Since PotO project I was working on was going to be very set design/ background heavy project with so many characters. I had to cut down the time I spend on the characters. So I didn’t really get to experimenting their interactions as much as I did in Monkey King. Hopefully I can elaborate more when I’m uploading process sketches of these three:)
Sketch showing a Masquerade in the Palais Garnier main auditorium. The seats has either been removed or had a floor built over them (I suspect the latter, judging from the height from floor to boxes) to turn it into a giant dance hall. The sketch was photographed/scanned by Roger-Viollet,
and that photo was in turn printed in George Perry’s “Complete POTO”
book from 1987 (page 16).
It’s also clear Maria Bjørnson used this as part of her inspiration for costumes; at least three made it into her own designs, most prominent being the African tribe man in front.
I giggled a bit about the Phantom getting his box occupied like that. If I’ve understood it correctly, box 5 would be the one where the clown is standing on the rail, one floor up, looking into the grander box next door.
I probably have done more sketches for him compared to the other characters (omg and these sketches are so old!). I originally wanted to give him more of a ‘serpent’ look with lots of curves and Jafar+Al Hirschfeld hand. Soon I noticed it was hard to define his design next to Raoul, who had lots of round lines. So in order to emphasize the ‘sinister’ side of my version of the Phantom, I gave him more straight lines with skinny, clean cut body shape. Everything will fit perfectly on him (which made me change his ascot design too later) since he is a perfectionist, who can’t stand the fact that half of his face is ‘imperfect’.
“Phantom of the Opera Resort” Christopher Smith, 1990s
The iconic resorts that line the Las Vegas strip are mini theme parks in their own right, whether they’re themed as a medieval castle, an Italian lagoon, a big top circus, or the City of Lights. Themed entertainment developer Gary Goddard and his team were tasked in the 1990s with creating a new resort to join these behemoths, this time themed to the smash hit musical, The Phantom of the Opera. Featuring a facade inspired by the Paris Opera House, this massive resort would have featured luxury guest rooms, casino space, a super-sized version of the musical, and a gondola dark ride scored by the musical’s composer, Andrew Lloyd Webber. This attraction through the catacombs would have presented the musical’s story, but from the perspective of the Phantom, featuring music-box-like animatronics and vignettes along the way.