How do they do that?

This board rarely focuses on theater technical wizardry, and I'd love to see a discussion about that. There's one special effect about which I'm particularly curious: In the touring version of "The Phantom of the Opera," SPOILER COMING, the Phantom has no throne-like chair in his lair in which he can hide for the last few minutes of the show. Meg holds his cape in front of him, and he disappears, seemingly into thin air. This action takes place far enough away from the stage left wings that he can't simply run off. END OF SPOILER.

I have seen the tour three times and cannot figure out how they pull off this effect. Katie McCreary, an absolutely fabulous singer who is in the ensemble and who also understudies the part of Carlotta Giudicelli, told me that the cast members are not permitted to reveal the secret. I know there is no trap door, so it isn't done that way.

I have a two-part question: 1) Does anyone have interesting anecdotes or comments about technical aspects of plays or musicals; and 2) does anyone know how the hell the Phantom touring company pulls off the aforementioned special effect? (Please reveal it only if it does NOT put someone in the company at risk!)

When I saw the tour the vanish happened right in front of the bed. My theory is that the bed has some kind of opening or false panel that he's able to slip into and hide.

How do they do the carpet in Aladdin? Lol, I feel 12 asking. But I'm curious.

I have a few questions.

1. I want to know everything about pride rock. Not just how it comes out of the floor, but also all the logistics behind it like how/the back of the stage raises when it comes up. Also I want to the same thing about the billy Elliot house set.

2. I also want to know what the cherry picker for wicked looks like and aged its stored.

3. I want to know what all the original decks of theatres look like. And are they still there or take away when a show is in.

You can get a cool perspective on the behind the scenes of The Lion King by watching the 360 video.

An interesting thread.

I was interested in hearing how they pulled off the Aladdin effect as well since having seen the condensed, theme park version at Disney's California Adventure Park in Anaheim where the carpet flies out over the audience, I wanted to see what they would do with that scene on Broadway.

Pretty amazing effect really with wires that are virtually invisible.

I must admit though that even with seeing the wires in Anaheim, I preferred that version. Especially when you're sitting in the balcony. Very effective.

Not unlike watching Mary Poppins fly out from the stage and over your head (even though, again, you could see the wires).

Some cool things they're doing on Broadway nowadays, to be sure.

"Does anyone have interesting anecdotes or comments about technical aspects of plays or musicals;"

Doug Henning's magic tricks in The Magic Show were impressive and entertaining. In Merlin they were impressive but less entertaining, probably because the show was so bad. I also liked the tricks in Sleight of Hand.

DarlingElegantine said: "Not exactly on topic, but does anyone know the signal to 'okay" Glinda when she goes up in the bubble? I got the chance to talk to one of the touring casts and they spoke about the bubble. There's a signal that the ensemble member who clips glinda in does before she can fly, anyone know what it is? It may be different in different productions

"

I would think the person that clips her in would have to do it by a certain line and not just give a clue that their done. Maybe it's some dance move or something.

In Ghost, Sam (as a ghost) went right through a solid door that other characters had previously been opening and closing. Does anyone know how this was done?

As is often the case with illusions, you really don't want to know how they're done. The tricks used in most musicals are the same - they're surprisingly simple, and it's kind of disappointing if/when you discover the secret. You're better off not knowing.

As for the throwing knives in Pippin, that's not meant to be a trick or illusion, just a funny little gag (and some OLD stagecraft, too).