#il muto dress

[lucygold95]

김소현[Kim/Gim So-hyun] as Christine alt in 2002(POTO Korea original(2001-2)).

[marleneoftheopera]

A gorgeous shot of Lily in ‘Think of Me’!

[katlimeart]

Made in 2024

If you’ve seen this anywhere else, I posted it back on my deviantArt when it was made.

Peach cosplaying as Christine Daae from The Phantom of the Opera (2004)

[operafantomet]

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)

[phantomtrader19]

POTO LONDON 16/03/2024 CHUMISA’S 3RD SHOW!! - REVIEW

(Audio will be gifted soon!)

I had booked this trip before Chumisa was announced to be taking over as alternate the day before so I was kicking myself I just missed her first show, I had heard clips of her online and she sounded incredible and lots of people were raving about her.

I went to the show expecting Eve or Colleen to be on as Lily had been off the Thursday and I didn’t think Chumisa would have done 2 shows directly after her debut BUT low and behold her name was on the castboard however I was a little skeptical as there has been a few times where it’s been incorrect.

During the Hannibal ballet Chumisa came out and I was so excited!! She looked gorgeous in the costume and wig! I also got the pleasure of seeing Lily as Carlotta again who was also brilliant, during Carlotta’s think of me Chumisa was in awe of her and just as the cloth was about to drop you could sense that she had sensed the presence of the phantom.

She began think of me and had a lovely vibrato to start off and then she delivered an unbelievable rendition of the song! So elegant in the way she moved in the Elissa skirt and so smiley like her Christine couldn’t believe her luck! Her cadenza was angelic to say the least so floaty and the high note so strong!

Her chemistry with Joe in the dressing room was so so good she played Christine like a total giddy teenager which really worked!

Her title song was lovely she has a great lower register for the beginning and then her cadenza was BEAUTIFUL and really powerful!

Perfect acting in music of the night played Christine with so much curiosity she was just fascinated by the phantom, her facial expressions and again so elegant in the way she moved!

The unmasking again just great acting and she held the note when singing “who’s is that face in the shadows…who’s is that face in the maaaaask” tiny detail that I LOVED

In the rooftop she was not having any of Raoul’s BS she completely stood on her own and almost seemed to be like well if you don’t believe me see ya later!

All I ask of you was brilliant! Again their chemistry was so palpable one of my fave performances I’ve seen of that song!

Masquerade again her little acting choices were so solid it was as if she was searching for the phantom in the crowd! Notes/managers 2 she stood up to Carlotta really strongly and when she got to Twisted every way you could see her Christine totally break down like she had nothing left to give, truly wonderful poignant acting choices!

Her wishing was SOOOO GOOD she relied a little more on her belt which I imagine she’ll get more into the soprano side further into her run but for her 3rd ever show an absolute acting masterclass!

In PONR she was stunning! When she knew it was the phantom it was almost rage coming out in her singing like she was so over his nonsense lol

NOW…..the final lair…..WOW

She was inCREDible!!! Again a lot of belt but it worked so so well for her portrayal of Christine she really held her own here I was blown away! I got that Chumisa rn is more of a Raoul Christine as opposed to Lily who’s the polar opposite so a really lovely change!

Overall for her 3rd show as Christine I see Chumisa being a fan favourite, so much charisma and charm in her Christine and vocally was beautiful and will only get better! All 4 London Christine’s are top of their game we’re truly spoiled!

Costume notes:

- Her wig texture and style was stunning I just wish they’d add a bit more hair to make it a bit fluffier.

- Her Elissa Skirt is like Anouk’s one so no big bow in the back and gold appliqué round the fake bodice.

- Lovely mint bow in her hair for Il muto and I’m not a massive costume buff however her rooftop dress looked different and I can’t pinpoint why?

- Her masquerade dress was slightly better than Lily’s the bodice was perfectly fit and adequately beaded and the skirt had a lovely shape! West end star princess’ are just not my fave tbh!

- Her wishing dress was like the original production ones with the waterfall drape which was interesting I wonder if that will change

[cdaae]

The more I hear about this production the more fascinated I am

2004 style unmasking- he knows she’s there, she cups his face, she rips it off

Firmin wears a dress in masquerade

He blows out a candle in her face which makes her faint

Instead of il Muto shadows the phantom swings on a rope from one side of the stage to the other

The red death is a cloak and the people surround it, pull the cloak away, and he’s just gone

There’s ramin-isms: Christine choking, strongER yet, covering the monkeys face at the end

[glassprism]

I'm making a quiz in Phantom and want to make a question about the minor characters played by the ensemble, like the monkey in Masquerade, and the Confidante in Il Muto. I'd like to ask if you happen to have made a list of them or seen one before (It doesn't need to include all of them). I can't find much information on Google. Thanks in advance.

Well, the thing about ensemble actors is that they're playing multiple characters throughout the show, it's not like a principal role where it's one-and-done. (So for example, the Christine understudy typically plays the Hannibal princess, the Mirror Bride, the Triangle Girl, a lady during the rehearsal scene, and perhaps a lady or page in Don Juan Triumphant.) Playbills and programs and the like will often list one or two of those roles, but not all of them. Many of them also don't have individual lines, they sing as a chorus, but if you want to include them (and you seem to since you include the Monkey as an example), you are essentially asking someone to look through the musical and list every character that shows up in the show that isn't a principal or supporting character. No wonder Google isn't going to help you!

But I can make an attempt, I suppose. Here's a not that complete listing of minor characters in most scenes in Phantom, gathered by looking at the libretto, programs, an archived version of Operafantomet's costume site, and of course, various bootlegs of the show itself, mainly sticking to the replica, as characters will vary across different productions and eliminating repeats (e.g. Buquet shows up in three scenes but I only put him in his first):

Auction Auctioneer Porters Auction guests Raoul's nurse

Hannibal Lefevre Reyer Buquet Princesses Slave master Slave girls Lion man Wild woman Soldiers Gollywog (now removed) Stage hand Wardrobe mistress

Dressing Room Conductor Servants with flowers Degas ballerinas Madame Firmin Madame Andre (only in the 25th) Mirror Bride

Il Muto Don Attilio Confidante Hairdresser Jeweler Jeweler's maid (played by Meg) Pageboy (played by Christine) Shepherd Sylphides

Masquerade Solo male dancer (only in the 25th) Drummer Triangle girl Monkey Rigoletto Man/woman Mandarin man Triton Butterfly girl Flower girl Fish girl Gibson girl "Gypsy" girl Hula girl Bonbon Gauloise Bo Peep Autumn lady Green and gold lady Rococo lady Fan lady African man Tweedledum Bacchus Buccaneer Executioner Snow Lady The domino The clown Bee woman (later addition) Various dummies

Don Juan Rehearsal Laughing man Rehearsal men Rehearsal women

Don Juan Triumphant Police chief Marksman Policemen Firemen Lamp lighter Donna (played by Carlotta) Spanish ladies Innkeeper Innkeeper's wife (sometimes Carlotta?) Page Monk Pipe smoker "Gypsy" (played by Meg) Passarino

Final Lair Rat catcher Members of the mob

[rainofaugustsith]

I really wonder if the Conservative Americans (tm) banning drag shows and "impersonators" even think for a moment about all the times that characters/actors playing a different gender are part of what is considered wholesome family entertainment and has been for a good century or more. It's only when it's a drag show or LGBT+ that it's somehow harmful which is so damned interesting, eh? A ban on "impersonators" (either by performing as a different gender or wearing gender nonconforming clothing) bans classic theater that is considered perfectly fine for under-18 year olds to see and even act in: 1. The Nutcracker ballet (Mother Ginger) 2. The Phantom of the Opera musical (Christine during Il Muto) 3. Chicago (Mary Sunshine) 4. Twelfth Night, Two Gentlemen of Verona and a bunch of other Shakespeare plays (female characters dress as and impersonate men) 5. Any ancient Greek play performed traditionally (the actors were men) 6. Any Shakespeare/Elizabethan play performed traditionally (the actors were men and boys) 7. Gypsy musical (Baby Louise dresses as a boy in her numbers) 8. Les Miserables musical (Gavroche is sometimes understudied and performed by the girls who play young Cosette/Eponine; there are at least two women actors dressed in the same clothes as the men on the barricades) 9. The Vampire Lestat musical (Gabrielle) 10. La Cage Aux Folles 11. Victor/Victoria (title character is a woman playing a man playing a woman) 12. Rent (Angel) 13. Miss Saigon (Tam has been played by both girls and boys even though the character is male) 14. West Side Story (Anybodys) 15. Cabaret (the Emcee possibly) Others?

[lucygold95]

Christine understudy 권가민[Kwon Ga-min] as serafimo. (+ 손지수's new Serafimo photo.)

2023 May 10(Cover dress rehearsal)

I'm quite lazy, posting May pictures now.

#Similar but different pictures

+손지수 and 송은혜 as serafimo.

++손지수's serafimo photo from POTO Korea 2nd revival's 4th(...) program book.

[marleneoftheopera]

I keep trying to give the restaged a chance, as I fear we'll lose the original staging forever. I try to find some good things about it, but what happened to the bond between Christine and the Phantom? It could even be the same actor of original staging who had so much compassion in original staging, but in restaged it's removed. He doesn't even take her by the hand as they travel down to his lair. The horrible MOTN just makes me wanna cry. Can you find some good things about it?

I hear ya, in an effort to be "more realistic" it kind of took away a lot of the romance and compassion. It's almost like you can't tell a more grounded version of the story and also include realistic emotions and feelings! I think a lot of it has to do with the choreography. Christine always breaking away from the Phantom and Raoul and the added aggression and violence end up translating to how we view the characters. Often times I think Raoul pushing the Phantom up against the wall in Wandering Child is the closest we ever see the trio together!

But... I did also see the tour five times when it came to my city. Part of that was the fact that a tour hadn't stopped by in about 8 years. But if I had to put some good things about it that I did actually enjoy they would be:

The cobweb look in the Auction and removal of it in the Overture.

The Overture showing the ghosts coming back from Raoul's mind. A cool visualization that we are very likely seeing the show in flashback from his POV.

The monkey music box, specifically because the way it opened reminded me of the Vegas mirror.

The Megstine hug in Angel of Music, which has made its way to the replica productions. Something new I actually like!

Degas poses backstage. And them clapping for Christine when she comes to the dressing room.

The staircase with the stairs magically going in and out. That and how big and imposing the wall looks was really cool to watch live.

This is specific to Australia, but when Josh picks up Amy and they look at one another... I'm a sucker for it. What can I say?

Specific to the UK Tour. When the Phantom reaches for his mask Christine stopped him and then handed it to him herself.

The comedic bits (Il Muto, managers, etc.) were done well.

Proscenium actually looking like it's falling apart during the chandelier crash.

I am a bit up and back on it but there is something about Christine leaving the ring at the end. Depending on the Phantom you don't quite know if he really knew she was there or not.

The disappear at the end is pretty good.

The US especially had some really diverse casts. Love to see it.

[rose-margaritas]

A First-Timer’s Thoughts on the January 27th Performance of Phantom of the Opera (The Day After 35th Anniversary)

The main trio I saw was Paul A. Schaefer, Emilie Kouatchou, and Bronson Norris Murphy (!!!)

I originally thought that I would be seeing Ben Crawford as the Phantom and John Riddle as Raoul, so I literally squealed when I saw the updated cast.

I don’t know if it’s because I’m finally seeing this in real life or have seen the show online way too many times, but I was focusing on the background characters more than the main ones.

During the Hannibal rehearsal, I saw Mme. Giry fixing Meg’s posture all the way to the left of the stage, and later the slave master practicing (or flirting?) with another slave girl to the right back of the stage.

Raquel Suarez Groen is such a wonderful Carlotta, as always (Carlotta my beloved 💕)

There were quite a few Reyer/Christine moments, with one being him kissing the back of Christine’s hand after her performance.

The tight, squeeze hug between Meg and Christine in the dressing room was so cute!

Meg mumbling “Rehearsals… always rehearsals…!” as she stormed out the dressing room was adorable! (Can you tell that I love Meg?)

Paul’s Phantom was actually pretty good. The unmoving arms during MotN though… he just doesn’t have the grace that people would expect of the Phantom.

Paul’s got the creep crawl during STYDI, it was fast too.

During Prima Donna, Firmin gave a rather firm tap on Carlotta’s shoulder, and she leaned father away from him and closer to André afterwards, while giving Firmin wary looks.

Sassy Piangi for the win.

I never knew that the Phantom’s voice floats around the back of the theatre when they’re reading his note! It was such a wonderful experience, and I was actually looking around the theatre, following his voice lol.

Paul’s laugh was sort of… lackluster during Il Muto

Nehal Joshi is the best. André. Ever. His shrill calls for the ballet and his prolonged presence on the stage with the ballet dancers was so entertaining.

The Shepherd and the ballerinas deserve a medal for giving such a funny performance without muttering a single word.

Bronson’s Raoul looked like he genuinely believed in Christine’s fear for the Phantom. He was quite diligent when he looked around for the voice 🤭

Bronson grinning and spinning with his arms wide open during AIAOY was so cute!!!!!

He also spun Emilie around so many times that I lost count! Truthfully, he’s the first Raoul that made me genuinely ship R/C, and that’s saying something coming from someone who’s a hardcore E/C shipper.

I never noticed that the angels lower from the top of the frame for the AIAOY reprise, and I was slightly shocked to see Paul appear from it too (I don’t know what I was expecting honestly).

During Masquerade, the mannequin with the wings and a leg up the railing kept stealing my attention >:(

Piangi and Carlotta flipping the Opera score upside down and then back, trying to understand what they were looking at during Notes II.

Piangi subtly showing Christine where they are in the score always warms my heart!

Not Reyer clapping first and then saying that Piangi was wrong.

Paul sat so still during PONR that it made me wonder if he was simply a statue.

There were so many Raoul/Mme. Giry moments! During Notes/Prima Donna, after Masquerade, and the descent to the Lair.

Poor Barb suffered two concussions. One from hitting the edge of the stage frame, another from hitting the ground.

Paul’s “You. Try. My. Patience.” was so powerful and ferocious! Good job Paul! (I felt that he may have been saving his energy for the second act)

Raoul tried to look away from the kiss? Not sure.

Still not very used to the way they’re getting the lasso off now, but the sound Bronson emitted when the lasso was loosened definitely made up for it 🫣

The audience that night was a jovial bunch. They were incredibly responsive and laughed and clapped at all the right moments. I felt that this group were mainly people who wanted to experience the show again before it closes. I also chatted with some of the audience members at the stage door, and they were all so nice! They warmed the heart of an incredibly reclusive introvert. 🤗

If any of you guys want to see clips from that night, @symphony-in-a is currently posting them here on tumblr!

[theheadlessgroom]

https://beatingheart-bride.tumblr.com/post/714272738944155648/beatingheart-bride-theheadlessgroom

@beatingheart-bride

The opera went off without a hitch for its two first acts: No disembodied voices echoing around the auditorium (nor did the new chandelier, installed at the beginning of the year, rattle precariously above the audience’s heads; the police took great care to put men up near it, lest they have a repeat of Il Muto’s curtain call), no rats raining from the rafters, not even a whisper of a ghost being around. There was still tension felt among the cast, the crew, and the managers, but so far, all had gone well.

And all continued to go well as the third act began, as the Don, draped in a hooded black cloak, sought to seduce the beautiful Aminta, exuding confidence from his anonymity-at least, until Aminta herself proved to be just as bound and determined to seduce her mystery suitor, taking her would-be lover by surprise with her forward flirtations, as they together approached The Point of No Return.

Randall gulped from behind the veil as he watched Emily skip out onto the stage, singing cheerfully as she flounced around, spritely and light-footed (a small showcase of her dancing talents as well as her vocal ones): Truly, she was beautiful in the peachy tones of Aminta’s dress, evoking spring-turning-summer (especially with a rose blooming in her blonde locks), with her tall black boots and black trim of her gown hinting at a mature streak many often overlooked. She was everything he dreamed of in the role and more.

Am I a fool? he thought to himself as he watched her, preparing for their long-awaited duet: Was this even a good idea, putting himself out onstage in front of an ocean of people, right under the noses of the police? Should he have just stayed in the attic like Emily suggested in her letter? An uncertainty began to creep into his gut...

…but as soon as Emily looked at him, and he began to sing, none of that mattered to him now, as he found himself melting effortlessly into the role of Don Juan, just as she had so beautifully melted into the role of Aminta. To be quite honest, the title character was the only one he hadn’t made any casting suggestions for in the libretto, as a part of him had always longed to play it himself. He never, ever imagined that he ever would, granted, and yet...here he was: Singing for a captivated audience with his angel.

And right under Morgan’s nose too! he thought delightedly, catching a glimpse of the pianist in the pit as he turned all of his focus on Emily and their performance.

[herstoriies]

92. one muse wears piece of clothing or jewelry that belongs to the other / bc i think the divas should get to play around in their compiled clothes and costumes and have fun!!

100 INDULGENT TROPES - accepting!

An unanticipated afternoon off from canceled rehearsals (courtesy of one opera ghost) turned to unexpected fun with Priscilla & Christine deciding to revisit the childhood fun of 'dress-up'. A long-lost game to childhood memory neither had really experienced, so it was time to make up for lost time. And this time, they had professionally sewn costumes, makeup, and accessories at their accessibility!

Before long the dressing room and Dresses, stockings, lace, and shoes scattered across every surface as the two giggled without ceasing.

At her own insistence, Priscilla had aided Christine into some 18th-century stays and paniers and of course, the lavish pink robe a la francaise, to be the Countess from Il Muto (the opera whose rehearsal was canceled!), complete with powder, wig, and lavish jewels.

"Utterly marvelous you look, Christine! Naturally, you'd make a perfect Countess!"

Satisfied with her handiwork, Priscilla nodded, then co-admired herself in the large mirror, twirling around and watching the tutu swirl around her. It was the first time she ever wore a tutu, or pointe shoes. So this is what it is to be a ballerina! Yet how Christine had managed to pull her untamable curls into such a neat ballet bun complete with silk flowers and ribbons was beyond her!

"And look!" she was only too eager to remark, extending her leg in some attempt of a ballet pose, "The only time a lady's ankles can be on full display and no one flutters an eyelash!"

@mlledaae

[britishchick09]

rewrite coincidences!

david bischoff's poto having 1888 as its year

christine graduating the conservatory the same year erik satie went in

victorien sardou writing 'il muto' and the fedora sarah bernhardt play

the mini series logo having the same font as rewrite erik's handwriting

a mobile game using that font for raoul's handwriting

holly anne hull's ultimate christine certificate being in rewrite christine's handwriting

a palais garnier plan having eerily similar handwriting to rewrite christine's! :o

daddy daae's favorite flower having an alternate name that references nadir

rebecca luker's tenure as christine being 100 years after the rewrite's time

the rewrite trap door being in the irl palais garnier!

listz, one of rewrite erik's favorite composers, having marfan's syndrome just like him

'angel's mask' christine's flat being where the rewrite giry flat was originally going to be

pozzi, a prominent intersex researcher, having a relationship with sarah bernhardt

a letterboxd reviewer for the herculine barbin movie having the first name of erik

a random girl in the herculine movie having rewrite erik's color scheme of black and dark red

herculine barbin, an intersex person with raven locks, having a blonde gf

rue des iris, the street rewrite erik was born on, having an eerily similar name to dies irae, a creepy song from the original book

the website for the old de chagny mansion being called christie, aka raoul's aunt's nickname for christine

‘par le rang et par l'opulence’ being sung in the rewrite and at her majesty's theater aka the west end home of poto

the 'don juan' rehearsals lasting 9 days and the 'ghost on the roof' training montage starting on day 9

me thinking that it would be neat if christine saw mr. e after turning around... and that phrase from the title song appearing right after i thought it!

rewrite erik's epilogue outhit being exactly like the valets in 'family guy'

original book erik having a nearly 4 octave vocal range just like rewrite eristine

rouletabilie playing raoul in a comic... and he's friends with raoul in the rewrite!

buquet appearing on page 13 in the rewrite and original book

the french translator for 'der vampyr' being buried in pere lachaise cemetery aka the original daddy daae cemetery

laura ingalls being a year younger than raoulstine and almanzo being a year older than erik

fanny heldy, the singer who owned christine's dressing room irl, being born in 1888

edmond rostand, a guy who has a library in paris, wrote a 'don juan' play

the mystery gate on rue scribe being in the original book

'un ballo in maschera' having a ton of references with the number 13 and the king being called gustavo nearly like daddy daae

a leggero tenor role called nadir! :D

thinking of an 8 part rewrite mini series... and the chapters splitting up into 8 parts!

visiting the rewrite doc 1888 times on my old drive

WHATEVER THE FRICK 'GHOST' ERIK'S FACE IS???

bonus general poto coincidences:

a sarah bernhardt program having the names weber, carlotta, pauline (christine's prototype name) and christina nilsson

fnac, a store kobo partners with, having a store near palais garnier

coincidences i've discovered since making this post!:

a poto manga using box 3 as box 5

madeleine's actual last name, destin, originating in berry, a town from george sand's 'valentine', which her kid reads years later

erik's babyhood home being located in la carriere, aka part of his last name! (this was found before the post and i forgot to add it!)

st. george's abbey having a raoul with either 'de' or 'cha' in their last names