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SEVEN STAGES OF RAOUL'S FINAL LAIR SHIRT
Oh PUH-LEASE, I'm a Vicomte. I would never.
Fine, a gentle rip. But be careful.
RIP THAT THING! Imma save my girl.
Pardon, could you tell me the way to the Bare Chest Convention?
WET! Make it wet.
Rocking around the Christmas tree
Oh, you are all so sweet. I am only here to display my Christine tattoo. Christine 4evvah!
(Credits in captions)
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entity-of-the-opera · 1 month
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yeah i have rizz (wooing a potential mate with my opinions on sin, and how sex is not an unholy act; if anything, it is worshipping god's creations)
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entity-of-the-opera · 3 months
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hey don't cry. turn seasons 1-4 ok?
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entity-of-the-opera · 4 months
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psssst. hi. you should check out my youtube (opera ghestie) and look at my playlists. i have some cool stuff collected. a lot of proper and legal recordings. teehee. i also uploaded songs from the 1991 poto rip-off musical. because they can’t be found anywhere.
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entity-of-the-opera · 4 months
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bae
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entity-of-the-opera · 4 months
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redrew the kerik mirror scene but with michael crawford’s makeup and also flipped him because :P
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entity-of-the-opera · 4 months
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i made this shit for an exhibition. i am in high-level IB art. and i’m making fanart.
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entity-of-the-opera · 4 months
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tumblr stop changing your app icon pls you’re messing up my super cute colour coded home screens
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entity-of-the-opera · 4 months
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@emiliosandozsequence i’m on it
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KERIK KERIK KERIK AND THE MIRROR SCENE GODS FUCK OH MY GOODNESS
and more separate versions because this drawing had so many layers
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entity-of-the-opera · 6 months
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David Staller & Harsh Nayyar, The Phantom of the Opera (1991)
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entity-of-the-opera · 7 months
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Raoul’s outfits in “Love Never Dies”:  Joseph Millson/David Thaxton, London (left),  Simon Gleeson, Melbourne/Sydney (middle),  Christian Berg, Copenhagen (right).  Very similar ideas in some scenes, wildly different in others: greyish formal wear and hat for the arrival scene, informal wear/tuxedo for the hotel scene, linen/wool/stripy everyday suit for the “Dear Old Friend” number, jacket/waistcoat/shirt and more wrinkly appearance in the bar, and a tailcoat and bowtie for the final scenes. 
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entity-of-the-opera · 7 months
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Do u have any steve barton behind the scenes photos?? 🥺 Ive only seen michael crawford and sarah brightman
I actually have a lot! Mainly because Steve Barton’s dresser Marcus Tylor was also a photographer, and has published many of his backstage photos in a book. So probably 90% of it comes from him.
Costume documentation from Marcus Tylor:
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Masquerade, with Rebecca Caine (also from Marcus Tylor):
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Final Lair (also from Marcus Tylor, the first photo with a funny story about the sponge-down routine before the Final Lair):
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With Maria Kesselman and Jeff Ferris, original Associate Director (from Marcus Tylor):
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With Rebecca Caine, Rosemary Ashe, Michael Crawford and Queen Elizabeth the queen mother:
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With ?, Claire Moore, Michael Crawford and BLUE EYESHADOW OF DOOM (from Marcus Tylor):
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With Kevin Gray (from Dodie Pettit):
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Farewell present in West End from Steve Barton and Marcus Tylor:
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entity-of-the-opera · 7 months
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entity-of-the-opera · 7 months
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And now… part two of why I love Hadley’s final lair. You can find part one here! Were both of these posts just an excuse to make more gifs of HadleyRaoul in the punjab lasso? Maybe. 😅
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Raoul spends the majority of the final lair scene caught in the punjab lasso, something which immobilizes his actor to a single spot on the stage. This makes it so, SO important that Raoul’s actor be on top of his game, as it is far too easy for him to fall into the background and almost become a piece of the set. He needs to strike a balance: continuously appear to be in distress without distracting from the other action on stage.
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I will acknowledge that a good part of why I love Raoul’s initial capture in POTO@RAH is because the Phantom spends more time with Raoul in the lasso than in most productions. Instead of just getting strung up and left in the background, HadleyRaoul has the time to give a proper reaction. He convincingly fights against the noose around his neck as the Phantom drags him up the staircase, but it doesn’t stop there! HE. KEEPS. STRUGGLING.
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I bring this point up as a big positive for Hadley’s Raoul because, well, I’ve seen some pretty pathetic Raouls in the punjab lasso. The illusion is supposed to be that the lasso is constantly pulling up on him, and so Raoul has to keep his hands up, gripping the lasso at two points in order to keep himself from being choked to death. Hadley keeps the perfect position throughout the scene, one hand under his chin to give us the idea that his fingers are the only thing keeping his airway open, and one on the lasso rope behind his head. Of course we all know that he is actually the one keeping the tension on the rope, and without that arm over his head the prop would look far looser than it should. But all the while that Hadley is holding this pose, you get the sense that this is life and death for him. Hadley does an excellent job, unlike some other Raoul’s I have seen, who either freeze and keep one stagnant expression and pose for far too long or just… give up. Here’s an example of one of the absolute worst/funniest Raouls in the lasso I’ve seen: (Oliver Thornton, West End 2005)
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Back to HadleyRaoul! He does not stop struggling when the focus is not on him. He is panting, grimacing, and doing all he can from his restricted position to show us that he is not doing okay. This all also blends in seamlessly with when he sings; Hadley’s vocals are strong and carry all of the emotional weight we have come to expect from his Raoul, but it’s also punctuated with spoken words within the phrases, emphasizing his desperation. “Either way you chose he has to win!”
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Skipping ahead a bit, when he is finally released HadleyRaoul appears to have a bit of a crisis. There is a look in his eye and tension in his body which screams “I am going to make you pay for what you did to us.” While ultimately he runs to Christine, being the feisty Raoul that Hadley is he can’t help but lunge back at the Phantom one last time before being convinced by Christine that they must leave. Hadley plays a Raoul who wears his heart on his sleeve, and for a moment he allows his emotions to run wild again before reason can take back the reigns. He was nearly choked to death, after all! This fits perfectly with our prior knowledge of Raoul, as we know he’s not the best at thinking while under pressure. But the good thing is, for the most part and with some help from Christine, he ends up where he needs to be. Hadley’s performance doesn’t let us forget about these key aspects of Raoul’s character.
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That, of course, is that he still is the protective, committed, and genuine man he is at his core, ready to make good of his promise to be there and love Christine as best he can. This moment where he offers his hand is, again, a little unique to Hadley, as we can see his face clearly instead of it being obscured by darkness as Raoul’s last line is usually sung from the boat as he rows himself and Christine away. Instead, Hadley gets one final moment to sell who Raoul really is, and he nails it. The gentle lean, how he slowly draws her attention back to himself with his outstretched hand, the slight raising of his eyebrows as if to say “Please, hear me and trust me.” Hadley’s Raoul had my heart all the way back in act I, but by this point it’s completely melted and I’m practically hearing wedding bells.
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So there’s my full analysis of HadleyRaoul’s final lair! He’s my favorite Raoul, perfectly playing an imperfect but genuinely good man. And while his costume wasn’t great, his stunning performance made up for it and then some. ❤️
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entity-of-the-opera · 7 months
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So I think I’ve made it clear how bitter I am about Hadley’s costume during the Final Lair… but I don’t think that I’ve ever really talked about what I love about his performance in that scene. Even with the issues of his costume and kind of strange RAH staging, Hadley’s performance in the final lair is phenomenal.
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HadleyRaoul starts the scene at a dramatic disadvantage, as he misses out on that great moment where Raoul appears behind the portcullis, clinging to the metal bars as he is physically separated from Christine. He has to creep down the stairs instead, nothing but the open air and the other actors to play off of. But despite this, the scene does not fall flat! Erik grabbing Christine by the throat does add a good bit of urgency and makes sense of the lyrics even with the missing portcullis, but I think it’s Hadley’s terrified, emotional, and “I am running on 99% adrenaline, 1% brain” performance brings all the drama we need to that scene.
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A complaint I have with a lot of Raouls is that his lines said from behind the portcullis can often come off as ‘one note’, or just not at the right emotional level given the situation. I want to see Raoul having a complete breakdown at this point, give me that feelings whiplash. Angry, scared, confused, desperate, I want to see it all in just those few lines. And don’t make it pretty, make it real. HadleyRaoul goes from uncertain as he climbs down the stairs, to desperate, to angry, to terrified, then back through all those emotions again! His voice even cracks into a scream on “Let me see her!”, and that is exactly the kind meltdown I want to see Raoul experience, even before he’s caught in the lasso.
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And then when he finally gets the opportunity to run to Christine, he falls to his knees beside her. Ok, so that is just a part of the blocking, but the way he approaches her and holds her still tells his story- his movements are quick but direct, showing how he is still frantic and not quite sure if he’ll have another opening before the Phantom pulls the rug out from under him again, and so he has to act fast. He pulls her close and puts his face in front of hers, forcing them both to focus on each other. HadleyRaoul first checks if Christine is alright and gives her a gentle reassuring kiss on the forehead, before he turns and gets what appears to be his first real look at the lair. And he’s scared.
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His eyes widen and he takes a quick glance around, that growing fear occupying every part of his being. This is something I really love about HadleyRaoul’s final lair, where yes he is very caught up in his emotions from his first steps into the lair, but he really doesn’t seem to realize just how deep in it he is until this moment, seconds before his actions lead him into a potentially fatal situation. His love for Christine gave him some serious blinders, which I think truly hits to the core of Raoul’s character. 
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Usually Raoul gets captured by the lasso when he is still distracted by comforting Christine, but with the RAH staging Hadley had to make his way back towards the staircase on the opposite side of the stage from where he entered. I actually really like how Hadley acted through that sort of awkward transition that the RAH staging created. He looks completely overwhelmed, now not just by Christine’s capture but also by the situation he has placed himself in. Talk about making the best out of a bad situation! (well, as far as working around that weird set goes, not for Raoul. Raoul isn’t doing so hot in this moment.)
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This post is getting long, so I’m going to cover the rest of Hadley’s Final Lair in a part 2! Until then! 💖
(Click here for Part 2!)
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entity-of-the-opera · 7 months
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Bronson Norris Murphy & Meghan Picerno | Love Never Dies
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entity-of-the-opera · 7 months
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Any Phantoms or Christines who only ever performed in POTO you think would've been great in Love Never Dies?
I think any Phantom or Christine with a decent voice and acting capabilities would be fine in Love Never Dies. The show gives actors so little to work with and does such a disservice to the characterization in the original that anyone making half an effort at forcing the show to make sense is great in my eyes.
The bigger question is, is there anyone I would actually want to subject to being in LND? And I really can’t think of -
Wait. Hold that thought. I got one.
Michael Crawford.
Not because I hate him - because of the drama. Imagine trying to force the Michael Crawford, with his perfectionism and deep love of the character, into the role of Mr. Y. Imagine the arguments. The screaming matches. And ALW, gleeful over this great boon to his show - the original Phantom himself in his sequel! The attention! The legitimacy.
And then the rehearsals start…
This is brilliant. I want this. Go. Cast him now.
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