales “Beauty and the Beast” and “East of the Sun, West of the Moon”.

🔎 The Measure of a Gentleman by @ishipanarmada. E, 67k. Pride and Prejudice AU but same sex marriage is legal

It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a partner.

Less universally acknowledged is that a single man in possession of very little in the way of fortune may be in want of a partner as well, but John Watson had little time or energy to devote to his own wants or needs…

Enter one Mr Holmes…

🔎 A Further Sea by i_ship_an_armada. E, 125k. It’s them but they’re pirates.

Here be a tale of adventure for both body and soul, but beware if ye be not of stout heart, for this be piratelock, ya savvy? Luckless ship’s surgeon John Watson takes a chance, and finds himself eye to eye with The Ghost, the scourge of the seven seas and a definite thorn in the side of the blaggard, James Moriarty. But when John finds there’s more to this most cunning pirate than be meetin’ the eye, he has to choose–is it a pirate’s life for him?

🔎 Old Friends by inspiration_assaulted. T, 2k. Texting and pre-s2.

In which John and Mycroft are old friends, and Mycroft texts.

🔎 You Go To My Head series by @jbaillier​ . M, 49k.

This series is an alternate universe one, featuring the exciting medical and romantic adventures of doctors Watson (senior neuroanaesthetist) and Holmes (neurosurgeon).

🔎 He’s Not Paid Enough to Deal with This Shit by janonny. T, 10k. John works for Mycroft and Sherlock tries to lure him to 221B as usual. Fun and cute read. I wish there was more.

One of the first things John did was to write up step-by-step instructions on how to conduct a proper job interview before handing it over to Mycroft for his perusal. There were no kidnapping, deserted car parks or stolen therapy notes anywhere on that list.

(Or the one where John returned from the war and ended up working for Mycroft as his personal assistant slash doctor on retainer. Everything was fine, until he was sent to post bail for one Sherlock Holmes.)

[jojnews]

“Born in Llanelli and brought up in Burry Port, John Owen-Jones is best known for his lead roles in The Phantom of The Opera and Les Misérables. He talks here about his role as the Third Marquess of Bute in Tiger Bay The Musical.”

“What attracted you to the role of the Third Marquess of Bute in Tiger Bay The Musical at the Wales Millennium Centre?

A: I wanted to be part of the genesis of the show and I was attracted to the idea of working on something new.

And this show is completely new. Wales Millennium Centre has hosted many touring musicals and plays but producing its own theatre is a relatively new venture.

Tiger Bay the musical has an original story that isn’t based on a book or a film or any existing piece of writing. That is highly unusual in this industry and is very exciting.

In fact, I said yes without reading the script or hearing the music because I was so excited by the idea of doing something that was to be created from scratch and to get the opportunity to lend my ideas to the creation of the piece.

The quality of the cast and production team is excellent too of course because people want to work at the WMC and it’s the kind of place that can attract top class talent. I also personally really love working in this building.

Q: Having performed in some of the world’s most famous musicals how does it feel to be involved in something completely original?

A: When I appeared in The Phantom of the Opera and Les Misérables, I took over iconic roles that had already been created and whilst I was able to put my own stamp on them (although I was given the opportunity to totally reinvent them when I appeared in brand new productions of both shows) I didn’t get to set the ‘blueprint’ for the characters.

When it comes to Tiger Bay, I can literally do whatever I want with the character I’m playing. That’s liberating but also a little scary. I’m creating something without the luxury of being able to refer back to what has gone before.

I have also never worked on such a massive new production from scratch and certainly not one that has such lofty ambition.

Melly Still, the director, is great and very reactive to ideas from everyone and the rehearsal room is a fun and creative place to be. We have the ability to completely change and rewrite scenes if we want.

You can’t do that with what we call ‘locked shows.’ I love that aspect of working on something that’s new. Q: How much did you know about the Third Marquess of Bute before the show? A: I didn’t know too much about John Crichton-Stuart, the Third Marquess Tiger Bay the Musical opens this weekend of Bute, before the show. I only really knew that he owned Cardiff Castle. I’m from West Wales, rather than Cardiff, so it’s not part of my immediate heritage or history. But since doing this show I have become more interested in his story. When I first read the script and the background notes from Michael Williams, who wrote the book of the show, I found it really fascinating. I have done further research since then and his life was incredible really – he could have his very own musical telling the tale of his extraordinary life.

What happens to him in Tiger Bay the musical didn’t actually happen in his life however. The use of his character is really a theatrical device to help tell tell the story of one of the main themes of the musical – the divide between rich and poor.

Lord Bute was the richest man in the world at one point. A fact that plays in stark contrast with the poverty in which the street children and the workers of Tiger Bay lived. Q: How are rehearsals going? A: Really well. I did the show in South Africa earlier in the year so although I know the show well there have been extensive rewrites, new dialogue and new music added.

There’s a large ensemble, there are a lot of children in the show too and there are some incredible performances.

The main female lead is Vikki Bebb, (who plays Valleys girl Rowena who comes to work in a shop in Cardiff) and she is incredible. She has a number in Act Two which I always used to watch from the wings when we did the show in Cape Town – and she blew the roof off every night!

Q: As an established star of musical theatre how do you support the younger and emerging performers in Tiger Bay?

A: I lead by example, I suppose. I can’t be a diva and strop around. What kind of example would that set? I’ve also got to let people discover things for themselves. I can’t tell them how to do it. They have to work things out themselves and find out what works and what doesn’t – that way they feel ownership over it and will ultimately deliver a better performance as it’s uniquely theirs then and not a copy of someone else’s idea of what it should be. If someone wants advice, I’ll give it, but I certainly try not to interfere with other people’s work. I also try to be funny and bring a lot of humour into the rehearsal room.

People think musical theatre is easy but it’s not; it’s hard work and you need discipline. Days can be very long and tiring – people can feel under a lot of pressure in our industry as they have to perform constantly before judging eyes. So I try to bring a lot of humour in to the company to keep spirits up on long rehearsal days.

Q:What do you love about performing in musicals?

A: Telling a story through song is uniquely challenging and very difficult to get right. When one gets it right it’s the best feeling in the world. Also, in live theatre things can go wrong and that’s an added thrill to performing live.

It usually doesn’t matter though; it’s not the end of the world. I think the audience quite enjoy the fact that they were there when something happened. It makes their night out even more special.

Q: You have starred in some of the all-time great musicals – but which shows do you personally enjoy watching?

A: I’m a big fan of Stephen Sondheim in particular but I love musicals in

general because of the way music is used to tell a story. When it’s done well, musical theatre can take you on an emotional journey in a way no other artform can. If I wasn’t in it, I’d have a ticket to see Tiger Bay.

Sometimes though, I like to wash my brain clean of musical theatre [laughs] by listening to heavy metal. I took my son to see Metallica recently and I’ll be taking him to see The Darkness soon too!

I love rock and heavy metal – it is the ultimate antidote to the sometimes saccharine sentiments of certain musicals.

Q: You spend a lot of time touring. How do you cope with the demands of being away from home and family?

A: This year I have been working constantly – so I took the summer off. The first part of the year was spent performing in a show called The Wild Party which required constant rehearsal.

The day after the final performance, I flew to South Africa to work on Tiger Bay for two months and that was followed straight away by a concert tour of Wales and a new album release.

I didn’t have a day off between January and late June – including Sundays. I knew the autumn and winter would be dedicated to Tiger Bay and more concerts (I’m finishing off the year in Barcelona as it happens) so I gave myself the summer off.

We got a hot tub installed instead of having a summer holiday!

My wife is a primary school teacher and works really hard so it was good to have lots of quality family time over the summer; just being at home with my wife and teenage children was brilliant.

Q: Do you have any advice on being a parent to teenagers?

A: Everyone is different of course but I always think it’s best to talk to teenagers like adults and equals and give them the respect they deserve and need.

Of course sometimes one has to lay down ‘parental law’ but I hardly ever have to do that if I can reason and talk with my kids. My wife and I have taught our children that a family is a team and they are part of that team.

Life is better with team mates.”

[swan1974-blog]

Sam Says,Can I Tell You A Fun Fact? Swans Only Have One Partner For Their Whole Life, If Their Partners Die They Could Die From A Broken Heart. It's Like I Was Reading About Myself And Not The Species Of Bird. Swans Are Highly Intelligent And Remember Who Has Been Kind To Them, Or Not. Man, What A Compliment! Amazing Swan Facts About A Cob Make Them Distinguishable From Other Birds. A Cob Or A Male Swan Acts Responsibly For His Children And For His Partner. He Protects His Family By Making A Blow Using His Knucklebone. The Blow From His Wing Is Said To Be Strong Enough To Break A Man's Hand. Swan Says,I Wouldn't Want To Take A Punch From Him! Sam Says,That's Interesting, And I Will Want To Add Although It Is True That Swans Are Gentle And Defensive Animals By Nature, They Have Their Rare Moments Of Aggression. If Any Intruder (Such As Another Swan, Geese, Or Even A Human) Gets Too Close To Their Nesting Ground Or Young, They May Chase Them Away. They May Also Bite – Not In The Typical Sense Considering They Have No Teeth, But They Can Still Pinch The Skin Which Can Be Irritable. Can You Bite Like That, Daddy? Swan Says,Heck, Yeah! Sam Says,You Know What? I Would Love Twilight Better If Swan From Phantom Of The Paradise Was Bella's Father, You Know, Adding The Portrait Of Dorian Gray In The Vampires And Werewolves Film. What Do You Think Of That? Swan Says,I Lobe It. Sam Says,Do You Get Teased A Lot? Swan Says While Rolling His Eyes,You Sure Bet I Do. People Call Me A Blonde Austin Powers. I Think That Is Mildly Insulting. People Think I Am Stuck In The 1960'S,1970'S. That Doesn't Stop Me, Though. I Am Continuing To Incorporate Cultural Elements Of The 1960S And 1970S In 2017. I Continue The Dream, So To Speak. I Always Wear Flared Elephant Bells Bellbottoms,Waistcoats Lapels Vests,Colorful Patterned Frilly Shirts,Ascots To Look Out Of 1960'S Counterculture. I Do That Because I Like The Style Compared To The Style Today. I Was Often Accessorised With Bright, Bold Colorful Shirts And High-Heeled Boots. Some May Say I Looked A Little Feminine, But Never Mind That. The Flamboyant Look Was In,And Is Still In For Me. During The Mid-1960S Frills And Cravats Came Back In, Together With Vividly Printed Shirts. I'm Contributing To The Trend Even If I'm The Only One Still Doing It. My Patterned Waistcoats With Lapels Is A Little More Elegant And Dandy. It Also Works A Little Better When Worn On It’s Own Or With The Suit Jacket On. I Don't Think It's A Real Jacket, To Be Honest. It’s More Jacket-Like, I Guess You Could Say. One More Thing, I Promise. Finally, Lapels And Trousers Took On Exaggeratedly Wide Dimensions. I Kinda Of Like That. I Have Been Called A Hippie Nowadays, But I Have Also Been Called A Hippie Then, Too. I Don't Care About Being Called A Hippie. The 60'S Slang I Use Nowadays Are Far Out,Peace Out,Groovy,Outta Sight,Freakin' Out,Flower Child,Make Love Not War,Cop A Feel,Love Bite,Shag,Rave On, Rip-City,Peace And Love. Man, I Wish That Slang Was Used Today! How Cool Would That Be? The Woodstock Festival Was A Three-Day Concert (Which Rolled Into A Fourth Day) That Involved Lots Of Sex, Drugs, And Rock 'N Roll - Plus A Lot Of Mud. Mud Riding Would Be Fun! The Woodstock Music Festival Of 1969 Has Become An Icon Of The 1960S Hippie Counterculture. It Was In August 15-18, 1969. I Went There. I Went With Your Mother Whom Was A Flower Child Hippie Back Then. She Was So Beautiful. When I Was There, We Had So Much Fun Together. The Woodstock Was Just Absolutely Fantastic. That Was Not Even Close To All The Good Stuff You Can Imagine. Granny Takes A Trip Was A Boutique Opened In February 1966 At 488 Kings Road, Chelsea, London. The Shop, Which Was Acquired By Freddie Hornik In 1969, Remained Open Until The Mid-1970S And Has Been Called The "First Psychedelic Boutique In Groovy London Of The 1960S. You Want To Know Something Interesting About It? The Name Of The Boutique Was Giving Away Its Policy – ‘Granny’ Symbolized The Influence Of The Past, And ‘Trip’ , A Colourful World Of Bougeoing Hippie Movement And Its Drug Of Choice – Lsd. I Used To Shop There A Lot Because Lots Of Good Stuff There. You Something Else Fantastic? Granny’s Opened In February 1966 At 488 King’s Road, A Previously Unfashionable Part Of The Road Also Revered To As The World’s End, In London. That's Awesome, Right? They Used To Cut Up Colorful Blouses And Floral Dresses And Turn Them Into Colorful Patterned Shirts Or Tops For Men. I Guess You Can Say That Created The Feminine Look For Me. What Was Great About Granny’s Was That There Were No Boundaries. Anything Went And They Kept On Changing. The Effect Of Granny’s Clothes Was Foppish, Flamboyant And Decadent – A 1960’S Reinvention On Fin-De Siecle Dandyism. They Were Absolutely One Of A Kind. It Was A True Mish-Mash Of Influences - My Garments Had To Be Either Colorful Or Unusual Or Both. What Do You Think? Sam Says,Your Garments Are Colorful And Anything But Boring. Your Sixties Grooviness Is Just Awesome. You're A Blast From The Past. Your Personality Is 1960S Swinging London, With Your Advocacy For Free Love, Your Use Of Obscure Impressions And Your Colorful Clothing Style. You Are So Unique. Swan Says,Why, Thank You. I Am Embodying The Swinging London Mod Culture And Hippie Culture Of The 1960S,1970'S. I Hope You Like It. Sam Says,I Wouldn't Change A Thing About It. Swan Says,I Appreciate That About You. I Always Wear Elephant Bells, Popular In The Mid-To-Late 1967-1970S, Were Similar To Loon Pants Which Was A Variant On Bell-Bottomed Trousers, With An Increased Flare. They Are Great. Elephant Bells Had A Marked Flare Below The Knee, Often Covering My Shoes. Shoes? I Have Shoes! Oh No, Where Are They? Anyway, The Preferred Shoes Were Platform Shoes With Soles At Least 2 Inches (5.1 Cm) Thick And Heels 4 To 5 Inches (10 To 13 Cm) To Keep The Pants' Hems Off The Ground. That Way I Never Dragged My Pants On The Ground. They Were So Popular That They Became A Symbol Of The Outlandish And Colorful Style Of The Decade. Awesome, Right? Sam Says,Yeah, And Is The Shop You Shopped At Then Closed? Hey Where Do You Shop Now. I'm Curious To Know. Swan Jokes,You Know Where I Shop At Now? Forever 21. No Wonder I Always Look Young Despite Being Old, Obviously. Sam Laughed And Says,You Have Quite A Sense Of Humor. Swan Says,I Know Right? Sam Says,Where Do You Like To Shop At For Real? Swan Says,I'm Glad You Asked. I Like Hot Topic The Store Because Of All The Costumes And Accessories. They Fit My Tastes. It's So Gothic And Dark, And Others Don't Seem To Appreciate My Style, Honestly. I Have Been Called A Emo,Goth,Scene Because It's So Dark. You Know What? I Miss The Hippie 60'S. When It Was Cool To Wear The Clothes I Just Can't Stand Not Wearing I Love Them So Much. Sam Says,You Know What? Uncle Paul Was Very Popular In The 1970'S, Which I Know You Already Know. But Did You Also Know, Although Predominantly Known For His Music, Paul Williams Has Also Appeared In Films And Many Television Guest Spots, Such As The Faustian Record Producer Swan In Brian Depalma's Film Phantom Of The Paradise (1974)—A Rock And Roll Adaptation Of The Phantom Of The Opera, Faust And The Picture Of Dorian Gray, For Which Williams Also Wrote The Songs Also You Cowrote The Script With Brian Depalma. And He Was As Virgil, The Genius Orangutan In Battle For The Planet Of The Apes (1973). On February 9, 1973, Williams Made A Joke Appearance On The Tonight Show Starring Johnny Carson In Which He Sang A Song In Full Make-Up As Virgil. He Also Played Migelito Loveless, Jr. In The Wild Wild West Revisited (1979), A Reunion Movie Featuring The Original Cast Of Wild Wild West Television Series, And Played Himself, Singing A Song To Felix Unger's Daughter Edna, In The Odd Couple Television Series In 1974. After Appearing On The Muppet Show In 1976, Williams Worked Closely With Jim Henson's Henson Productions On The Muppet Movie, Most Specifically On The Soundtrack, And Even Had A Cameo In The Movie As The Piano Player In The Nightclub (Who Had A Sign On The Piano Saying "Don't Shoot Piano Player") Where Kermit The Frog Meets Fozzie Bear. He Was Also The Lyricist For Emmet Otter's Jug-Band Christmas. Williams Was Hired By Tv Producers Paul Junger Witt And Tony Thomas To Write Title Tracks For Two Of Their Abc Comedies, It Takes Two (1982–1983), On Which He Also Co-Sang With Crystal Gayle, And Condo (1983), In Which Williams' Theme Was Sung By Drake Frye. Williams Has Appeared In Many Minor Roles. He Provided The Voice Of The Penguin In Batman: The Animated Series. He Appeared On An Episode Of Walker, Texas Ranger As A Radio Dj Covering A Modern-Day Bonnie And Clyde. He Appeared In 2009 In An Episode Of Nickelodeon's Children's Show Yo Gabba Gabba! Entitled "Weather", Where He Performed "Rainbow Connection". He Has Also Appeared On Cartoon Network's Dexter's Laboratory Where He Played Professor Williams In An Episode Entitled "Just An Old Fashioned Lab Song". He Made Numerous Television Appearances In The 1970S And 1980S, Including On Hawaii Five-O, Match Game '79, Hollywood Squares, The Love Boat, Fantasy Island,The Hardy Boys, The Fall Guy, And The Gong Show. In October 1980, Williams Was Host Of The Mickey Mouse Club 25Th Anniversary Special On Nbc-Tv. He Stated That He And You Both Tried Out For The Show In Early 1955 And Were Both Turned Down. He Was A Frequent Guest And Performer On The Tonight Show Starring Johnny Carson. He Also Appears As The Man Making The Phone Call At The Beginning Of The Music Video For Hank Williams Jr.'S Song "All My Rowdy Friends Are Coming Over Tonight". And So, So Much More! He Was Very Well Known By Everyone, Including You, Of Course. Everyone Knew Him. Were You Jealous Of Him Getting More Fame Than You Back Then. He Stole Your Spotlight, Huh? Swan Says,Well, Yeah, In A Way He Did. Sometimes The Icarly Fans Say That Paul Williams Created The Show, But I Did. Sam Says,I See How That Would Be Bothersome. Swan Says,Yep. Sam Says,You Have A Creative, Colorful Imagination Like He Does. Swan Says,I Know, I Know. Speaking Of Colorful,And I'm Getting Off Topic Now, Cyclia Was Created By The Muppets Creator Jim Henson And Willy. Willy Wonka, You Know? The Club Was Very Small. Suddenly, It Got A Whole Lot Bigger. It Felt Trippy,Not Knowing If They Were Just Seeing Things. Sam Says,Was It Just Their Imagination? Swan Says,Nope.

[demitgibbs]

Q&A: ‘The Phantom of the Opera’ Returns to Fort Lauderdale

Cameron Mackintosh’s spectacular new production of Andrew Lloyd Webber’s The Phantom of the Opera is ready for its triumphant return to Fort Lauderdale engagement at The Broward Center for the Performing Arts.  With newly reinvented staging and stunning scenic design, this new version of Phantom is performed by a cast and orchestra of 52, making this one of the largest productions on tour in North America.

Andrew Lloyd Webber said, “Having received great critical acclaim in the U.K. and North America, I am really pleased that Laurence Connor’s new production of Phantom will continue to tour the U.S. playing in tandem with the Broadway production which just celebrated 30 years at the Majestic Theatre.”

Cameron Mackintosh said, “With Phantom still the reigning champion as the longest-running production on Broadway after 30 phenomenal years, with no end in sight, I’m delighted that this spectacular new production of Phantomhas been as well-received in the U.S. as the brilliant original and has already been seen by over 3.7 million people across North America since it opened in November 2013. With an exciting new design and staging, retaining Maria Björnson’s amazing costumes, the new PHANTOM is thrilling audiences and critics alike all over again. With the production continuing to be such a success, we are delighted to welcome our exciting new stars to keep the music of the night soaring for many years to come.”

Cameron Mackintosh’s spectacular new production of Andrew Lloyd Webber’s The Phantom of the Opera is presented by Cameron Mackintosh, The Really Useful Group, and NETworks Presentations. Directed by Laurence Connor, with choreography by Scott Ambler, set design by Paul Brown, Tony Award®-winning original costume design by Maria Björnson, lighting design by Tony Award®-winner Paule Constable, sound design by Mick Potter, and musical supervision by John Rigby.  The production is overseen by Matthew Bourne and Cameron Mackintosh. The Phantom Of The Opera: music by Andrew Lloyd Webber; lyrics by Charles Hart (with additional lyrics by Richard Stilgoe); book by Richard Stilgoe and Andrew Lloyd Webber; orchestrations by David Cullen and Andrew Lloyd Webber.

Based on the classic novel Le Fantôme de L’Opéra by Gaston Leroux, The Phantom of the Opera tells the story of a masked figure who lurks beneath the catacombs of the Paris Opera House, exercising a reign of terror over all who inhabit it.  He falls madly in love with an innocent young soprano, Christine, and devotes himself to creating a new star by nurturing her extraordinary talents and by employing all of the devious methods at his command.

It was a pleasure to sit down with Eva Tavares who plays the lead role of Christine Daaé for this exclusive Hotspots interview:

Were you always a performer even as a child?

I started dancing when I was about 2 ½ and moved into singing when I was in High school. But yes, I was always on stage in some way. 

What was your first professional gig?

When I was in university, my friend from high school and I got back tracks from Jazz standards and were hired to sing as a Farmers Market. We got paid a little, but the tips were amazing. 

Was Opera always part of your repertoire or when did that happen?

My grandmother was a professional opera singer, and always tried to convince me to sing opera, but I resisted. However, when I was 15 I started at the Vancouver Opera Children’s Chorus, and there is where I, fell in love with it. 

When did you know performing would be your career?

I think I always wanted it to be. However, halfway through university it hit me that performing was going to be my life. 

Other than Christine, what has been your favorite role, and why?

Maria in West Side Story. She is such an amazing woman and she goes through a tremendous journey in that show. That show forces the cast to become really close really quickly. It creates a family dynamic and creates very important messages for the audience. 

What is your fantasy role?

I would love to do Clara in Light in the Poazza, as she is a complex character and her story is so unusual. 

What should the Florida audiences expect from this production of Phantom of the Opera?

This production is an amped up version of everything you know and love of Phantom. We have so many extras: more fire, different sets, and special effects. However, the things you know and love about Phantom are still there. Even my straight brother who generally dislikes shows, liked this show!

For more information on Eva, check out her out on Instagram.com/eva.l.tavares

Tickets for The Phantom of the Opera will be available at the Broward Center AutoNation Box Office, 201 SW Fifth Avenue, Fort Lauderdale, FL, 33312, browardcenter.org or call 954.462.0222. Ticket prices start at $40.25.

For more information on the production and a video sneak peek, please visit: ThePhantomOfTheOpera.com/ustour/.

from Hotspots! Magazine https://hotspotsmagazine.com/2018/10/04/qa-the-phantom-of-the-opera-returns-to-fort-lauderdale/ from Hot Spots Magazine https://hotspotsmagazine.tumblr.com/post/178728907295

[hotspotsmagazine]

Q&A: ‘The Phantom of the Opera’ Returns to Fort Lauderdale

Cameron Mackintosh’s spectacular new production of Andrew Lloyd Webber’s The Phantom of the Opera is ready for its triumphant return to Fort Lauderdale engagement at The Broward Center for the Performing Arts.  With newly reinvented staging and stunning scenic design, this new version of Phantom is performed by a cast and orchestra of 52, making this one of the largest productions on tour in North America.

Andrew Lloyd Webber said, “Having received great critical acclaim in the U.K. and North America, I am really pleased that Laurence Connor’s new production of Phantom will continue to tour the U.S. playing in tandem with the Broadway production which just celebrated 30 years at the Majestic Theatre.”

Cameron Mackintosh said, “With Phantom still the reigning champion as the longest-running production on Broadway after 30 phenomenal years, with no end in sight, I’m delighted that this spectacular new production of Phantom has been as well-received in the U.S. as the brilliant original and has already been seen by over 3.7 million people across North America since it opened in November 2013. With an exciting new design and staging, retaining Maria Björnson’s amazing costumes, the new PHANTOM is thrilling audiences and critics alike all over again. With the production continuing to be such a success, we are delighted to welcome our exciting new stars to keep the music of the night soaring for many years to come.”

Cameron Mackintosh’s spectacular new production of Andrew Lloyd Webber’s The Phantom of the Opera is presented by Cameron Mackintosh, The Really Useful Group, and NETworks Presentations. Directed by Laurence Connor, with choreography by Scott Ambler, set design by Paul Brown, Tony Award®-winning original costume design by Maria Björnson, lighting design by Tony Award®-winner Paule Constable, sound design by Mick Potter, and musical supervision by John Rigby.  The production is overseen by Matthew Bourne and Cameron Mackintosh. The Phantom Of The Opera: music by Andrew Lloyd Webber; lyrics by Charles Hart (with additional lyrics by Richard Stilgoe); book by Richard Stilgoe and Andrew Lloyd Webber; orchestrations by David Cullen and Andrew Lloyd Webber.

Based on the classic novel Le Fantôme de L’Opéra by Gaston Leroux, The Phantom of the Opera tells the story of a masked figure who lurks beneath the catacombs of the Paris Opera House, exercising a reign of terror over all who inhabit it.  He falls madly in love with an innocent young soprano, Christine, and devotes himself to creating a new star by nurturing her extraordinary talents and by employing all of the devious methods at his command.

It was a pleasure to sit down with Eva Tavares who plays the lead role of Christine Daaé for this exclusive Hotspots interview:

Were you always a performer even as a child? 

I started dancing when I was about 2 ½ and moved into singing when I was in High school. But yes, I was always on stage in some way. 

What was your first professional gig? 

When I was in university, my friend from high school and I got back tracks from Jazz standards and were hired to sing as a Farmers Market. We got paid a little, but the tips were amazing. 

Was Opera always part of your repertoire or when did that happen? 

My grandmother was a professional opera singer, and always tried to convince me to sing opera, but I resisted. However, when I was 15 I started at the Vancouver Opera Children’s Chorus, and there is where I, fell in love with it. 

When did you know performing would be your career? 

I think I always wanted it to be. However, halfway through university it hit me that performing was going to be my life. 

Other than Christine, what has been your favorite role, and why? 

Maria in West Side Story. She is such an amazing woman and she goes through a tremendous journey in that show. That show forces the cast to become really close really quickly. It creates a family dynamic and creates very important messages for the audience. 

What is your fantasy role? 

I would love to do Clara in Light in the Poazza, as she is a complex character and her story is so unusual. 

What should the Florida audiences expect from this production of Phantom of the Opera? 

This production is an amped up version of everything you know and love of Phantom. We have so many extras: more fire, different sets, and special effects. However, the things you know and love about Phantom are still there. Even my straight brother who generally dislikes shows, liked this show!

For more information on Eva, check out her out on Instagram.com/eva.l.tavares

Tickets for The Phantom of the Opera will be available at the Broward Center AutoNation Box Office, 201 SW Fifth Avenue, Fort Lauderdale, FL, 33312, browardcenter.org or call 954.462.0222. Ticket prices start at $40.25.

For more information on the production and a video sneak peek, please visit: ThePhantomOfTheOpera.com/ustour/.

from Hotspots! Magazine https://hotspotsmagazine.com/2018/10/04/qa-the-phantom-of-the-opera-returns-to-fort-lauderdale/

[hottytoddynews]

Sixteen years ago, Sir Andrew Lloyd Webber and Charles Hart’s “The Phantom of the Opera” became the longest-running show in Broadway history, surpassing the 7,485 performances of Webber’s “now and forever” “Cats.” On January 26, POTO continues its reign into a fourth decade, seemingly “now and forever.”

POTO, produced by Cameron Mackintosh (“Mary Poppins,” “Les Miserables,” “Miss Saigon,” “Cats”) and Webber’s Really Useful Company, is not only one of the most successful Broadway road shows ever—it’s also one of the largest. This new production, co-produced with NETworks Presentations and as dazzling and dramatic as the original, launched in November 2013. It returns to Memphis’ majestic and historic Orpheum Theatre November 29 through December 10.

The musical first took Memphis by storm in November 1997, with thousands of theatergoers from throughout the region making it a sold-out smash. It returned to the Orpheum by popular demand in 2001and 2014.

The Tony Award-winning Best Musical has additional lyrics by Richard Stilgoe, who co-wrote the book with Webber based on Gaston Leroux’s “Le Fantôme de L’Opéra.” The classic story tells of a masked madman, terribly disfigured from a fire at the Paris Opera, who lurks beneath the catacombs of the building (which actually exist, along with, as depicted in the show, an underground lake) and inflicts terror on all. He falls madly in love with soprano Christine and devotes himself to creating a new star, employing all manner of the devious methods at his command. That includes murder and, when he doesn’t get his way, crashing a massive chandelier onto audiences.

It’s estimated this reimagining of the romantic thriller has been seen by over 2.5 million people across the country. The new product features reinvented staging by director Laurence Connor (Broadway’s “School of Rock” and “Miss Saigon” revival) and scenic design by Paul Brown.

The tour, with choreography by Scott Ambler and lighting by Tony Award winner Paule Constable, has a cast of 30, an eight-member corps de ballet, and a 14-piece orchestra under musical supervisor John Rigby, making it one of the largest productions on the road.

Tenor Derrick Davis stars as the infamous masked Phantom. He appeared on Broadway and on tour as Mufasa in “The Lion King” and regionally as Curtis Taylor Jr. in “Dreamgirls.” His CD, “Life Music,” is available on Amazon. For a preview of his stunning voice, check out: Derrick Davis sings “The Music of the Night” from “The Phantom of the Opera.”

Canada’s Eva Tavares, portraying Christine Daaé, the ingénue at the center of POTO’s love triangle, is a triple-treat talent: singer, actress and choreographer. In March, she was featured in the Toronto world premiere of “Sousatzka,” a musical by three-time Tony Award nominee Craig Lucas (especially known for The Light in the Piazza) and the composing team of Tony Award winner Richard Maltby, Jr. (lyrics) and Academy Award winner David Shire, based on the 1962 novel, “Madame Sousatzka.”

In the role of the debonair, love-smitten Vicomte de Chagny Raoul is Texan Jordan Craig, who received training and has performed many roles with the Houston Grand Opera.

In January, POTO will surpass 12,500 performances before an estimated 18 million at Broadways’ Majestic Theatre, where it opened in 1988 with a then-record advance of $18 million. Four years earlier, it premiered on London’s West End, where it’s still thriving.

A world-wide theatrical blockbuster, it’s estimated that 140 million people in 35 countries (15 languages) have surrendered to what many feel is Webber’s best score. The two-disk original cast album spent five years on trade charts, and a single-disc highlights recording spent over six years on Billboard’s Pop Album chart.

Back in 1984, as the show was premiering on London’s West End, advance sales and preview audience reaction suggested an unstoppable hit. Webber, on the other hand, was far from certain, even after blockbuster hits “Jesus Christ Superstar,” “Cats” and “Evita.”

“I wish I could say I had the best time of my life during those heady days,” he states. “‘Phantom’ is the only show I’ve done that was entirely unchanged during previews. Our brilliant director, Hal Prince, was so certain we’d be a hit that he suggested we take a holiday and return for the opening.”

“At openings,” he continues, “even when you feel you have the public with you, you’re at your most vulnerable. I couldn’t bear to sit through the show.”

Cameron Mackintosh, a co-producer with Webber’s Really Useful Company, found him and got him back for the curtain call. Amid the thunderous applause, Webber yearned to have loved ones around him.

But then-wife, Sarah Brightman, playing Christine, was onstage basking in audience adulation with her Phantom, Michael Crawford. “While all were celebrating,” Webber says, “I felt alone and frightened.”

It didn’t help when the first review, by the London Sunday Times critic, came out and simply read “Masked balls.” States Webber, with the memory still vividly ablaze, “Those were the only words. Most composers, let alone producers, would be suicidal to receive a notice such as that. Amazingly, it didn’t faze [co-producer] Cameron [Mackintosh] one bit.”

Ever the optimist, Mackintosh telephoned “while having a jolly good breakfast” and, in a fortuitous prediction, told Webber, “Nothing any reviewer writes can alter the fact that Phantom has chimed with audiences.”

Webber, was used to critical snipes. He points out POTO’s reviews “were wildly polarized between those who really did or really wouldn’t surrender to the music of the night.” What was most upsetting was ruinous gossip that Brightman, an alumna of the West End “Cats” production, who’d been onstage since her teens, got the role because she was his wife.

“The fine line between success and failure is perilously small,” says Webber. “I’m struck 30 years hence with the phenomenon ‘Phantom’ has become. Much credit goes to the [Tony Award-winning] late Maria Björnson for her opulent design and costumes. And would another choreographer have understood the period as well as former prima ballerina Dame Gillian Lynne (“Cats”)? Many said the chandelier moment could never work. It turns out to be the most theatrical moment I ever conceived—a moment that can only be achieved in live theater.”

Harold Prince, the legendary, multi Tony Award-winning director of the West End and Broadway productions, says he was instantly hooked on the idea that Leroux’s classic was musical material. “To my surprise, Andrew’s initial idea for the score was to use famous classical works and write only incidental music. Much to my delight, he later decided on an entirely original score – one of his greatest.”

“However,” Prince adds, “the superlative score wasn’t Andrew’s only contribution to ‘Phantom’s’ success. It was his instinct to take the story one step further and make the emotional center of the show a love triangle. That struck a chord with audiences. It’s the crucial difference between our musical, the novel and other versions of the story.”

The Phantom of the Opera has won more than 70 theater awards, including seven 1988 Tony Awards and three London Olivier Awards. Since 2010, it’s become one of the most accessible musicals of all time, with hundreds of high school and university productions licensed through R&H [Rodgers & Hammerstein] Theatricals.

Tickets for the Memphis engagement of POTO are available at the Orpheum box office or by calling (901) 525-3000, http://ift.tt/1llMdLQ, and via Ticketmaster, where service fees will apply.

Trivia: As anyone who’s toured the Paris Opera has seen, there’s a private box reserved only for the Phantom at every performance – just as he demands in the musical. Interested in how Memphis’ Orpheum first got “The Phantom of the Opera” and other big musicals, such as “Les Miserables” and “Miss Saigon”? Check out their video: http://ift.tt/2zOPh6g.

Ellis Nassour is an Ole Miss alum and noted arts journalist and author who recently donated an ever-growing exhibition of performing arts history to the University of Mississippi. He is the author of the best-selling Patsy Cline biography, Honky Tonk Angel, as well as the hit musical revue, Always, Patsy Cline.

Production photos by Matthew Murphy and Alastair Muir.

The post As “Phantom of the Opera” Comes to Memphis, Andrew Lloyd Webber Recalls Its Premiere appeared first on HottyToddy.com.