#poto las vegas

[jennyfair7]

YOU GUYS.

SHUT.

UP.

AAAAAAH

[marleneoftheopera]

Scott Watanabe as Don Attilio. He was in the LA, Broadway, Toronto, and Vegas productions between 1991 and 2007. With Diana (Wong) Kaarina as Meg.

[night-unfurls-its-splendour]

Anthony Crivello and the Chin Tap (TM)

First Lair

Final Lair

[phangirllnd]

"When your underground boyfriend throws you on the ground like trash when his real girlfriend arrives."

Caption this face! Las Vegas Christine mannequin on ebay. (x)

[reddesertbiohazard]

Tips To Hire The Best Crime Scene Cleaning Company in Poto, UT and Las Vegas, NV

Continuing to live in the same home that has turned into a crime scene can be scary and worrisome at the same time. True, one has to cooperate with the law enforcement authorities and investigation teams that arrive with special equipment. But expecting them to clean up after the investigators depart with the body would be a mistake. Instead, one must contact a crime scene cleaning company in Poto, UT, and Las Vegas, NV, that is reputed to provide excellent services.

It is important to remember that one needs to hire a credible company, not a wannabe expert who has previously been a janitor. While an occupant of the home or a victim's family member is not expected to understand all nuances, engaging the right company for the cleanup is a necessity that cannot be ignored.

One of the best ways to ensure proper services is to make inquiries. Surprisingly, the local authorities are not opposed to providing guidance either. The following instructions must be followed to a T to ensure proper cleaning, sanitization, and deodorization of the crime scene that does not remind the family members of the horrific incident anymore.

· Efficiency- The cleanup must be done speedily and thoroughly to ensure the well-being of the occupants left behind. Remembering that a crime scene may have blood spills, bodily fluids, and remnants of tissue on the floor and nearby surfaces is vital. Having a cleanup team with the right cleaning equipment and products helps keep biohazards away. Moreover, asking around may help a person locate an empathetic company that includes technicians who are compassionate and understanding of the tragic circumstance

· Specialization- Many companies claim to be experts in cleaning up such scenes. One has to take such tall claims with a pinch of salt, though. Cleaning up a crime scene requires special expertise and knowledge about pathogens. Removal of biohazards is a top priority here. Identifying hazardous items and disposing of them per the standards takes precedence, too.

· Accreditation- Word of mouth is insufficient proof to engage a company for such sensitive cleanup. It is essential to make inquiries about their expertise and request their credentials before making the final decision in their favor. Following the mandate of EPA & OSHA is a necessity that should not be overlooked either. Moreover, it would help one’s cause to ask about the following certifications:

· API Worksafe certification

· Crime Scene Cleanup license

· Decontamination certification from AMDECON

· IICRC certification for Odor control

· OSHA specialists tested the Code of Safe Practices

Experience is paramount, as one cannot trust a newcomer to clean immaculately without violating the standards. The chosen crime scene cleaner in North Las Vegas and Las Vegas, NV, should be equipped with the right training and knowledgeable about the practices used to ensure the safety of the other cleaners and customers.

[operafantomet]

Just saw phantom live at west end and wow! The sets were big! Now I wonder if other replicas had bigger sets.

For a second I read that as "West End Live", AKA the annual concert thingie with led screens... And I was like HUH?

Then I understood what you meant. Heh.

First and foremost, I am so happy you had a good time at POTO. It is a beautiful show. I am a huge fan of Maria Bjørnson's set and costume design, and still today - some 30 years after I became a fan - I can be utterly floored by certain scenes.

As far as set size goes West End is actually one of the smaller. Not SMALL, but smaller. Some of the biggest to date include (in no particular order):

The Las Vegas production 2006-2012, with its especially-built theatre with gigantic stage, dome, and "chandelier in pieces". Huge production, larger-than-life details.

The original Hamburg production 1990-2001. Another theatre built to house Phantom (and today one of the top musical theatre buildings in Germany). Extremely wide stage, to the point where Maria Bjørnson was not entirely happy with the proscenium layout. It didn't blend as well as elsewhere. In some scenes it also felt like the cast literally had to run across stage to get into position in time. Oh Hamburg. Needless to say, they narrowed the stage for the revival 2013-2015.

The Stuttgart production 2002-2004 also featured a big stage. I can't tell if it was bigger than Neue Flora in Hamburg or not, but it was in the same vein.

Oh! But also the original Los Angeles production (1989-1993). Massive proscenium and stage. And yet I don't have a single good photo showing the proscenium or its scale. Hmpf.

I would also mention the World Tour, which has toured in at times huge arenas. It didn't necessarily make the proscenium bigger, but they sometimes did the extended side sculpture look, where there is a drape structure under the sculptures. This was the case when I saw the show in the fairly brand new Zorlu Theatre in Istanbul 2015:

This could even be considered one of the smaller World Tour stages. In other cases they've been in huge operas or also arenas. Again, it doesn't necessarily mean the set-up on stage is bigger, but it does something with the overall scale. Here's Hong Kong 2014:

Compared to these Her Majesty's Theatre is way more intimate, both in Maria Bjørnson's original proscenium design and chandelier:

And the new wider and angel-less design for the revival:

Just to continue showing the range of set-ups... I suspect one of the smallest stages they've performed the show has been in Copenhagen. The stage is tall, but narrow, and quite cramped backstage. They were originally told no when they wanted to do the show, due to the backstage and understage space. But they came up with lots of methods to make sets foldable, collapable or deconstructable, and hoisting furniture and set pieces up in the air. And they made it work. Very well! But this production didn't feature any side sculptures, just like the riginal Stockholm production where they got the sets from, to not obstruct side view of the already narrow stage.

Now compare those proportions (and especially the Golden Angel, which I don't think differ a lot in size between productions) to the Las Vegas stage... quite the difference, both with and without the side boxes in the auditorium.

...and that has been today's proscenium and stage nerding... Hah!

[glassprism]

I'm curious about your assessment of the impacts of the cuts made in the Las Vegas POTO production.

I suppose my overall assessment is that I never really get used to them, especially because I'm so used to the show as it is, but I understand why it was done, and I think they masked the transition between Act I and Act II fairly well. I do think it could have been done better in some areas - Act II, already the shorter act to begin with, really feels chopped to pieces in the Las Vegas version, and I think it would have been far better to chop off part of 'Think of Me' instead of 'Point of No Return' (and 'Think of Me' is my favorite song, so you know I'm being serious here).

But you know what, in return for the cuts, we get a bigger, bolder, more bombastic, and legitimately spectacular version of the show, so I feel like the trade is more than equal!

[x-or-officiel]

Tu connais le XboxSpace ?

Aujourd’hui, je vais faire un peu de promo pour les potos du bar XboxSpace (en fait c’est un space sur TwitterX qui parle de jeux vidéo, mais allez savoir pourquoi, ils ont décidé d’en faire un bar très rapidement après mon départ). Le concept est simple, réunir les passionnés de gaming chaque mardi à 21 heures et le vendredi à 19 heures pour discuter des dernières sorties et de l’actualité du moment. Débats, discussions enflammées et parfois mauvaise foi sont au programme, mais toujours dans le respect, la joie et la bonne humeur. Animé par quatre éphèbes de bonne famille, que je vais vous présenter dans un instant, le bar XboxSpace est un lieu d’échange fantastique dont les rediffusions sont disponibles également en podcast. Que vous soyez un nolife enfermé dans une cave ou bien un érudit de la manette, vous êtes tous les bienvenus dans ce troquet du web, autant pour participer à la conversation que pour tout simplement écouter et commenter en direct. Allez, trêve de bavardages, laissez moi vous présenter nos quatre compères.

Frank alias @LiveAtenium

Ancien top model (oui il est très beau) et actuelle égérie de la marque de charcuterie Monique Ranou, Frank a commencé à s’intéresser aux jeux vidéo à l’age de 3 ans, juste après avoir connu des démêlés avec la justice pour organisation de courses urbaines. Une fois revenu sur le droit chemin, il eut une apparition de la princesse Peach un soir d’été, alors qu’il travaillait sur la résolution du mystère du triangle des Bermudes, qui lui suggéra de se lancer dans une carrière de ventriloque chaussettier (oui la marionnette est une chaussette). Depuis ce jour Frank travaille avec acharnement à peaufiner son personnage et parcours les plus grands cabarets du monde. Entre deux vols pour Las Vegas (il a fait les premières parties de Céline Dion) ou durant ses vacances dans sa maison secondaire de Vesoul, il pratique avec ardeur sa passion du gaming sur sa Xbox collector Taylor Swift edition.

Jérémy alias @djedi62

Alors qu’il n’a encore que 24 ans, Jérémy découvre une étrange partie de son anatomie, lors d’une douche, son pouce. Intrigué par cet outil incroyablement flexible, il décide de se lancer dans une carrière d’auto-stoppeur devant le rayon “produits asiatiques” de l’Intermarché de Cahors. Malgré sa bonne volonté, l’aventure est de courte durée, il n’arriva à se faire déposer en caddie que jusqu’au rayon multimédia. Mais un mal cachant souvent un bien, il découvre avec émerveillement sa première console Xbox, machine ingénieuse équipée d’une manette, qui lui permettra à l’avenir d’utiliser ce fameux pouce. Depuis ce jour, Jérémy dédie sa vie au gaming sur sa chaîne YouTube en streamant comment mourir dans un jeu en moins de 5 minutes. Il a récemment participé à une émission télévisée chinoise (Pousse-pousse), en tant que spécialiste culinaire.

Sofiane alias @gamemovieshow

Titulaire d’un diplôme de karatayyy, Sofiane a commencé sa carrière en tant que concepteur de salles de repos chez Ikea, pour permettre aux clients perdus et abattus de pouvoir se reposer entre deux tentatives de trouver la sortie des magasins suédois. Après une rencontre décisive avec Jean-Claude Van Damme, au championnat du monde de pêche au canard de Villebon-sur-Yvette, ce dernier décide de le prendre sous son aile. Après des mois d’entrainement, Sofiane est embauché au Paris Saint Germain, club de football qu’il affectionne, comme trancheur de citrons à la main sur planches de casse. C’est en traînant avec les stars du club durant les déplacements en bus, qu’il découvre le jeu FIFA et par la même, les jeux vidéos. Electronic Arts lui a d’ailleurs rendu hommage dans son dernier jeu récemment, en l’intégrant au bord du terrain avec ses agrumes.

Bernard alias @MaxiKagemusha

Bernard découvre les jeux vidéo très tôt, alors qu’il s’amuse à enfoncer ses doigts dans la prise électrique de sa chambre, une étincelle jaillit de son cerveau, il doit se rendre en Colombie afin de rencontrer un certain Pablo. Après, plusieurs heures de vol et une pause twix au chocolat au lait (et non pas cette abomination au chocolat blanc), il se retrouve dans les rues de Medellin, à la recherche dudit personnage. Ce n’est que quelques jours plus tard, qu’il fera la rencontre de Maria, son actuelle femme, qui lui propose de faire passer des Game Boy Color particulièrement lourdes de Medellin vers Paris. Amoureux et intrigué par ces petites machines amusantes, Bernard accepte et profite du vol retour pour jouer à Tetris sur l’une des machines qu’il transporte. Depuis ce jour, il n’a cessé de jouer aux jeux vidéo et continue ses trajets régulièrement avec de nouvelles consoles. Sa femme, Maria, a reçu de la part d’Emmanuel Macron, la légion d’honneur pour services rendus à la patrie en 2019.

Rendez-vous chaque mardi et vendredi pour faire leur connaissance !

[wheel-of-fish]

How does the Las Vegas phantom dangle from the chandelier? Suspension of disbelief

According to the information submitted to me previously, a stuntman squeezes in through the top of the chandelier and drops out the bottom in a harness!

[toru771]

Much earlier than yesterday (back in March, in fact), I got a souvenir from the Las Vegas Spectacular! Many thanks to Courtney Combs, who was the dance captain in that company I still remember fondly. 😊

[lot666achandelierinpieces]

Quarantine Phantom Gifting and Discussion.

Greetings, all.

I hope everyone is staying safe during this terrible time. I thought perhaps I might do some gifting. I am more of an archivist than a trader, but I am the master of many Phantom audios. Older casts are my specialty as I have seen the show many times and in many different places over many years. So, without further ado, I’m going to start with the first one. If you download anything I gift, please be a darling and write your thoughts on the performance, performers. I’d love to talk about this with all of you! | The Phantom of The Opera (Original Swedish Cast) https://mega.nz/file/61lmzYrL#44YTIFtUH9o5frE9rJuVJn0NwgCzqWQXFW4Yl7a11ZU This is a fresh rip from a CD copy owned by yours truly.

****

Phantom - Las Vegas (May 31, 2012) - MaskedLion's Master Anthony Crivello, Kristen Hertzenberg,  Patrick Leveque (u/s), Joan Sobel, Lawson Skala, John Leslie Wolfe, Tina Walsh, Larry Wayne  Morbitt, Brianne Kelly Morgan Glitch with the portcullis caused a delay during the 'Final Lair' scene. https://mega.nz/file/2sdkhKBT#0yFdFLVFujwXfNTTEgP0R4gjBIcVDmI9ZyizLaRlZdA

Anthony Crivello, Kristen Hertzenberg,  Patrick Leveque (u/s), Danielle White (u/s), Lawson Skala, John Leslie Wolfe, Tina Walsh, Larry  Wayne Morbitt, Brianne Kelly Morgan May 30, 2012; Las Vegas Glitch with chandelier caused a delay between the 'Overture' and Hannibal. * Honestly one of the best performances of the show I ever saw, with my favorite Carlotta, Phantom and Christine on!

https://mega.nz/file/6sNnwKyR#aJonftGN0A33qsZA_OC_kTP8P9TLDV47Mt1SP88QRKk

[marleneoftheopera]

WHAT??!! So cool!!

[night-unfurls-its-splendour]

PotO Gifsets Masterpost Vol. I

A masterlist of gifsets I've made from various performances I've watched.

Ian Jon Bourg & Olivia Safe w. Kyle Gonyea (Hamburg, 2001)

Michael Crawford & Sarah Brightman w. Steve Barton (Broadway, 1988)

Gary Mauer x Beth Southard (Dallas, 2006)

The First Lair

Point of no Return

Final Lair

Earl Carpenter & Rachel Barrell (West End, 2006)

The Phantom of the Opera

Music of the Night

Stranger Than You Dreamt It

Point of no Return

Final Lair Kiss

John Owen Jones & Rachel Barrell (West End, 2005)

Music of the Night

Point of No Return

Final Lair Kiss

John Owen Jones & Gina Beck (West End)

Music of the Night

Anthony Crivello & Kristie Holden (Las Vegas, 2008)

Phantom of the Opera

Music of the Night

Stranger Than You Dreamt It

Point of No Return: Part I

Point of No Return: Part II

The Final Lair: Part I

The Final Lair: Part II

Tomas Ambt Kofod & Sibylle Glosted (Copenhagen, March 2019)

Little Lotte (w. Christian Lund): Part I

Little Lotte: Part II

The Mirror: Part I

The Mirror: Part II

The Phantom of the Opera: Part I

The Phantom of the Opera: Part II

Music of the Night: Part I

Music of the Night: Part II

I Remember...: Part I

I Remember...: Part II

Stranger Than You Dreamt It: Part I

Stranger Than You Dreamt It: Part II

The Rooftop: Part I

The Rooftop: Part II

All I Ask of You: Part I

All I Ask of You: Part II

All I Ask of You: Part III

All I Ask of You: Part IV

Masquerade: Part I

Masquerade: Part II

Masquerade: Part III

Why So Silent?

Point of No Return: Part I

Point of No Return: Part II

Point of No Return: Part III

Point of No Return: Part IV

Point of No Return: Part V

Act II Unmasking

Final Lair: Part I

Final Lair: Part II

Final Lair: Part III

Final Lair: Part IV (The Kiss)

Final Lair: Part V

Final Lair: Part VI

Final Lair: Part VII

Michael Crawford & Dale Kristien (Broadway, 1988)

First Lair

Point of No Return

Michael Crawford & Dale Kristien (LA, 1988)

Music of the Night

Point of No Return

Thomas James O'Leary & Sandra Joseph (Broadway, 1996)

The Phantom of the Opera

Music of the Night

Point of No Return

Final Lair Kiss

Hugh Panaro & Samantha Hill (Broadway, 2011)

The Mirror

Phantom of the Opera

Music of the Night

Point of No Return

Final Lair Kiss

[tookmyflight]

Us (2019, dir. Jordan Peele)

[br0adwaybaby]

100 days of poto // (77/100)

‘In the vanity’ week

Elizabeth Loyacano, Las Vegas

[operafantomet]

Do we know how many (and if so, which) casts Gillian Lynne personally taught outside of the original London and Bway companies?

That is a good question, and something I have paid too little attention to. My GUESS is that she was at all the original / early productions, if only for a day. She would also have trained the associate and / or resident choreographer for the production.

So yes, she would have instructed the original and many later West End and Broadway casts, as seen here with Sarah Brightman:

Then the early productions around the world - I assume both Tokyo, Stockholm, Toronto, Vienna, Hamburg etc. Here she is with Marina Prior (Christine) in Melbourne:

And probably the US sit-down productions and tours. Here with Davis Gaines (Phantom), Lisa Vroman (Christine), Raymond Saar (Raoul) and Hal Prince (director) for the San Francisco production:

I also think she adored Sierra Boggess, cause she was present and working whenever Sierra Boggess was present... For Las Vegas:

...for the RAH celebrations...

...and for Paris...

(Sierra Boggess has also addressed that they had very good chemistry, and that she learned a lot from Gillian Lynne)

But I also know Denny Berry (original swing on Broadway, and later associate choreographer and production dance supervisor) has had a lot of responsibility in keeping Gillian Lynne's original vision alive. She has worked with POTO on four continents according to her own bio, in the US, in Hamburg, Sao Paulo, Buenos Aires, Cape Town, World Tour, Australia etc. In an interview in 2016 she said that "The detail in choreographer Gillian Lynne’s movement is well-known. And those of us who must pass it on, never, ever forget the beats and the meanings of every count.” Denny Berry was also married to Steve Barton, original Raoul, which makes the link to the original staging extra strong. Here's a photo of her rehearsing the Oberhausen cast, with Elizabeth Welch in the middle (Masquerade):

And one from Hamburg, with Rachel Anne Moore as Elissa / Carlotta (Hannibal):

Another original Corps de Ballet, Patricia Merrin who was in the original West End cast, has also worked as associate choreographer on Phantom and kept an eye on many a production, in Stockholm, Copenhagen, Moscow, the World Tour etc. Here she is in Cape Town, instructing Cat Lane and the Corps de Ballet there:

And for no reason at all, two bonus photos of Gillian Lynne on stage, just because. One is with Andrew Lloyd Webber and Zoë Curlett during the curtain call in West End:

And another with Hugh Panaro on Broadway: