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flagbridge · 10 months ago

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Q&A: The Phantom Broadway Proshot

Happy 36th Birthday to Phantom of the Opera's opening night on Broadway! We should be celebrating at the Majestic. The show never should have closed.

In order to create "new" ish POTO Broadway content, @or-what-you-will and I promised to answer your questions about the proshot on POTO Broadway's birthday. Find our summary of the Proshot here.

We got dozens of questions, which we've consolidated into 14 questions. Read them all past the cut!

Wait, what’s the Phantom Proshot?

The Phantom Proshot is an archival copy of the original Broadway cast and production of Phantom of the Opera, filmed at the evening performance with a live audience on May 25, 1988. The New York Public Library, Theatre on Film and Tape Archive at the Performing Arts Library at Lincoln Center has archival copies of Broadway, Off-Broadway, and Regional theater going back to 1970. You can’t view currently running shows, so since Phantom ran for so long, it was under lock and key.

2. How do I see the Pro-Shot?

Pretty simple how to guide here on the NYPL website.

We are both NYPL cardholders and made a reservation in advance. You are required to state why you are accessing the recording as they exist for archival and research purpose. Both of us are published authors and researchers under our real names.

Here's a picture of the room we were in from NYPL's website. We had an appointment and were set up in a room with lots of monitors. We were seated at monitors next to each other with two sets of headphones and had one set of controls to pause/rewind etc. There are 20 monitors in the room and it was pretty full that day. This was not my first time at the TOFT and it’s always had a good number of people around.

3. Can someone get a boot of it/send me the link to it? Pleeeeease?

No. Seriously, stop asking about this. Stop joking about this. It’s not online, and never will be. All of the recordings are on digital media (videodiscs or DvDs) in the basement and only library staff get to touch them. Don’t be the person who tried to do this and ruins the archive for everyone else. You can’t even bring electronic devices into the room.

4. Why won’t they release it to the public? And who the heck does it benefit to keep this locked away?

It isn’t. It was locked away when the show was actually running. It is available to the public. We are the public! We have library cards and went to a public library and watched it for $0! It’s owned by the library so the public can see it! At the library!

The availability of us to access it now that the show has closed is what constitutes public release. There were several other phans, members of the public there to see it after us, and the library allowed them to max out the number of monitors the library allows people to view on. They had a later appointment and were watching disc one when we were on disc two. I’m sure there was someone after them too. Were we all wearing Phantom gear? Also yes.

(@or-what-you-will here) The library is not allowed to show recordings of anything currently running on Broadway, presumably because of fears about economic loss from those who own the rights to the musicals. The library does not own the rights to the musicals in the archive, and there are likely a lot of stipulations the library has to follow to be able to have recordings like this.

As someone who works in a library doing digitization work, libraries and the media they contain are very complicated. TOFT likely has the rights to show it under a very limited license, and to make copies for preservation purposes only, but things like this mean they would not be able to do anything like put it online or charge for it or do anything that would be them acting as though they owned the copyright (as opposed to the physical media). This is why when a library or archive has a book or tapes they don’t usually have the right to photocopy the entire book or digitize the entire tape and put it online (unless it is in public domain), however, if you go in person you can see it all you want. Someone else (usually the creator) owns the right to distribute or copy, and libraries and archives can get in a lot of trouble for violating it.

The copyright is still owned by the holders of each respective musical’s copyright. It’s essentially like when you buy a DVD and you are technically not supposed to copy that DVD but you can invite your friends over to watch it at your house. Copying it and distributing it violates copyright. Putting it online violates copyright. If the library violated copyright it would likely lose the ability to archive musicals altogether. If you copied the DVD it would be a lot harder to find out who put it up because the DVD is owned by lots of people, though you could still be prosecuted by the law. If the library did, they would know immediately who did it because they are presumably the only ones with a copy of this recording.

Likewise if someone took a bootleg recording of a show and distributed it, the copyright holders wouldn’t know it existed. If they found out that individual would then be eligible to be prosecuted under the law. Because the library is a public institution, if they were found out to be doing this, it would be the library itself that would get in trouble and it would damage their reputation, their funding, and quite possibly the funding and reputation of libraries around the world. A lot of this is done on trust. The copyright holders trust the library as a public institution and the library has a lot more stakes in the game than a single person recording the show and distributing it.

It’s a very tenuous agreement at times, and likely the library is only allowed to even record because there are so many protections in place and they have a history of enforcing these rules. These agreements also usually cover digitization and preservation, but again, violating them could have those abilities taken away as well. It’s all tied up in copyright law and the library has no control over that. I have talked to archivists where I live who have to record performances with tape over the lens because it’s considered for preservation and they want to make sure it cannot be possible to profit off of it in any way.

When the show goes into public domain they will be able to put it online all they want without fear of repercussions, but until then, unless those agreements change, we are all limited by the whim of the copyright holders.

5. Hello! Is the pro shot you watched what this clip is from https://www.instagram.com/reel/Cp2_80CJqI3/?igsh=MWNja2wwYWw4OHUwbw== ?

I know all of us here on Tumblr were freaking out that they maybe had a copy of the pro shot when this came out. Thank you! (@imstillhere-butallislost)

Not the proshot, it's a press reel. It has its own cool story though! Answered this here.

6. How good of a shot was it? I know you said ProShot but is it a ProShot like Hamilton or just a camera recording the whole stage at once?

I’d definitely say it was Hamilton pro-shot quality as to what was available at the time between image quality and mixing up of close ups and wide shots. I’ve watched other proshots and many just park a camera in the back of the orchestra and call it good. Cats in particular had multiple cameras but just did close-ups when they felt like it, not when it made sense or added anything. As @or-what-you-will explained in their re-blog, Phantom was one of the first proshots where they had a soundboard plug in, and let me tell you, with the exception of a few moments in Act 1 where Sarah Brightman maxes out her mic, the sound was delicious. Have we talked about how Judy Kaye is singing over the overture (yes, that’s Judy Kaye, original Carlotta, warming up!)? Or that you can hear every single word of Notes I and Prima Donna and Notes II, which usually just sounds garbled because everyone is singing over one another? Actually hearing words that I sort of know exist changed my experience of the show for me.

7. How did the tempo seem, compared to the pace of the show at the end of its run? I saw the show a few times in the last few years, and the music seemed significantly faster in person than it sounded on the London cast recording. I’ve always wondered if that was just a difference between the London and NY productions, or if the tempo just sped up over the years.

Uh…normal pace??? I’ve watched a lot of boots and most solidly clock in 2:15 of run time. This was no different. There are definitely some that run a little faster. London during Earl Carpenter’s 2023 run was notorious as he had to catch a train. It does seem to have settled back out. I will say, the music does always feel more intense in person because the whole place just vibrates.

8. I'm curious about the comment about the Ratcatcher? I think I remember that character from a film adaptation, but was he ever in the ALW musical? (@lord-valery-mimes)

Yes, Ratcatcher is still in the musical, even now. It’s a blink or you miss it type of moment. If you hear a thud and a scream right before Madame Giry tells Raoul “He lives across the Lake, Monsieur”, the thud is the ratcatcher running across the travelator.

9. Does Christine really recognize the Phantom in PONR from his boner?

No, but at this point she probably already know it’s him and has been trying to get through the scene, but definitely acts surprised because, well, that’s surprising. But it’s definitely the moment where the Vibes Are Officially Off.

10. Can Sarah Brightman act?

Yes! All three of the trio have far more nuanced performances on stage. Sarah doesn’t act the way that we do see many later Christines (including late 80s and early 90s Christines), but she absolutely created the blueprint for the role. Her “Wishing You Were Somehow Here Again” is missing some soul, but at the end of the day she was one of a kind, and she made some very strong acting choices.

11. there anything unexpected? Any interpretation that stood out to you and particularly striking but didn’t stick around as others took on the roles and put their own spin on things?

Guys, I want to talk about Steve Barton as Raoul. The man made choice, after choice, after choice. And yet we have had so many Raoul’s that are kind of just strutting about looking pretty. Some seem to even forget they’re onstage during Final Lair. It can be such a juicy role if the actors choose to make it that way but so few do.

Besides some small details I mentioned, the show did maintain its integrity through its 35 year run, which is truly remarkable.

(@or-what-you-will here) Seconding what Flag said, Steve Barton brought so much more to the role than I’m used to seeing, and it really opened my mind to what Raoul could be.

The blocking in PONR did surprise me, I knew they had changed it but I hadn’t realized how much. I always found the kind of pinwheeling arm thing Christine does with the phantom strange, so it was a pleasant surprise to find that they didn’t do that at all, the embrace from behind made more sense to me.

I also found after she took his hood off no one really ran out, the phantom and Christine got to have their moment. The blocking where they (the managers and Raoul) run out and tell Christine to stay makes no sense with their motivations to stop him. The more recent blocking where Christine motions them to stay in place as the phantom sings the All I Ask of You Reprise makes way more sense with the characters’ motives and matches this original blocking much more.

12. Also are you truly working on a research project? If so, how is progress and where might we find your final results when it’s complete?

To quote Dr. Who, “Spoilers.” Yes, always. Both of us have day jobs that have us doing research, but I can’t promise I’ll put it on here when complete since I keep fandom and real life separate. Sorry to dodge this one but getting into specifics about this starts to identify us.

(@or-what-you-will here) Seconding what Flag said.

13. Hi there, I was wondering if I could ask you a general question about the NPL’s archive. Something about the language on their website made it sound like viewers could only watch a recording “once”. I wasn’t sure if that meant “once per visit” (i.e. you can’t sit there for 8 hours restarting the tape every time it ends) or “once” as in forever (like, once you’ve watched a recording you are never allowed to request it again). Did you have any clarification? I wasn't sure if the librarians explain the policies when you arrive at your appointment. Thank you for providing so many details about the Phantom pro-shot and offering to answer our questions! That's really kind of you!

You’re welcome! So if there’s nobody after you, you can hang out with the media as long as you want. However, we did have another group come in about 90 minutes after us. That gave us enough time to watch both acts with all the rewinds we wanted. We watched PONR and parts of Final Lair like five times. On a previous TOFT trip I watched two shows and was there for like six hours. The prohibition is on coming back and watching the recording again. I have no idea how strict they are about this, although I suspect it’s to keep people from monopolizing certain media. Would I want to try to watch the proshot again in the future? Probably! I know there’s stuff I missed, or I’d see something different depending on what I’m working on. The TOFT is also an absolutely incredible resource and I have so many other shows I’d like to check out.

(Will here) They do log on your library account when you visit that you visited and what you saw. However, if you have accessibility needs that would require you to watch in multiple viewings or something along those lines, I would talk to them about it, because I’m sure they’d be able to work with you to figure out something so you wouldn’t have to sit through the whole thing in one shot.

14. > Barton Raoul’s “There is no Phantom of the Opera” comes off more as “Christine this is just some dude” vs “he doesn’t exist at all.”

Could you elaborate on this part? I'm having trouble imagining how that would be conveyed. (also, thanks for sharing your notes on the procast!) @clutzyangel

You're welcome! Yes, he's telling Christine that the Phantom is a human, flesh-and-blood man, not some fantastical creature. I've seen many Raouls who seem to try to convince Christine that the Phantom doesn't exist at all. Barton's Raoul seems to understand that he's a man with ulterior motives possibly duping Christine.

And he's not wrong.

#phantom of the opera #poto #alw phantom #phantom proshot #happy birthday phantom broadway #phantom broadway #michael crawford #sarah brightman #steve barton #judy kaye #andrew lloyd webber #nypl #research #I wish Phantom were still be on broadway #we should all be wilding out at the majestic

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hotgirlbedtimescenarios · 2 months ago

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Wish

For the first time in years Joel acknowledges his birthday and wishes on a star. He gets pulled into the past and relives his birthday, the day that changed everything.

Words: 1.7k+

Warnings: all of the emotions. Sadness, depression, but also happy moments and hopefulness :)

*part of @burntheedges roll-a-trope challenge*

Main Masterlist

---

September 25, 2033

It’s almost Joel’s birthday. Again.

Over the years, he’d let it pass without thinking about it. Losing track of the days was easy while he roamed, too caught up in trying to survive.

But now, in Jackson, time isn’t as elusive. Joel wakes up knowing that Mondays and Tuesdays are for patrolling, Wednesdays and Thursdays are for guard duty, Fridays are for helping with construction, and the weekends he keeps to himself.

The powers that be in Jackson also keep track of time, mostly for crop rotation and organizing the seasons, giving structure to the lives of its citizens. That means Joel has been aware of his birthday this year, creeping closer and bringing along memories he hates.

This year, he can’t live in blissful ignorance while it comes and goes, especially with Tommy around to remind everyone. So instead, he runs from it.

Joel walks down the soft, snowy streets of Jackson with his camping gear strapped to his back. He told Tommy he was going outside the walls tonight, making up some excuse about scouting a building that might have supplies to scavenge.

It was a lie.

Joel needed space—a place where he could wallow in solitude when the old feelings haunted him as his birthday approached.

With his gathered supplies, Joel mounts his favorite horse and rides out of the commune, waving to Tommy atop the lookout tower.

“See ya when you get back! And happy early birthday, big brother!” Tommy yells down.

Joel winces at the reminder and rides off into the distance.

---

Hours later, Joel makes his way to a familiar spot in the forest, a clearing he often visits while out on runs.

This hidden clearing, nestled deep among the trees and brush, is spacious enough for him to see the stars twinkling overhead while remaining safely concealed from any lurking dangers.

He sits by a small fire, eating his rations and gazing up at the night sky, lost in thought. He reflects on how he ended up here, all that he’s been through and all that he's done, dragging himself deeper and deeper into the pit of despair he so often finds himself drowning in.

Suddenly, something twinkles far above in the night sky, streaking across the tops of the tall oak trees.

A shooting star.

Joel had never seen one before; he had thought they had vanished like so many other pure wonders and good things in the universe. But tonight, he was wrong.

Unable to resist, Joel’s eyes follow the tiny, sparkling fragment as it glides across the sky. In that moment, he decides to be hopeful just one last time. After all, his birthday is approaching. Despite years of loathing it and skipping celebrations, maybe he deserves to make one wish.

As midnight strikes and the star falls, Joel closes his eyes and makes his wish.

He wishes to no longer hate this day. He longs to free himself from the burden of September 26th—the day he was born, but also the day he lost his reason for living, the day he lost Sarah. He wishes the memories of despair would lift from his shoulders, that things could have been different. That he could have cherished just one more birthday before everything fell apart and the world went to shit, giving him more good memories to hold onto and keep him company throughout the years.

When the shooting star fades from view and the sky darkens again, Joel feels a wave of silliness wash over him. Of course, his wish wouldn’t come true. With a sigh, he stamps out the fire, crawls into his sleeping bag, hand resting on his rifle, and drifts off to sleep.

---

September 26th 2003

Joel wakes to the sound of an alarm clock blaring.

He bolts upright, heart racing, and instinctively reaches for his gun—only to find nothing there.

As his vision clears, he realizes he’s not in his sleeping bag anymore. He’s in a bed—his bed—from thirty years ago.

Joel rubs his eyes, blinks, and even pinches himself, trying to shake off the dream, but it feels all too real.

Looking around his old room, everything is just as it was on the last day he lived there: rumpled sheets, a pile of dirty laundry in the corner, an old newspaper, and a glass of water on the bedside table.

It’s as if he’s been transported right back to 2003.

Warily, Joel gets out of bed and notices his joints don’t ache as they should. He races to the mirror attached to his dresser and takes in his features. He looks exactly as he did thirty years ago: fewer lines of age and worry, hair short and dark, no grey in sight, and far more muscular. There isn’t even a scar across his nose or temple.

Joel stares at himself in the mirror, breaths coming rapidly. It’s a dream, he tells himself, repeating it like a mantra.

But what if it isn’t? What if everything is as it’s supposed to be? A redo.

Just then, he hears something he never thought he’d hear again, and it takes all his strength not to fall to his knees.

“Daddy!” Sarah yells, her singsong voice bright and clear, just as he always remembered.

She bursts through his bedroom door, grinning from ear to ear—beautiful, whole, and safe.

“Happy birthday, you old fart!” Sarah teases.

Joel bounds across the room, scooping her into his arms.

“Babygirl,” he chokes back tears, wrapping his arms tightly around her. “You’re okay.”

“Uh, yeah, I’m fine,” she replies, her voice muffled against his chest. “Why are you being so weird?”

He doesn’t want to scare her, so he pulls himself together, trying to act like this isn’t the most magnificent moment of his life—a blessing to have another chance with his girl.

Gently, Joel loosens his grip and smiles down at her, cupping her cheeks in his hands.

“I love you so much,” he tells her.

“I love you too, Dad. I wish you didn’t have to work today. Working on your birthday is so lame.”

She’s right. That is lame. So, Joel does what he should have done the first time around: he pulls out his old cellphone and calls his boss to take the day off.

“Does that mean I get to skip school too?” Sarah jokes.

“Well, it’s only fair,” Joel says, a grin spreading across his face.

Sarah’s eyes widen. “Really?!” she squeals, excitement radiating from her.

“Why not?”

---

Joel meets Sarah in the kitchen, and together they spend the morning making pancakes and dancing to their favorite tunes. When Tommy arrives, Joel manages to talk him into skipping work as well.

“Come on, Tommy, you’ve never complained about skipping work before,” Joel teases.

“Fine,” Tommy says, his mouth full of pancake. “But when I’m short on rent this month, I’m counting on you to back me up.”

The three of them enjoy breakfast together, relishing their time as a family.

They spend the day having fun together, going to the park for Sarah to show off her soccer skills, stopping into town for ice cream on the way home, and lounging around on the couch, soaking in the quality time.

They end the day with a movie—a birthday tradition featuring "Curtis and Viper 2." This year, they even have a cake since Joel was able to skip work to pick one up.

With bellies full of sugar, Joel, Tommy, and Sarah are all sleepy-eyed on the couch, watching the end credits roll, when Sarah suddenly perks up.

“Present time!” she cheers, darting to her bedroom. Moments later, she returns with a small box in her hands.

“You got me something?” Joel asks, pretending to be just as surprised as when he first opened his birthday gift.

Sarah hands him the box and settles next to him on the couch. “You kept complaining about your broken watch, so I figured… you know.”

Joel opens the box to reveal the watch he prized above all else. He picks it up delicately, admiring the shine of the silver and the smooth, unbroken glass of the watch face.

“You like it?” Sarah asks, her voice tinged with nerves.

“Honey, this is nice,” Joel replies, tapping the watch. “But I think it’s stuck.”

“What?” Sarah exclaims incredulously. “No way! I just got it fixed—”

Joel bursts into laughter, and Tommy joins in.

“Oh ha ha, you got me,” Sarah concedes, rolling her eyes. “That was lame.”

“Where’d you get the money for this?” Joel asks, placing the watch around his wrist and snapping it into place.

“Drugs. I sell hardcore drugs.”

“Nice, kid. Real proud of you,” Joel laughs, playing along.

“Maybe you can help me out with this month’s rent then,” Tommy jokes from the other end of the couch.

“Thank you, honey,” Joel says, pulling Sarah in for a hug and kissing the top of her head. “I love it.”

Soon after, Sarah falls asleep on the couch, leaving Joel and Tommy some time together. Joel appreciates this; he’s missed his brother, and it weighs on him how their relationship has deteriorated over the years.

“Wanna go out to the bars to celebrate?” Tommy asks after a while.

“Hell no,” Joel replies. “Your ass will end up getting arrested.”

“Not fair! That only happened once!” Tommy whines.

“And it sure as hell will happen again if I don’t keep you in check.”

“Whatever,” Tommy concedes, settling back into the couch and scrolling through TV channels in search of something to watch.

“I’m gonna take her up to bed,” Joel says, nodding toward Sarah before standing and gently scooping her into his arms.

He carries his sleeping daughter to her room one last time, tucking her in with a kiss on the forehead. Instead of leaving, he wants to soak up every moment with her, as if any could be his last. So, Joel kicks off his boots and slides into bed beside her, wrapping an arm around her.

He falls asleep with a full heart and a smile on his face, grateful for the best birthday he’s ever had.

---

September 27th 2033

When he opens his eyes again, Joel wakes up on the cold, hard ground to birds chirping in a forest clearing. He should feel disappointed to be back in the present, but instead, he chooses gratitude. Grateful for the chance to relive the last moments with his daughter. Grateful for a wealth of new memories to carry with him through the years.

He realizes that maybe next year, when his birthday rolls around, he’ll remember the laughter and dancing in the kitchen with Sarah instead of the horrors that have haunted him for so long. The warmth of those moments will be a beacon, guiding him away from despair and toward hope.

With a deep breath, Joel rises to meet the day, ready to embrace whatever comes next.

#roll a trope challenge #joel the last of us #Joel and Sarah deserve all the happiness in the world I love them so much my sweet babies #joel miller #joel miller fanfiction #tlou joel #pedro pascal #pedro pascal characters #birthday #september 26 #sarah miller #tommy miller

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