#Lillian Maandag

[marleneoftheopera]

From the cover run in Vienna!

Robert Meyer (Phantom), Lillian Maandag (Christine), Lilly Rottensteiner (Carlotta), Eva Maria Bender (Giry), Timo Verse (Andre), Julia Hubner (Meg).

[pdouwes]

Rebecca Reprise, Annemieke van Dam and Lillian Maandag | REBECCA Saturday, March 11, 2023 (Raimund Theater, Vienna)

[andrewlloydwebber]

PHANTOM VIENNA REVIVAL CAST ANNOUNCED

Christine Daaé: Lisanne Clémence Veeneman (u/s Lillian Maandag, Leonie Kappmeyer) Phantom: Anton Zetterholm (u/s Roy Goldman, Greg Castiglioni, Robert Meyer) Raoul: Roy Goldman (u/s Jev Davis, Niels Bouwmeester) Carlotta: Milica Jovanović (u/s Amal El-Shrafi) André: Rob Pelzer (u/s Florian Fetterle, Timo Verse) Firmin: Thomas Sigwald (u/s Dean Welterlen, Dejan Brkic) Madame Giry: Patricia Nessy (u/s Eva Maria Bender, Birgit Arquin) Meg: Laura May Croucher (u/s Julia Hübner) Piangi: Greg Castiglioni (u/s Florian Fetterle, Robert Meyer, Marco Trespioli)

The rest of the ensemble here

[ilovetheater-nl]

Sopranen-zussen 'Lunedì' brengen 2e single uit!

Sopranen-zussen ‘Lunedì’ brengen 2e single uit!

Na het succes van hun eerste single Dreaming Of The Days, die in september gelanceerd werd nadat de zussen in de eerste lockdown besloten om samen muziek uit te brengen, komt nu hun tweede single uit. ‘Nella Fantasia’ is een lied op het bekende muzikale thema uit de film ‘The Mission’ uit 1986. Voor de zussen Annemarijn, Willemijn en Lillian Maandag gaat Nella Fantasia over een droomwereld:“Een…

[glassprism]

Actors you wish would play the Phantom, Christine, or Raoul but haven't yet or never will?

I think most of my “actors I want to be in the show” come from Love Never Dies or Les Miserables. I’m not the most creative person.

For Phantoms, some guys I’d love to hear in the role would include Michael Ball or Michael Xavier (he’s played Raoul and then did the Phantom for Prince of Broadway and was heavily rumored to be the next Broadway Phantom for a bit). It might be nice if Gardar Thor Cortes finally got to play the original Phantom (he was so close until the Paris production shut down). And in a post yesterday, I mentioned Mark Seibert being a possible Phantom for a possible Vienna revival, and I’m like, weirdly interested in that. (Will he be as vanilla a Phantom as he was a Tod? A mystery for the ages...)

For Christines, Judy Kuhn is one of those actresses who seemed perfect for the role but never did it, and it’s probably too late for her to do so. Audra McDonald is another one. I heard that Pia Douwes might have been considered for Christine but never did and probably never will at this point, but it sure would have been interesting. And I’ve been rather fascinated by Benedicte Adrian’s voice since hearing her in Which Witch, and I can’t help but wonder what she’d have been like in Phantom. (Take a listen here.) And I remember way back in the day when A Gentleman’s Guide to Love and Murder was super-popular, I was interested in Lisa O’Hare playing Christine because I really liked her comments on giving Sibella, who can be easily played as superficial and vapid, complexity and character, and thought it’d be interesting for her to apply that to Christine (who can also be easily dismissed as naive and passive). But I’m pretty sure her voice is too low for the part.

As for actresses who actually have a chance... I mentioned Lillian Maandag and Milica Jovanovic in a post, but any LND Christine, like Erin Mcintyre (originally Erin Hasan) or Lucy van Gasse; I’d really love to see Rachel Anne Moore do Christine, though I think she’s stuck as Carlotta (but if Meghan Picerno can do it, so can she!). Denee Benton. Zoe Doano or Amara Okereke because they were such sweet Cosettes. Jung Sun Ah because I just really liked her Glinda.

For Raouls... I really want to see Julian Looman from the Vienna concert of Love Never Dies take on Raoul. He was such a sweet Raoul, and that’s difficult to do in LND given the material.

[operafantomet]

andrewlloydwebber replied to your post:

                   Do you think anyone from the Oberhausen, Hamburg,...                

  Would not be surprised to see Annemarijn or her sister Lillian (or both) in a Dutch production. I feel like Stage Entertainment would most definitely offer principal to Celinde though.    

Agreed. The lead in an eventual Dutch revival totally screams Celinde Schoenmaker. But with one of the Maandag sisters or Michelle van de Ven as alternate, possibly?

(can be a brand new face for all I know. But they’re likely candidates. IF a Dutch revival happens soon, that is)

[surinam-unity]

‘Scholen maandag gewoon open’

De schooldeuren zullen op maandag normaal open zijn tot 13.00u. Dat laat minister van Onderwijs, Wetenschap en Cultuur, Lillian Ferrier, in een door haar ministerie uitgegeven bekendmaking weten, meldt het NII. from DWTonline.com https://ift.tt/2Hs3k3g

[tillyspringael-blog]

Mozart! De musical

Nog tot zondag 7 januari 2018 kan je in de Stadsschouwburg van Antwerpen terecht voor de nieuwste Music Hall productie, m.n. Mozart! – De Musical. Deze musical vertelt het levensverhaal van de wereldbekende Oostenrijkse componist Wolfgang Amadeus Mozart, die vaak wordt omschreven als een rock star avant la lettre. Hij leefde intens, kort, was eigenzinnig, anti-establishment en genoot volop van de geneugten des levens.

De productie wordt gebracht door een live orkest met Christoph Bönecker als musical director en dirigent. Ruben Van Keer speelt de rol van Mozart. Hij studeerde Muziektheater aan het Fontys conservatorium in Tilburg. Daar speelde hij onder andere Hamlet in Hamlet, Lysander in Een Midzomernachtsdroom en Alan Strang in Equus. Hij deed professionele theaterervaring op als Robespierre in Marie Antoinette, Bernstein en Fecter in Dogfight en Arthur in Arthur en de strijd om Camelot. In 2016 studeerde hij af aan de Musical Theatre opleiding aan de Royal Academy of Music in London. Tijdens zijn opleiding speelde hij onder andere Robert in Company en Anthony in Sweeney Todd.

Wij bezochten de premièrevoorstelling op 10 december 2017. 

Toen we vooraf de titel van deze productie lazen, weerklonken in ons hoofd meteen de vele prachtige melodieën die ooit door het genoemde genie gecomponeerd waren. Mozart was – hoewel fysiek niet aantrekkelijk – een opmerkelijke persoonlijkheid: enerzijds begiftigd met een geniaal brein, anderzijds continu worstelend met de alledaagse uitdagingen van het leven en met de vele mensen die hem zijn leven lang manipuleerden, te beginnen met zijn vader Leopold. Zoals ook Mozarts leven hoogtes en laagtes heeft gekend, kan van deze productie hetzelfde gezegd worden. 

De musical wil een moderne voorstelling brengen van Mozarts leven en dit komt goed tot uiting door de rock-achtige voorstelling van de volwassen Mozart en de toevoeging van vooral veel drums en elektrische gitaren aan het klassieke 12-koppige ensemble. Niks mis mee, een perfecte representatie van de weerspannige persoon die Mozart was. Maar wie naar hier komt om de muziek van Mozart te horen, is eraan voor de moeite. Het concept start duidelijk niet vanuit de muziek van Mozart, maar vanuit zijn leven als mens, als componist, als enfant terrible. 

Ook visueel is er een schril contrast tussen de grandeur van de 18de-eeuwse adellijke kostuums en geprojecteerde decors van paleizen vol pracht en praal, of de verplaatsingen van Salzburg naar Wenen per koets (heel leuk gevonden trouwens!), tot we plots twee eeuwen verder gekatapulteerd worden met de familie Weber die op het toneel verschijnt in een Volkswagen Caravelle, uitgedost als de familie Flodder. Een rare kronkel van de regisseur? Het wordt wel consequent en herkenbaar doorgetrokken voor elk karakter. Zo verschijnt de volwassen Mozart steeds in zuiver wit. 

Voor ons zeker een voltreffer was de creatie van een onbehaaglijk gevoel door de immer aanwezige kleine Mozart, het verstikkende, geniale brein dat Mozart levenslang achtervolgt, uitput en uiteindelijk zelfs de dood injaagt. Dit alles meesterlijk weerspiegeld door het componeren met inkt en ganzenveer, waarbij de inkt tijdens de laatste uitputtingsslag, de compositie van het Requiem, plaats maakt voor Mozarts bloed. De ganzenveer die het hart van de Meester doorboort om de muziek om te zetten in noten op papier. 

Voor de cast gaan onze credits voornamelijk naar Ruben Van Keer, die W.A. Mozart met overtuiging en immer durende energie en jeugdigheid vertolkt. Ook Lillian Maandag (Mozarts zus) wist haar rol zonder pretentie maar met gevoel neer te zetten. Een rijzende ster in de musicalwereld? 

Deze productie van Mozart is zeker de moeite waard, temeer daar men het aangedurfd heeft om nieuwe talenten een kans te geven een grote rol te vertolken en daarmee hun kunnen aan het grote publiek te tonen. Daarvoor alleen al zouden we deze musical aanraden. Bovendien is de kostumering heel geslaagd (van een subtiele maar herkenbare eenvoud), en bovendien wordt – steeds een pluspunt – met een live orkest gewerkt.

De kerstvakantie is een uitgelezen moment om de donkere dagen toch nog met wat muzikale lichtpuntjes te kleuren. Voor liefhebbers van grote spektakelmusicals zoals Les Misérables of Phantom of the Opera is deze productie een absolute must-see! 

Mozart! – De Musical speelt nog tot 7 januari 2018 in de Stadsschouwburg van Antwerpen. Tickets van 34 tot 74 euro. Meer info via deze link. 

Bron: www.tipsvanderedactie.be 

Over de recensie 

Na het lezen van de recensie op www.tipsvanderedactie.be kan ik me grotendeels aansluiten met hun mening. Zo wordt er geschreven dat er weinig muziek van Mozart voorkomt in de musical. Er werd inderdaad soms verwezen naar bekende thema’s uit de muziek van Mozart, maar echt vaak kwam dit niet voor. Naar mijn mening kwam het te weinig voor. Wanneer je naar een musical gaat over zo’n groot componist als Mozart, met zoveel bekende melodieën, verwacht je deze te horen. Anderzijds vond ik de nieuwe muziek die gecomponeerd werd voor de musical zelf wel mooi. 

Over het visuele sluit ik me ook volledig aan bij deze recensie. Het decor en de kostuums waren heel mooi, maar toen het busje met de familie Weber het podium op kwam gereden, was ik het kwijt. Ik begreep niet waarom dat moderne element er ineens tussen kwam. Naar mijn mening had dat helemaal geen meerwaarde. Ook de wending van het verhaal was ik toen kwijt. Doordat het eerste deel redelijk traag op gang kwam, en door de scene met de familie Weber, was ik niet volledig overtuigd van het eerste deel. Na de pauze was het veel leuker. Minder moderne elementen, mooie kostuums, mooie decors, mooie muziek,… Het verhaal liep toen ook veel vlotter. 

Het enthousiasme over de hoofdrolspeler Ruben Van Keer deel ik ook. Door zijn hoge stem, en zijn jeugdige manier van doen, geeft hij Mozart weer als een speelvogel. Net zoals je het verwacht. Hij zong prachtig, en had een groot bereik. Het was indrukwekkend om hem aan het werk te zien! 

Ik sluit mij volledig aan bij deze recensie en beaam dat Mozart de musical de moeite was om te bezoeken, ondanks het ietwat teleurstellende eerste deel. Het tweede deel maakte heel veel goed! 

[pdouwes]

picture this: mrs danvers desperately tries to keep ich from from throwing away and destroying all of rebecca's old things. she notices ich looking at the latter's favorite figurine and quickly walks towards where it's sitting on the desk. she holds her hands above it protectively, not quite daring to touch it. ich grabs it from beneath her hands anyway and holds it above her head triumphantly. mrs danvers takes a few steps back, hands hovering above her heart. she whispers a soft 'no'. ich lets the figurine fall, it shatters. mrs danvers despairs.

[andrewlloydwebber]

I notice POTO Vienna doesn't have an alternate Christine, do you think Lisanne Veeneman will do all the shows unless sick or on holiday?

the restaged productions (and many other productions over the last 5-7 years) seem to not give as much attention to the alternate Christine as much. in the three, soon to be four productions of the laurence connor nightmare direction, the only alternate to get an official stage photo was olivia brereton in the restaged uk tour.

some of the us tour alternate/understudies (more on that later) had some side of the stage performance pictures taken by matthew murphy, but those were never printed in the brochure or put on posters. and i don't remember anything of bridget costello either in australia.

meanwhile, broadway, west end, and old us tour alternates usually had a few stage photos taken and at least one of them included in the brochure and a poster outside the theatre.

the restaged US tour christines also had weird schedules, at one point no one could publicly post or answer questions about when they were going on, sometimes there was a "first cover/second cover" situation where one got preference over the other, I remember reading stuff from one of the understudies "[the principal] just takes off any two shows she likes and I do them, any shows I miss or additional shows the principal takes off are covered by the other understudy" (i think i'm paraphrasing celia hottenstein when katie travis was principal but i don't fully remember). and then some time (a couple of years/cast changes) later, suddenly there wasn't as much rhyme or reason to it and both were considered "understudies" with no alternate.

and of course the restaged tour "alterstudies" all perform in the ensemble when not playing christine, as opposed to previous replica productions such as broadway and old us tours, which for the most part have the christine alternate do 1-3 shows a week with a generally set schedule and having the day off when not performing and no additional role besides christine. plus there's 1-2 understudies with a regular ensemble track or swing role.

the vienna revival lists 2 cover christines performing regularly as "princesses", leonie kappmeyer and lillian maandag, but no indication that one is "christine at certain performances" or "first cover". i doubt lisanne clémence veeneman will do 8 shows a week, but i'm not sure how they will arrange who covers her off shows and what dates the 2 covers will perform. at first i wondered if leonie kappmeyer was first cover because she is listed first on the website cast list, with lillian maandag the next person listed, but then i realized the ensemble is listed in alphabetical order by last name, and it's just coincidence that leonie and lillian are next to each other. i guess we'll find out

[andrewlloydwebber]

Okay I realized I was so consumed with making sure anon knew

Mark Seibert wird das Phantom spielen

That I never answered the other part of the question. So here is my Vienna revival cast speculation/hopes

To be honest, I have not really kept up with German language musical theatre these past few years, at least not like I used to, so there's probably some obvious candidates I'm missing. So this is my list that is heavily skewed towards people who have been in Schikaneder or in Phantom before (in different roles or as understudies). Also some of these people are probably booked with other projects.

Christine: I've said for a while I thought Milica Jovanović would be a great choice. Not sure it will happen this time around though. But I'm fairly certain that Lillian Maandag will get a shot at the role in some capacity. Just a gut feeling especially because I anticipate a lot of the Rebecca cast auditioning and being cast in Phantom at the same theatre. Would be cool to see her sisters Annemarijn (who played the role in Oberhausen) or Willemijn Maandag getting a chance too. And I know Mercedesz Csampai is very busy with lots of projects but I still want her to return to the role of Christine.

Phantom: As we've established, Mark Seibert will play the Phantom. But I'm pretty sure there will be an alternate/standby/double casting situation. I think Thomas Borchert would like to return to the role based on social media. It's probably going to be someone who played Krolock tbh. I think I would like Robert David Marx to be an understudy Phantom because he took some cool photos of the Dance of the Vampires cast and I listened to his voice and liked it. Other names that frequently get thrown around like Jan Amman could be cool. I would not be shocked if Lucius Wolter is a Phantom cover, he was a Raoul understudy in Essen (appearing in the infamous Uwe Kröger video).

Raoul: I liked Florian Peters in Schikaneder and Mozart, plus he's engaged to Lillian, so it would be cute to see them together. I also like James Park as an option based on what I've heard and his past roles. I wonder if we'll see Oedo Kuipers return as principal Raoul. And I hope Toby Joch is in the cast, he was legendary on social media and I liked him as Raoul on audio.

Carlotta: I am a big fan of former Christines returning as Carlotta, so maybe Colleen Besett? I also am thinking of Katja Reichert. Karin Seyfried played Meg in the original Vienna production and has since played more legit musical theatre singing roles like Jellyorum in Cats, it would be cool to see her as Carlotta or Giry.

Managers: Thorsten Tinney, Hardy Rudolz, Martin Pasching, Armin Kahl?

Madame Giry: I really really want Eva Maria Bender to return to the show. Ana Milva Gomes or Silke Braas-Wolter or Shari Lynn Stewen or Maya Hakvoort if she decides to break away from Elisabeth concerts.

Meg Giry: Myrthes Monteiro! She was a ballerina in the original Brazilian production and is now based in Germany.

Piangi: Reinwald Kranner? Raymond Sepe returning? Chris Georgetti surprise return? That one is wishful thinking, I think VBW is less likely to cast random Americans that Stage Entertainment and also as much as I'd love to see some Broadway cast members in the show again, I think it's pretty unlikely we see that happen.

[andrewlloydwebber]

Schikaneder das Musical, Vienna 2016-2017

[andrewlloydwebber]

Pierrot jacket, French dating from 1780-1790, in the care of the Kyoto Costume Institute

Lillian Mandaag as an ensemble member in Schikaneder, costume designed by Anthony Ward. Photo by frontrow_lady on Instagram.

[andrewlloydwebber]

Tessa Jill Brockhoff (in yellow and blue) with Lillian Maandag (pink), in the ensemble of Schikaneder, Vienna.

@asiantheatre

[andrewlloydwebber]

Comparing Maria Anna Miller’s wigs in Schikaneder, Vienna.

Katie Hall (principal) is a natural blonde, and while she has gone through several hair colors, she is currently blonde. The wig was probably based on that.

The first cover (Lillian Maandag, who is related to Annemarijn Maandag from Phantom in some way) was given a slightly darker wig, but still blonde. She’s also a big fan of the Instagram filters, so this may not be entirely accurate.

The second cover (Andreja Zidaric), however was given a medium brown wig, probably on account that she has very dark hair and eyebrows.

I really like it when they tailor wigs to best suit actresses, I’ve seen this done in Phantom in London as well as Which Witch in London. However they did not tailor the wig color for the lead role of Eleonore, even though the principal is blonde and the two understudies are brunette.

[glassprism]

As there have been a quite few revivals the past few years (e.g. Stockholm, São Paulo, Copenhagen etc) Which production are you hoping for to come back?

Ooh yes, revivals!

I think the top of the list might be a Dutch revival and a Vienna revival (the latter especially I’m hearing some rumors about). It’s been decades since either of them have had an actual staged production, and there’s a number of actors who I would love to see in them.

For a Dutch revival, people have been batting Celinde Schoenmaker’s name about for ages, though given she’s been in London and the Greek production, she might want to move on? And I’m always down for new faces. But there have been a few Dutch Christines in other productions that could do it, like Michelle van de Ven or Annemarijn Maandag; neither were principal in their respective productions. Or on the topic of Annemarijn Maandag, how about her sister, Lillian Maandag? Or BOTH.

For the Vienna revival, I don’t have much preference for a Phantom, but I’ve seen a few rumors swirling around Thomas Borchert, which I would not mind. I would also not be surprised if Mark Seibert got the role. I would not be happy either, but it feels kind of inevitable. Also, Milica Jovanovic for Christine; she was terrific in the Vienna concert of Love Never Dies and her sweet, young Christine would fit perfectly into the original. And I’d love to see Oliver Arno take on Raoul in an actual production, as he was so genuine and caring in the Vienna concert (of Phantom, not LND).

As for other revivals I’d like to see, since Brazil just had a revival, it’d be cool to see another Latin American production, such as one in Mexico. We could always do with another German production (Berlin, anybody?), though hopefully with more promotion than what the Oberhausen production received. Also, it’s not technically a revival, since it never even opened, it’s really more of a faint wisp of a hope, but... Paris production, guys, at last?