west end broadway world

anonymous asked:

Random question; do you prefer the rooftop cloak in the seafoam mint green or the light almost baby blue? I've seen more mint in the west end/world productions and the blue in the Broadway/tour but sometimes its the other we or shifts

I like both. On the one hand, the greenish tint gives more an impression of moonlight shining off the cloak, which is always a nice detail. But I also just really like the blue-ish color of other cloaks; it looks nice and goes well with most colors.

The ones I don’t like are the really dark blue ones (*looks at Austrian production*) or ones that just look like a too vibrant shade of blue (*looks at recent costumes from the Japanese production, which really needs to get over their obsession with blue in random parts of costumes*).

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On Sierra Boggess’ casting in POTO Paris

So yesterday brought the announcement of Sierra Bogess’ casting as Christine for The Phantom of the Opera in Paris. And so far I’ve seen posts of people who are disappointed and fed up to see Sierra in every anniversary production. And believe me, I understand but as a French girl who is going to see the show please hear me out.

Musicals in France have nothing to do with musicals from West End and Broadway. You have like five or six musicals that are really worth it. The rest ? It’s one producer, always the same (Dove Attia if you want to know), he always gets all the spotlight for his productions that are played in concert venues, not theatres. Yes, in France most of musicals are played in concert venues because the system is : some months in Paris and then tour all over France (plus Belgium and Switzerland sometimes). Musicals can stay at most, 1 year or 1 year and half-ish that’s it and you maybe have like 5 or 6, NOTHING like West End or Broadway. Dove Attia’s musicals are mostly pop/rock songs, the type of songs you can easily put on radio or on tv spot with a videoclip. See ? The system is CLEARLY not the same. And the biggest problems in musicals in France, for me, is that you always see the same faces. Don’t get me wrong, I have nothing against Florent Mothe or Merwan Rim or anybody else, but it’s mostly the same faces.

Now, the Théâtre Mogador since its collaboration with Stage has brought West End/Broadway musicals in France, with varied and international casts for some (especially the dancers for Cats that is playing now). Even though the French translations can be a bit… failed ? I’m glad of what Mogador is doing. Because we DO NOT get to have some West End/Broadway musicals feels otherwise. And believe me, when you love musicals and that you are NOT living in the UK or in the US, whenever things are moving to have a bit of taste of that ambiance, of those feelings that you can’t get to experience unless you can pay for plane or train tickets, hotel, and tickets there, you are just happy. For real.

Of course, it could have been good to have someone else, a French singer or maybe another Christine from other productions (London, Broadway, Moscow, whatever). But at least, for people (like me) who are expecting a lot from this run in Paris, to see that Sierra will be there, it’s a bit reassuring. She may be not your favourite Christine, but I like her, she was my first, and I do love her voice (her acting could be better but still). And again, it adds to this feeling of having a taste of this world of West End and Broadway musicals. I assure you, musicals in France have nothing to do with those.

So to sum up. Yes we could have had someone else in the role, it could have been good to see someone else. But you know what ? I’m still happy about this casting. And I’ll enjoy the show if I get to see her (I’m going on a Saturday matinee) or if I get her alternate or understudy. I’m just a bit sad to see people confessing their disappointment or anything else, but I get it really.


The Phantom and Christine backstage: Wedding Dress Edition


Comparing Christine wardrobes:

Elisabeth Berg, original Stockholm production (left) and Emmi Christensson, current Stockholm production (right)


Life and death of Daddy Daaé: a timeline issue

  • 1821-1872 (West End)
  • 1821-1870 (Las Vegas & Broadway)
  • 1821-1872(Guangzhou, World Tour)
  • 1827-1870 (US Tour?)
  • 1817-1870 (Hamburg and Oberhausen)
  • 1841-1870 (Japan)
  • 1821-1872 (Royal Albert Hall)
  • 1821-1872 (South Africa, World Tour)
  • 1841-1870 (Vienna)

So there is a general consensus that Daddy Daaé in the stageshow died either 1870 or 1872. This corresponds with the show originally being designed in a mid 1870s style, and Christine at one point singing “Three long years…”.

But his birth year varies from as early as 1817 (Germany) to as late as 1841 (Vienna, Japan) - interestingly, they both list the same year of death. The most common years appears to be 1821-1870/72, making him around 50 years old.

When Maria Bjørnson was asked where the years on the tomb came from, she referred to the Leroux novel and indications given there. But I assume her design for the grave is suggestive, so productions has chosen what they think is most likely and what the design most looks like?


Ballerina undies: the custom-made panties worn under the Slavegirl costume (top, middle) and the Degas tutu (bottom.

The Slavegirl panties are usually emerald green. But there’s also examples of red versions, and of red versions with a green edge. Today most slavegirl costumes have the belt and crotch/butt tiara overlap the panties, so they can’t be seen under the costume. But in elder, shorter versions they’re visible.

The Degas panties are white and with frills. Some have tulle frills, other have lace decorations. Both versions blend well with the tutu.


I was pleased to find this April 1875 fashion plate from Peterson’s. It shows a lot of the details seen in Carlotta’s red 2nd Manager’s dress - the backdrape in particular, but also the sleeves, the three-tiered apron and the overall shape of back bodice and bustle.

The only thing lacking in the fashion plate is the pleated main skirt, and the military decorations. But whether Maria Bjørnson saw and used this 1875 fashion plate or not, it goes to show she surely knew her period fashions.