Phantom to change to "re-staged" production in flagship productions? — Page 12

DrewJoseph said: "https://64.media.tumblr.com/5431bfc678f75ae957e1d6c1ddeef528/46e36e340c84d7fa-cb/s1280x1920/f4a48cfcc28135f3a573f47b96ff90d4871e67d6.jpg



Get ready for this..."

The reason the newest UK tour (that photo) started with the re-staged US tour chandelier is because there were problems with the one they had made for the tour. They were using the US chandelier temporarily until the actual chandelier was ready.



In terms of the lack of angel on the current world tour, it is for logistical reasons. The way the new world tour's proscenium and chandelier are designed is to eliminate front of house rigging which allows it to play a larger number of venues. So, instead of the chandelier being rigged out in the house, the entire mechanism is housed in the pros. That is why there isn't an angel on that tour either because the space where it usually is is taken up by the chandelier mechanics.

Yes, ultimately its not the "brilliant original" which is a problem of false advertising. But it does have its reasons in making the show more adaptable for touring in the current age. I do think if these things were put into the London/NY productions it would hopefully be for structural reasons and not for cost cutting...

This is pure speculation on my part.

I found the following interesting that is taken from the newly released "The Untold Stories of Broadway, Volume 4" by Jennifer Ashley Tepper. This could be part of the reason the design of the show is being tweaked (at least in London). It could be all about finances and saving money.

Things started changing backstage in the 1980s, and then more rapidly in the 1990s. Disney had a lot to do with it. They began using a lot of the same techniques and mechanisms backstage on Broadway that they were using in their theme parks, and then that spread to other shows. They were pioneers in the way lighting and scenery happened. Now, everything is automated, so there isn't the same manpower backstage. Big musicals used to need many more stagehands in order to make the show happen. Over at PHANTOM, they have a large crew since since the positions are the same as when the show opened in the 1980s. But if PHANTOM came in today, they would need a much smaller crew. That's progress. -Mike Van Praagh, Stagehand

There are rumors about less musicians in the pit as well.

Jordan Levinson said: "Tara Rubin Casting also posted today on their social media platforms that they are looking for future Christine Daaé replacements on B'way. I hope this means more ground will be broken, and we will finally be getting our first POC Christine sooner rather than later. I find it hard to believe in 2021 that not one POC has played this role in NY so far."

Ali Ewoldt would like a word

Jordan Levinson said: "I was thinking more along the lines of an African-American playing the role... I already know Ewoldt is of Filipinx descent."

Then I would recommend saying that first. To say "POC" and then go "Oh but no not the Asian one" is less than great.

But yes, if a Black actress finally gets to play the role, I'll be very happy to see that happen.

With all due respect, based on what I saw and heard from her in The Great Comet, she can't meet the demands of this role.

Pushing "African American Christine" or "Indigenous Christine" or "Asian Christine," whatever, are all instances of the sort of raced-obsessed casting notions we were supposed be getting past. I suspect the emphasis on the race instead of the performer and the use of the highly p.c. term "Indigenous" (plenty of the people who belong to this race are quite satisfied with the term "Native American" and even "Indian" is what makes him find it so funny.

You went into a high-pitched rant, but I sound insane. Yeah, sure. You don't like what I have to say, so it's "Insane." Speaks volumes about you.

KFC1991 said: "joevitus said: "Pushing "African American Christine"or "Indigenous Christine" or "Asian Christine," whatever,are all instances of the sort of raced-obsessed casting notions we were supposed be getting past. I suspect the emphasis on the race instead of the performer and the use of the highly p.c. term "Indigenous"(plenty of the people who belong to this race are quite satisfied withthe term"Native American" and even "Indian" is what makes him find it so funny."

I don't understand what you mean by " race obsessed casting notions we were supposed to be getting past?" I thought casting notices generally included the "types"(racial or otherwise) that were being considered."

They sure don't, as multiple threads on this board suggest, and as people here argue passionately fairly continuously. To turn around and say it isn't a given person of talent, but just someone on the basis of their race we should be considering when imagining casting for a part, that whole argument is upended.

While nobody loves a good threadjack more than me, especially one that involves comments such as "screw you", "you're insane", and "Indigenous people love being called Indians", can we please get this thread back on track OR AT LEAST start a new thread about Phantom's casting notice so y'all can demonstrate how none of you know how to argue or get your point across?

That said, any news on the Majestic Theater? Any workers who've popped in and saw Ruthie II still safely in place? Anybody see load-out work being done? I'll be back in town next week for the first time since February 2020 and I plan on giving the Majestic a good lookover 'til the NYPD tells me to move along.

Drybandit, I PMed you.