Operafantomet: phantoming

I massively appreciate the different makeup looks of Myra Ruiz as Elphaba in Brazil.

For the original design the makeup was green with grey/black shades. For the first non-replica it was slightly more mint green with black and yellow details. For the upcoming non-replica the makeup is a tad more green, but with black and slightly more mint details. Three cool takes! 💚

(Photos from Myra Ruiz’s Instagram)

Fabi Bang (Glinda) and Myra Ruiz (Elphaba) creates history when they star in their third production of Wicked in Brazil, featuring a third costume and set design!

They first the original version in 2016 (left), designed by Susan Hilferty.

In 2023 they starred in Brazil’s first non-replica production of Wicked (middle), designed by Morgan Large.

In 2025 they will once again don the lead roles, in Brazil’s second non-replica production and third producton overall (right). The costume design here is by Lígia Rocha, Jemima Tuany, and Marco Pacheco.

In addition they also did the 2024 movie dub, which means that their track record as a duo is rather unparallelled ✨

As I’m removing the Christmas decorations from the tree, here’s some of the POTO ornaments.

Lately there’s been a lot of mini ballet dancers for sale, often with ornate fabric details. I have added skirts made according to Maria Bjørnson’s designs and/or specific stage-worn costumes, and often added painted details as well, to give them a little POTO spin. I originally meant to transform the white top left one into a Degas costume, but in the end I like it so much in its original state…

The Monkey Musical Box was built from scratch, while the Golden Angel is an awesome gift from @miniatureoftheopera . There’s also various POTO cards (not depicted), Degas pin, masks etc. which I have received as gifts through the years, and I love them all!!

The logo mask ornaments were made using styrofoam eggs/balls, decorating them with sequins fastened with a bead and a pin. They sparkle like crazy ✨

Snippet of Celine Dion and Tommy Körberg singing the title song from ‘Beauty and the Beast’. Her face when he improvise, though 😂❤️

( from here )

I enjoyed Tommy Körberg’s ‘Grand Finale’ solo show a lot, due to the many anecdotes, photos and videos they added to the loop. Körberg originated the role of ‘The Russian’ in Chess, amongst others. The musical opened some months before POTO in 1986.

When playing the role in West End he was apparently considered a plausible Phantom replacement or understudy (?) for Michael Crawford. From a lengthier sequence in his solo show he tells that he was picked up in a limousine and brought to Andrew Lloyd Webber’s house. But he was eventually told he was too short and not ‘lizard like’ enough 🥸

He also comments on that the replacement ‘should not out-sing Crawford’. Whereas said a bit tongue-in-cheek, I have heard similar comments from others and find it curious. I mean, Crawford was next level in his acting, stage presence and singing, I find it odd the producers would worry in this aspect. I will however say that the choice of successors Steve Barton and Tim Nolan - which I both love in the role, just for the record - may have some relevance to this. Whereas both poured heart and soul into the role, they also struggled with the score at times.

Glimpses from this year’s Christmas tree, and some closeups of the Phantom details. There were many more, three elephants, Star Princess boots, various masks, lyres, ballerinas etc, but these are the ones I took photos of ✨ LOVED the tree this year. Also loved adding various small gifts people have sent me these last couple of years.

Other themes were pink, landmarks, food and drink, and royals 😂❤️

Ah, the link doesn't work for me, it tells me the page doesn't exist. For whatever it's worth, this is the only photo I have saved as David Rogers in my computer:

This photoset feels relevant to you <3

I agree that a straight drop seems to be the most common thing, but there has been some variations. Poland, Sweden (Kristianstad) and Romania (new) is the three with the maybe most similar crash to the original. There has also been some creative variations. Here's some examples - and I'm not mentioning every single chandelier crash, just for the record:

For the Hungarian production, the chandelier rose and crashed at the back of the stage, in a turned-perspective illusion. It was a tiny bit angled, but rose and crashed in more or less the same spot:

For the Polish production it rose from the stage and into the ceiling, at an angle, and crashed the same way - much like the original chandelier effect.

The Restaged Tour chandelier is always hanging up in the ceiling, but it is raised and lowered somewhat during the Overture and the crash. For the Overture the chandelier construction sucks the drapes into the middle, so they disappear, while it for the chandelier crash sprays "shattered glass" (depending on the location, for many tour stops they didn't do the latter).

The Czech chandelier rose from the stage and up in the ceiling, and crashed down the same way - the wire track it followed is fairly visible in this photo:

The chandelier in Kristianstad, Sweden rose and crashed much like the original - rising diagonally from stage and into the ceiling, and crashing the same way (from ceiling to floor):

Ditto for the new Romanian production:

The Mediterranean (Italy / Monaco / Spain) production did maybe the most original take as of yet. The chandelier appeared to be pulled forwards and downwards, explosions, flames, with the Phantom on top of it as if he rode it down. Not gonna lie, I felt it looked better in photos and promo videos than live, but I appreciate them trying out something different.

Most others seems to be variations of raising and lowering chandelier in more or less the same spot, with or without drapes in the Overture, and with or without special effects during the crash.

...still massive computer problems, for those wondering about my absence... I can charge by old backup computer, and it last for half an hour or so, but I can't use it when charging. Which means I have small slots for doing Tumblr related posts, and I just... gave up on the whole thing, TBH. Ah well. Just wanted to let you know.

Following up the post about the most original non-replica productions, here's a photoset on moments I thought rather original in the POTO Mediterranean production (Italy, Spain, Monaco):

Having some key scenes from the first act re-enacted - in slow-motion and in reverse from the chandelier crash and up to Hannibal - during the Overture was definitely something I have never seen before! Quite odd, yet cool and fascinating.

For quite a few mirror set designs it is obvious Christine will step through it at one point. Not here. Cause how in the world will she get up there? Ah, of course by stepping at the chair, then the dressing room table, lined up like a staircase... Cool take on it.

Whereas the First Lair was pretty conventional in staging and directing, the set design was out of this world. OK, so "only" a backdrop, but to amazing effect. Very Piranesi "imaginary prisons" look to it - and with that glowing, candle light lit organ in front. Loved it. Loved it a lot.

The Phantom swinging back and forth, like a Tarzan stuntman, during the Il Muto ballet - as a foreshadowing of poor Buquet who will swing across stage in a similar manner in a few seconds. Not my favourite take on it, but A+ for creativity.

The whole of AIAOY taking place on a narrow ledge, which made it both more restrained than usual, and a bit more intimate - with Raoul acting like Christine could really fall down (or jump for that matter) any second. So most of his singing is about trying to get her into safety, while she is utterly despairing:

The Phantom riding the crashing chandelier. Truth be told, a bit less impressive live than in photos. In photos it looks like a giant drop, but live it was more a case of a chandelier moving forward, then pyrowork. Yet... Even if it's been a part of the Phantom repertoire in movies and artwork, and even if Las Vegas had a stunt man appearing hanging from the chandelier, it was cool to actually see it done in a stage production.

Each cast member dancing with a cloaked dummy on wheels in Masquerade. Again - maybe not my favourite thing, I didn't find it super convincing. But original? OH YES.

ENDLESS LOVE FOR ANDRÉ'S FLOUNCED DRESS! And for dressing Meg Giry like a perfect bigger version of the Monkey Musical Box, with a yellow tutu:

The slow motion fighting with chairs and vocal scores in the Don Juan sitzprobe, while Christine walks slowly away with a red rose, starting on the WYWSHA intro? Fascinating.

The Phantom in giant black wings flying away during the Mausoleum scene? What even? (no, it did not make more sense live)

Then a bunch of tricks for the Final Lair, first and foremost Raoul trapped in a magical lasso hoisting him up in the air, supported by the bed frame. Originally topless (Trieste), later (Madrid) wearing a shirt. Ar'right. Then the Phantom disappearing by laying down in the bed and disappearing in the sheets when the mob enters the lair. Rather cool trick because it wasn't obvious how it was done. Alas no photos of that, but at least one of the trapped Raoul:

All in all a production full of surprises and unique moments, even if some other scenes were more or less the same or very similar as the replica version. I liked it a lot! For more thoughts and moments, you can have a look at the review I wrote here)

Following up the post about the most original non-replica productions, here's a photoset on moments I thought rather original in the POTO Kristianstad production (2020-2023):

Apart from the tiny tweak of the auctioneer being a woman, the auction scene itself was rather traditional. But the moment the chandelier came to life and started rising, some columns started tipping over, drapes were removed, and the set was slowly transformed into Hannibal. The original moment was having Raoul stumble around in this set, as if he was reliving some painful memories from his youth. Surprisingly touching staging.

The title song was another original take on a familiar view. For the first half a gate separated the misty stage into two areas. The Phantom and Christine - and a set of doubles crossed the stage, mirroring eachother's moves, which created a sense of a fascinating fairytale world.

Come the actual boat scene, the boat was as simple as two gates rising from the floor. The actors stood more or less still while rocks crossed the stage at irregular intervals, making it look like the boat was moving. Another super simple and super effective trick.

The Phantom's lair had some surprises in store. Whereas the floating candles reminded of the Restaged Tour, more or less, the amount of "spare masks" the Phantom had stacked up on each side was downright impressive. Extra cred for the creepy doll at the floor, which at one point got up and danced a violent waltz with Christine, making her faint...!

As for the Phantom himself, creating a horizontal half-mask instead of the usual vertical one felt more original than say making the mask grey or golden. It felt like a proper reinterpretation of the look (moreso than the leather coat, which Estonia and Serbia had also proudly featured). Extra bonus for a flawless mask fit.

Fast forward to the Masquerade scene, having Red Death 1. Crash through a giant mirror wall, and 2. Disappear in a twirl, just leaving his cloak / costume behind was the definition of magic tricks. Alas I only ever found photos of the in-between action, but it gives a glimpse of the mirror wall and the skull head costume.

In the same vein, the Phantom disappeared in a similar manner, walking through the scattered back wall, lit up by bright yellow light as it happened. I'm not quite sure what to read into that. Flames of hell? Redemption? Anyhow...

(for more of my thoughts of the production, have a look at this sort-of-review from when I saw the production in 2023)

I think many costume supervisors and costume makers has kept Maria Bjørnson's vision of antique pieces alive, where possible. Some Phantom cloaks are still decorated with antique jet beading, often sourced from scattered or ruined Victorian mourning pieces. But finding good pieces has become increasingly rare, so modern substitutes seems just as common.

For a costume display in the World Tour they wrote that:

"The cape is fine wool with antique jet beading"

This was true for the elder Aussie style as well as the UK. Probably elsewhere too, depending on the availability. One way to identify vintage or antique jet beading is that they use fairly small beads and with lots of hand-embroidered details, often in an openwork-pattern. The thread and/or fundament will often also have faded to brown. Here's typical examples of jet beading, in the cloaks of John Owen-Jones and Scott Davies in West End:

And the back of Ben Forster's West End cloak:

Last, but not least, Tim Howar in West End Live:

But many Phantom cloaks has also been fitted with either vintage or more modern sequin and bead appliquées. I think it's harder to separate what's new and what's antique in these. Here's some examples from the US where I'm not sure whether we're talking old or new (or maybe it's a mix).

The sequins may give a clue, as newer ones are often bigger and synthetic, while older ones tends to be smaller and maybe made of an early metal-plated synthetic material - or even metal if they are really old. But I would have to study them up-close to tell for sure.

There are also versions with mostly black tube beads, where the direction of the beading is what makes them glitter and sparkle from all angles. Here's Jonathan Roxmouth's cloak in the World Tour:

A cloak used in the Restaged US Tour:

And the collar of a vintage Golden Angel cloak, worn by Davis Gaines on Broadway:

I don't know exactly where Sam Fleming and other US costume supervisors sourced their materials, other than hunting vintage stores, antique stores, flea markets, the fabric NYC district etc. Anything that would make goodies surface, basically. It is in sync with the preferences of designer Maria Bjørnson, as she did favour vintage pieces when possible. Hence vintage materials are still often seen as accents and decorations on the POTO costumes. But vintage pieces have become increasingly harder to come by, so layering modern materials to create a similar effect is also common.

I hope that answered your questions!

SURPRISE PHANTOM: A random and absolutely not complete list of the Phantom in disguise or appearing in unexpected places