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nolita-fairytale · 1 year

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make my heart surrender (carmy berzatto x fem!reader) | chapter two: wednesday

pairing: carmen berzatto x fem!reader

warnings: lots of swearing, lots of angst in this one, use of she/her pronouns, allusions to sex, eventual smut, smoking (plz remember smoking is injurious to your health, ppl), avoidance tactics, mentions of al-anon, no use of y/n, second person pov, mentions of death/mikey's suicide

word count: 3.3k

summary: while you get to know the kitchen staff of the bear a little better, you and carmy finally acknowledge the elephant in the room.

a/n: the song 'about you' by the 1975 makes me think of these two and is where the title comes from. also, i totally made up the pete has an airbnb thing but i just feel like he'd be in real estate or something with his little patagonia vests lol. anyways, happy valentine's day babes & enjoy!

read: part one | masterlist

Wednesday

“Okay, this is some next level shit,” Marcus concludes, in between chews as he tries the brioche donuts you let rise overnight. “It’s got everything I like about the yeast donut but the flavor is so much more pronounced.”

“Carmy said you knew how to throw down but.”

Sydney nods, taking another bite of hers, and you watch as Fak holds the donut up to his ear, letting out a wild, “Wow.”

“Oh fuck,” Sydney practically groans, the salty-sweet flavors of the caramel hitting her taste buds.

Last night, pre-dinner shift, you were introduced to the colorful cast of characters that filled up this kitchen. There was Richie, Carmy’s not-biological-cousin cousin, and Tina, who’d been working in this kitchen since before any of you were born. And Neil the handyman, who somehow actively chose to go back his last name, Fak, which puzzled you. Then there was Ebrahim, who seemed to serve as the meat prep cook and the onsite first-aid guy. And Sydney, the brilliant sous who’d worked in fine dining kitchens till she came here, eager to learn from Carmy.

It was a far cry from the kitchens you and Carmy used to work in but this kitchen there were similarities… things every kitchen has. Everyone has their own little quirks, preferences, styles….

They’re just a little more, well, allowed to be themselves and while overwhelming, you find it refreshing as well.

Fak smells the donut next, followed by another ‘wow,’ and your eyes widen as Fak begins licking just the icing.

“Wow,” Fak repeats, carrying on his more-than-peculiar behavior.

“Is he-?” you start, sharing a look with Sydney next.

…alright? Is this normal? Is he okay?

“Yeah, sometimes we just let him–,” Sydney tries to explain, but she’s not quite sure how to explain Neil Fak to anyone outside of their ecosystem.

“Okay.”

“Anyways, so this is just a personal preference and perhaps a symptom of too much time spent in fine dining, but I like to fuck around with weird flavors,” you continue to explain, in reference to the salty miso caramel creme pat you’ve filled the donut with.

“I’m not much for too sweet-of-sweets,” you announce, earning a laugh from Marcus and Sydney. “... which yes, is a very odd thing to say for a pastry chef. So I like to find combinations that cut the sweetness of anything and give the taste buds another experience at the same time.”

“Which isn’t the direction you have to take your pastries, chef.”

Marcus shakes his head, “No, this is… super cool. And I like it a lot.”

“I apologize in advance if I sound like a total loser,” Sydney starts, placing her donut down on the paper towel. “But when I was at the CIA, I actually had your lemongrass creme brulee.

“With the black sesame ice cream?”

“And the sesame crumble.”

“Oh my god!” you exclaim. What a blast from the past. “Yeah, I had to fight hard to get some of those ingredients on the menu. You know. Before everyone thought it was cool to do shit like that.”

Sydney smiles in agreement, going back for more of her donut.

“So what’re we workin’ on next, chef?” Marcus asks. He has his notebook out and has a few renderings drawn up with ideas he had last night.

“Well now that we’ve built a great brioche together, I’d love to keep practicing your piping technique and-,” you begin, stopping mid sentence as Carmy joins the three of you.

“Mornin’, chef! Hey, try this,” Marcus greets, ecstatic about the results of just a day of working with you, as he hands Carmy a donut.

He takes it, immediately taking a bite. You can practically see the gears turning in his head as he processes and dissects every single flavor note he experiences. You’re all quiet as you wait for his response.

And honestly, you’re still pretty pissed off about him leaving you hanging the day before. After you and Marcus finished up your prep, you had made your way back to your airbnb – the one he set you up in when he asked you to come here.

You had tried your best not to feel like a total loser as you hoped he'd reach out with an explanation. No call, no text, no nothing, wondering why he asked you to come in the first place.

Carmy takes his time savoring his first bite.

“I almost forgot how good you are at this,” he compliments, his tone neutral as if it’s just a fact.

“Thank you, chef,” is all you say back to him. You clear your throat, avoiding his gaze, and continuing to go over today’s bake with Marcus.

You don’t mean to ignore Carmy, but you’re not sure how to act around him either. One minute he’s ignoring you, and the next he’s making you breakfast. And then he’s standing you up, leaving in the hands of his brash cousin? Maybe, you think to yourself, it’s best to keep things professional between the two of you.

You work with Marcus till an hour or so into the lunch shift. You both agreed to start your days early, since you’re only here for a week, so that you could cram as much knowledge in as possible.

Marcus asks if he can take point on flavor pairings for tomorrow’s donuts, and you agree, before parting ways till later this evening. You’ve got to come back later today from one more late night prep.

You haven’t spoken much to Carmy at all since he came in. As much as you’ve tried to focus all of your attention on working with Marcus, Carmy has a commanding presence as he expedites. He’s got something most chefs don’t – true leadership – and it seems like his skills have only improved since he left New York. You gather up your things, preparing to take the subway home for a midday nap, heading out the back door.

“Oh, I’m sorry! I didn’t know you were… out here,” you gasp. You're surprised to find Carmy sitting behind the shop, sitting a few stacked crates and smoking a cigarette.

Well, that part isn’t surprising – the smoking part. You contemplate taking a seat next to him and asking him for one, but you’re really trying to cut back these days.

“It’s-, you’re good,” he says, taking another drag. He exhales smoke and the eery feeling of deja vu overtakes you.

Instead of leaving, and continuing this game of avoidance, you stand your ground.

“Are you avoiding me?” you finally muster up the courage to ask. You try your best not to sound as angry with him as you are, to no avail, as more words begin tumbling out of your mouth. “Because, if I recall correctly, Carmy, you asked me to come out here.”

Carmy waits a beat, avoiding your gaze, and it only infuriates you further. You watch as he takes another hit off of the cigarette as you continue, your rage boiling up within you.

“I don’t get it!” you exclaim, shaking your head in pure disbelief. You’re trying your best not to shout. “You ask me to come out here, and make it as easy as possible for me to be here by putting me up in this airbnb, you make me breakfast, and then… what? It’s like-, it’s like I don’t exist?”

He doesn’t answer.

“It’s always been like this with you. One step forward and five steps back.”

You wait before saying the next thing.

You’re not trying to be mean, but you’re hurt, and this whole experience has all been so confusing.

“I guess I was fucking idiot to believe that you-, that you wanted me out here or something.”

“That’s not true,” Carmy denies, finally breaking his silence. Finally looking at you, even if just for a moment. His eyes return to the concrete pavement below him as he says, “I just-.”

You don’t want to scare him away now that he’s finally talking to you, but you also want answers. And there’s an elephant in the room that maybe, if you both just acknowledged it, could go away. He puts his cigarette out on the cement beneath his feat, tossing it away onto the concrete.

You lower your voice before speaking again.

“Are you… do you still feel weird about what happened between us?” you ask cautiously, eager to fix whatever the hell it is between the two of you. “Because I didn’t think we’d have to talk about it since, well-, I just thought we said we’d just forget it. I mean, I’m not-, I don’t-, I just don’t want things to be this weird between us, Carm."

In some ways, you don’t blame him. You had seen him at his absolute lowest: the day Mikey died. You wonder if he felt too ashamed of how vulnerable he had been. You wondered if he still felt weird about what had happened next….

You had argued with him that day – practically demanded that he not go in for dinner service that night. You knew he had wanted a distraction, but after the phone call, after learning what Mikey had done, you knew he was wrecked – even if he wouldn’t admit it. That level of denial couldn’t be healthy, but he'd snapped at you and you didn't think there was much you could do about it. It didn’t take long for him to blow up at a line cook mid-shift, and you had quickly ushered him into the walk-in.

“Hey! You can’t do this shit. Not here. These people look up to you!” you had chastised him. “Listen, I’m going to give you five minutes to fuckin’ lose it in here, and then you’ve gotta pull it together and finish dinner service, okay?”

Carmy had grabbed at his chest, and you knew he was having one of his breathing episodes.

“Carmy, are you o-?"

He’d held out his hand, as if to stop you from coming any closer, so reluctantly, you’d left him to it, closing the door behind you. The sound of empty storage containers being thrown across the walk-in filled your ears, reinforcing your exact reasons why you hadn't thought it was a good idea for him to come in that night.

That night, you had made sure he got home okay, and he’d practically begged you to stay with him. It hadn’t been the first time you’d slept in the same bed, and you knew he was at his lowest point, in need of company. It hadn’t been until he started crying – sobbing really – that he finally broke.

“Carm,” you had whispered, unsure if he wanted you to acknowledge it or not.

“Carmy.”

He had turned to you so tenderly, practically folding himself into your body. You had never seen him like that as he’d buried his face into your chest, his body shaking against yours.

“I’m so sorry, Carm. I’m so sorry,” you had whispered, over and over again. You stroked his hair, wanting nothing more than to ease the pain of your best friend, but you knew there wasn’t much you could do. You’d let him cry, continuing to run your fingers along his scalp and through his delicate curls, desperate to give him any kind of comfort your could.

When he finally looked up, all he could think to do was to kiss you. You had been taken aback -- caught off guard as you'd pulled away from him.

“Carmy, stop it. You’re not-, you’re not okay right now,” you had said, pushing him away.

At that moment, his eyes were swollen, his face red, and he looked like you had just kicked his puppy. He had leaned his head against your chest again with a sigh, letting out another sob, and you’d felt that he’d put you in an impossible position.

You’d have been lying if you said you hadn’t wanted it – hadn’t thought about it before – but Carmy had never given you any inkling that he was even interested in dating anyone. You had been perfectly fine being ‘just friends’ with him despite the whispers between the kitchen staff when no one thought you were listening. And now? You knew he wouldn’t be in the right headspace. It wouldn't be fair to either of you.

“I’m sorry, Carm,” you’d apologized softly. “I just feel like-, well I’d feel like I'd be taking advantage. I don’t think we should.”

His silence had only made you more nervous, beginning to over explain yourself.

“It’s not that I don’t want to. I-, I do. I just… I don’t want you to regret it because… because you’re upset right now and cause you more-.”

“Please,” was all he'd said, breaking his silence and looking up at you with those sad, swollen blue eyes. He leans in to kiss you once more.

“Please.”

In between kisses you’d managed to ask, “Are you- are you sure? Is this really what you-?”

“Yes.”

“I’ve wanted this for so long. Just-, please,” he whispered, murmuring your name into the soft kisses he had left on your skin. “Just wanna feel good.”

“Just wanna feel good.”

It was then that you’d realized what absolute fucking idiots the two of you had been for the past few years by ignoring this thing between the two of you.

The truth was that you were fully, wholly, and stupidly in love with each other.

“Yes,” you’d repeated, finally giving into him.

Even though it should’ve been a beginning, it felt like an end, but for one night, you’d indulged the both of you.

“I know,” he says, his voice pulling you back into the present. His eyes are fixated on the pieces of gravel that sat between his feet. Even though you both agreed to it, he hadn’t forgotten about what happened between the two of you and he’s not sure if he should tell you that too.

But that’s not what’s wrong. It’s not why he’s avoiding you. Or maybe it’s part of it. He hadn’t expected seeing you to be this hard. That it would bring it all back – wanting you – so much so that those incredibly big feelings had sent him running to a meeting.

He just needed a place to be unapologetically fucked up.

He’s not sure what he thought would happen – like you’d just fall into the same old rhythm of your friendship without a care in the world.

He’d called Sydney yesterday and he could barely breathe. Sydney had told him to take the night off – that it wouldn’t help to come back to the kitchen that night – and that he had a whole week of you to prepare for. To figure this shit out.

“I um,” he starts. He’s not sure why it’s so hard to get these words out; why it feels so difficult to tell you. “I’ve kinda been going to these al-anon meetings…ever since, well you know… since I got home.”

“Oh.”

Well that wasn’t what you were expecting him to say. You’re not sure what you were expecting him to say. That he hates you? That he couldn’t stand being in the same kitchen with you and yesterday brought it all back? That it was a mistake reaching out to you?

You sit down on the curb, next to Carmy, leaving plenty of space between the two of you.

“My sister nagged me to go. Thought it was bullshit but… I don’t know why I kept going back. I still go three times a week.”

You stare at the ground, not sure what to say next. All that comes out is:

“Well I feel like an asshole.”

He scoffs, moreso to himself, “No, you’re not. I-, I’m sorry. I should’ve-.”

You can tell he’s frustrated as he huffs, “I don’t know why this is so hard for me to tell you.”

You sigh, scooting a hair closer to your old friend.

“I don’t know either, Carm. I-, we used to tell each other everything.”

“I know.”

You catch his gaze, your eyes meeting with his, and it feels like you can’t breathe for a moment.

“I should’ve called. Should’ve kept in touch. Guess I just feel like-, I don’t know,” Carmy admits, regretfully. “I know I’ve been….”

“Uh huh. You’ve been….” you trail off.

“But I do. Want you here.”

And that’s the problem, he thinks to himself.

“I know I’ve been a dick. I shouldn't have-.”

You take a breath, processing all of it.

“Can we… not have this conversation again?” you ask, taking a lighter tone this time. “I mean, we sorta had a very similar conversation to this yesterday… and now today… like… are you gonna stop being such a fuckin’ weirdo or what?”

He lets out a small laugh, “Yeah. Yeah I-, I’m gonna stop, well, you know.”

You chuckle in response, continuing to tease him, “Good because… you know usually when your friend comes to town you hang out a little, catch up, say hey hello how are you? I mean, maybe I’m totally out of pocket for this, but sometimes, you know… they even hug. Yeah, Carm, like, normal people.”

“Oh fuck you,” he mutters, jokingly.

It’s quiet between the two of you, but for the first time in the last 48 hours, it's not weird. It’s a familiar quiet intimacy – something that reminds you of the before times.

Before Mikey died.

Before you hooked up.

“Hey, Carm?”

“Yeah?”

“I want to be here too,” you reassure in response to what he said earlier, bumping your shoulder up against his, playfully, earning the slightest smile from him.

“How’s the place?”

“Surprisingly, very nice,” you answer, a mischievous tone in your voice like you know it’s going to start something.

“What? You think I’d put you up in a shit place?” Carmy asks, feigning offense.

“I’ve been in your New York apartment, Berzatto. Which is mostly why we spent most of our days off at mine,” you continue.

He laughs dryly in response.

“My brother-in-law manages a few airbnbs so… it’s the least I could do for… you know… you comin’ out here,” he explains.

“Well thanks. It’s-, it’s great.”

“I gotta get out of here early, and pick up the kid. Have a goodnight, sweetheart,” Richie says to you, about to head out of the restaurant.

“Richie, what the fuck did I fuckin’ tell you about saying shit like that!” Carmen shouts back at his cousin, with an eye roll.

“So sorry,” Richie says sarcastically, emphasizing your name after. “Gotta woke-ify everything in front of Carmen. Just a little baby.”

“Shut the fuck up!” Carmy yells across the kitchen, moving quickly through the closing shift chores.

“Yeah, yeah,” Richie brushes off Carmy’s comment with an eye roll.

“See you fucks tomorrow.”

“This look good, chef?” Marcus asks you, motioning for you to come over and take a look at the mixer.

You reach down into the mixer, checking the dough for texture.

“Yeah, looks good. Go ahead and grab a few sheet pans so we can shape these and we’ll cover ‘em so they can proof overnight,” you order, Marcus nodding in response.

“Thank you, chef.”

As Marcus disappears, in search of a few sheet pans, Carmy’s wiping down one of the prep stations.

“Hey, you,” you say, a smile on your face as soon as you see him.

After your talk this afternoon, things feel lighter. He feels lighter.

“Hey,” he says, finishing up with his cleaning duty before making his way over to you. Carmy checks to see that Marcus hasn’t come back yet, and you notice.

“Great dinner service, huh?” you congratulate.

“We’re gettin’ there,” he replies. “Smoothest it’s been so far. Since the reopen.”

Ah yes. The reopen. You’re still waiting to hear that story.

“I was thinkin’, maybe we could do that catch up thing? Over a drink?” Carmy proposes, changing the subject, and you think to yourself that it’s the most confident you’ve ever seen him.

“I-,” you start, as Marcus makes his way back towards the pastry area. “We’ve got one more late night prep tonight. Maybe tomorrow?”

“Yeah,” he smiles, spotting Marcus as well. “Tomorrow’s good.”

“Goodnight, Carmy.”

“Goodnight.”

read: part three

#Spotify #carmen berzatto x reader #carmen berzatto x you #carmy berzatto #carmy x oc #the bear hulu #the bear fx #jeremy allen white #make my heart surrender

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luhafraser · 4 months

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Let me be clear: although many think I don't have a real life, I do. I'm not just a Tumblr account... I have a family, dogs and a cat. I'm currently recovering from bronchitis 😮‍💨🫁, and dealing with the school holidays 👧🏼🛝 and lots to do at work. 🤯🤯🤯 That's why I'm not at all sorry for being MIA... I have my priorities, my family and my health...

I've said it a few times... Sam and Cait's shitshow is just a pastime for me... So back off, nasty Anons... You're wasting your time here🖕😜

---

It's not a real timeline, but look at this amazing script... Brilliant... 😝🤣

1) Sam in London; 2) a "fan" says Sam was with a "female friend"; 3) Susie in London; 4) P's innuendos; 5) Susie posts latergrams in a hotel room and gym, it looks like one of rooms at the Firmdale hotels; 6) P says she won't publish without a real evidence 🤣; 7) Susie returns to her home; 8) Another "fan" says she saw Sam on a flight to Gran Canaria; 9) Sam shows himself in a mysterious room on IG Live; 10) Sam's small group of stalkers (surprisingly, they're not the evil shippers 😜🤣) certainly discover that it's not a room in a luxurious hotel (the kind Sam usually stays in) ***(Sam has people monitoring his online steps and who he follows on Instagram, etc... Nothing new there... But I'm curious how someone who isn't a fan gets "here"?! And this fandom have some here, they are not fans of Sam and Cait or Outlander. See below 😉); 11) P releases the name of the new blonde; 12) the current blonde posts several pics/videos showing some gym in Gran Canaria and an airbnb Villa; 13) Sam's voice appears in two of the blonde's videos; 14) B posts the blonde's airbnb Villa; 15) The war of the "queens of Mordor" begins (I don't believe anything about this war, but it's funny and keeps people entertained, just what SamCait and PR want); 16) B says that airbnb Villa is not the place where Sam did his Live; 17) B goes back on what she said, and shows that the male SH and the female SH are in the same Villa 🤣; 18) Chaos begins in the fandom; 19) Sam appears in Austria/Audi Ambassador stuff; 20) blonde posts with her son at her home (latergram... 🤦🏻‍♀️); 21) Ok... Susie, Sarah, who will be the next S? ⏰️

😜🤣

***⬇️

Script to look like James Bond... Women and cars... ?! 🤦🏻‍♀️😬 No, you are not Bond, Mr. Heughan... Sorry! 😝😂

---

But on the other hand...

You know.. I'm not on the "gay train", but hey... I can't blame anyone who thinks he's gay. And have you noticed how several women, linked to Sam, are always traveling to paradisiacal beaches or going to gyms with their gay friends... ?!? You don't even need to follow them on Instagram to know this, there are accounts here that posted everything about them... All that was missing was their blood type... 😝🤣

"Hawaiigate Oops Gran Canaria gate" didn't seem like a good script to prove that Sam occasionally has affairs with women... Even because the place is known for...

But, it certainly moves things around here... Just saying 🤷🏻‍♀️😂

---

OMG... Laughing a lot with #Samarah... 🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣

---

And Sam/PR decided to fix a flaw in the script and his speech, something that became a joke in this fandom, at least among shippers...

There are women in Glasgow, people! After 10 years, he finally had time to meet a woman there...

Amen 🙌

🤣🤣🤣

---

I find it very difficult for a taurus man, who calls himself a romantic, who is used to staying in hotels like those from the FS and Firmdale chains and who has already made this type of comment...

Taking his supposed girlfriend to a place with these reviews... 🤔😬😂

After 10 years, Sam knowing how this fandom is, being the guy who claims to preserve his loved ones, would he leave breadcrumbs for "fans" to create a new story if he was really dating this woman? I'm amazed that she, with a son, gets involved in this shitshow, but who will know her reasons.... Even Cait used her pregnancy and child in the Belfast promo.

---

Let's see if Sam will follow P's wishes and take Sarah to the TCND event... And let's pray 🙏.

I see THE RING 👰🏼‍♀️ #Samarah 🤣🤣🤣 This didn't even take 7 days, it seems! 🤣🤣🤣

---

I still spend my free time looking at what SamCait shows and what this fandom says because I want to see the end of this shit, when Sam no longer has P or B and his onlys... One day Sam and Cait will fall into oblivion and that's why that they keep feeding this whole circus... What, or rather, who would Sam and Cait be without all this crap? I think it's funny that Sam pulls all this on himself... Except during promo, he's the one who moves things around here (right now Gran Canaria gate, Austria trip, Scottish Sun article, a new company with an enigmatic name... It could be SDFGINEEDTHISSHITSHOWCVBN 😝🤣, "Audi Quattro",...). But to me... This seems like something from someone protecting their loved ones, taking on all the shit for himself. Although, every now and then Cait needs to show that she is alive and with her husband by her side.

I watch and wait... And I know I'm not alone in this! 🧘🏻‍♀️😜

#sam heughan #caitriona balfe #sam and caitriona #outlander #shit show #fake life #it's a shitshow #fandom #outlander fandom

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sofasoap · 1 year

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Interlude: Here comes the insertion specialist

Pairing: König x f!Reader ( OC aka Mini MacTavish )

Summary: Don't give König ANY alcohol.

Warning: M Rated. INNUENDO, INNUENDO! Alcohol consumption ( be responsible people), swearing, sexual theme. Slight crack fic. English isn’t my first language, there will be a lot of grammatical and tense mistake.

A/N: This is part of the world what I dubbed “ Mini MacTavish Universe”. Inspired by @saltofmercury ’s “ “The Favorite MacTavish”. Praise her for lending me her character and universe * starry eye *. Go read her brilliant stories!

“masterlist” for more stories to this Mini MacTavish expanded verse.

You know König doesn't drink alcohol. No big deal. Each to their own. Maybe he just doesn't like the taste of it. What you didn't realise is he has ZERO tolerance to alcohol.

Kortac was in UK again after a successful joint operation with the SAS. To your surprise, Johnny rang you and ask if you want to travel to Credenhill to join the party. "That's rare, usually I have to beg you to let me tag along!"

"... The team was asking for you." " They are asking for their FAVOURITE MacTavish you mean?"

" Jesus Christ, do you want to come or not?"

" Just give me the date and I'll check my shift timetable."

You were secretly excited you will get to see König again after the chance meeting which turned into, according to Emma, a coffee date. Was that a date? You don't know. Do you like him? Maybe. For the moment you are just enjoying your time texting back and forth. ( or mainly him sending pictures of what his current little carving projects are or interesting things he notice while on mission. It's quite adorable really. )

Dropping off your luggage at the airbnb near the barrack, you make your way towards the bar frequently attended by the team. Walking in, loud noises hits you instantly. The pub was packed full of people, it's a popular spot for the SAS soldiers since the barrack isn't far off. You look around trying to find your brother. Soon enough you spot Ghost's tall figure with Johnny and Gaz playing a round of snooker. You ran up to your brother and tackled him from behind.

"Mini! you made it!" Gaz exclaimed. "What's a gathering without me livening up the atmosphere?" You high fived each other. Johnny turned around and gave you a big hug.

" How was the train ride here?" "Busy. Lucky I booked my ticket as soon as you told me about the gathering." Pointing at Ghost, " Am I allow to greet him? or is the no Ghosting rule still apply?" "What are you planning." he look at you deadpan expression. " Nothing. I am just being friendly." " Why does this sound familiar." You turned and smiled at Ghost, " Hey Simon. "

" ... Hey." " Mini." " Hey Uncle Price!" You left Johnny's embrace and went in for a hug with Price. Why does Ghost look slightly disappointed?

"Who else is here?"

Price pointed towards the table near the bar. "Some of the KorTac members are over there, the rest are scattered around." "OHh I see new people I haven't met." " MINI" Johnny and Simon chimed in same time with warning tone.

" Yes Sir, I know Sir, I will behave Sir.” You gave the boys your best salute and wondered towards the bar to order a beer. While standing at the bar, you see König, per usual, hiding at the edge of the room, trying to make himself invisible with a glass of what looks like a coke in his hand, listening to his teammate's conversation. Doing your best you try to wave to him, he spotted you, his eyes lit up and timidly waved back. Horangi saw the interaction, elbowed König and teased him a little. König duck his head down, blushing. You felt a set of eyes on you, turning around you can see Ghost looking at your direction, eyes narrowed. What's his problem?

Soon you find yourself mixing with the ladies from both teams, gossiping away. They sure have fascinating stories to tell, tales of war to suitors or love interests they meet during their missions.

".... and would you believe, their pick up line was, "“I’ve lost my teddy bear! Can I sleep with you instead?”" You laughed, " Oh gosh, that sounded like me from last time!" " Look, if it comes from you, it sounds cute, but coming from that person??" Nova made a face. " Mini, come on, got any stories to tell? Any strange pick up lines?" " Sadly no. All the boys that wants to approach me been scared off by Johnny." " Pfft, for a casanova like him, it's bit contradicting. no offense Mini."

" None taken Kleo. I know my brother is a manwhore. A gentlemanly manwhore." Everyone burst out laughing. Out of corner of your eyes, you saw König swaying a bit in his seat. No one else seems to notice. His drink nearly finish. Maybe he is tired? All of sudden, he stood up, startling the people around him, and proceed to swagger towards you, full of purpose, you will be lying if it doesn't stir the heat up a little bit down there. Cocking an eyebrow, you turned your chair towards him. Waiting for his next move. Stopping right in front of you, he leans down, hands on both side of you on the table, trapping you. Gosh, he does have beautiful blue eyes, the piercing blue eyes.... wait, is that bit of alcohol you can smell from his breath?

"Hello Schatz." He purred. "Do you know why they call me insertion specialist? because I am VERY GOOD at ramming... " his eyes flickers down towards his crotch, " THINGS... especially into people." The whole pub just went dead silent. Your jaw dropped. Is he trying to flirt with you? Hearing a loud clank noise, your eyes darts towards the snooker table, Johnny had dropped his cue, eyes wide with shock, while Ghost looks like he was about to murder certain someone with veins popping out of his forehead. Gaz was laughing his head off, smacking Price's back, making him choke. " WHO THE FUCK ADDED RUM INTO HIS COKE!!!!"

Just think of the way König walks at the character intro screen. mmmmm.

lack of sleep does this to you. Oops.

#könig cod #könig x oc #simon ghost riley #johnny soap mactavish #könig imagine #könig x reader #König x you #könig x y/n #könig call of duty #bit crackish?

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volixia669 · 1 year

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DO NOT USE KOKOBOT

While not a "will scam you out of your money" thing, the Kokobot is just not ethical or a good idea. Its from a "mental health nonprofit" from the minds that brought you "airbnb aka ruining the housing market with the gig economy".

Also there's this:

For one thing, they're acting like mental health professionals aren't real people which feeds into all sorts of biases.

Then one has to consider, if they're "random people", do they have the training for crisis management? Can they tell if someone is about to commit suicide or is just having thoughts? Can these people handle more disturbing discussions?

Its like a tech bro decided to see if its possible to make money off a discord vent channel with all the major problems of a discord vent channel (no therapists, no crisis management, pls stop using the vent channel to replace therapy) left unsolved.

Oh but it somehow gets worse.

See. One of the co-founders of Koko had the brilliant idea to set up an experiment to see if chat gpt can be used to replace actual people/professionals.

He even stated he didn't bother going to the ethics review board aka IRB because he believed he was exempt from their rules.

Oh, and no one involved in the experiment consented, there was anger they were talking to a bot, AND many of Koko's users are adolescents. As far as we know this didn't lead to anyone spiralling but we DON'T KNOW SINCE THIS WAS AN INFORMAL EXPERIMENT.

Now, there is some debate as to whether or not the IRB COULD get involved, due to lack of clarity regarding how scientific this was.

Regardless, it was unethical and dangerous. Be wary of Koko amd Kokobot.

#koko #kokobot #cw: suicide mention #cw: abusive mental health services #btw you don't decide if you're exempt the irb does especially when it comes to minors and mental health #i mean a mental health bot dming you on tumblr is scammy enough as is #and then it keeps getting worse #this isn't a/b testing a feature these are people's LIVES at risk #anyone who's had to be a discord vent channel therapist knows how bad this shit can get

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butler-on-beale-street · 2 years

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Let Me Call You Mama | Austin Butler X Reader | Part 1

Warnings: Minors absolutely DNI, This fic is 18+ only. Oral, giving and receiving. Lots of background and slow burn. More warnings to come...this is just a taste.

Word Count: 2.7K

A/N: I decided to break this into two parts to give the reader a little relief between parts. I didn't want the story to feel like a marathon. The second part will be out soon. I hope you enjoy this first part!

After a twelve-minute standing ovation, he really just wants to celebrate with you.

“Hey baby, where do you think we can get some dinner here?” Austin asked you with a smirk.

“In the middle of France at–” you looked at your phone. “12:13 am?” You looked back up at him. “Your best bet is some bread and butter back at the air bnb.” You watched as he flashed you a brilliant smile, pinching his cupid’s bow with his index finger and thumb in the mannerism you knew so well.

“Honey, I’m so unbelievably proud of you,” you said, reaching for his hand. Tonight was the first official screening of Elvis at the Cannes Film Festival. You knew how anxious Austin had been for this evening. Every time you could sense his discomfort, you’d tell him the same words. “Baby, you’ve already done the hard work. You’ve worked for almost three years for the role. You deserve to be rewarded for it.” Now, you walked down a sloped cobblestone walkway with him by your side. With his hand in yours, you felt whole. You were grateful to share such a momentous occasion with the man you loved.

“A twelve minute ovation…” he said, mostly to himself. “That’s how long Baz said they stood.” You nodded silently as Austin stood, staring at the starlit sky. “Do you think he’d be proud of me?” He asked.

“Who, Elvis?” He eyed you from the side before returning his gaze above. “I think he’d be honored to have had such a wonderful and dedicated actor portray him. To have told his story with dignity.”

He lowered his gaze back to you before leaning to the side to kiss you on the top of your head before continuing to walk. “I’ve always wanted to do something that mattered. This was my opportunity.” His tone was reflective and thoughtful. “I just wish mom could have been here.”

“I don’t know what comes after life. But what I do know is that your mom was so proud of you, Austin. She IS proud of you. I can feel it. Did you not feel the electricity in the room earlier? There is absolutely no way she wasn’t there with you.”

There was silence between the two of you as you walked toward the airbnb. It was only two blocks away, so you both agreed that there was no need to order a car. “Thank you,” he said, finally.

“Of course, baby. I’ll always be here for you.” You squeezed his hand. “I’m blessed to be here with you.” He smiled softly in response to you, pulling you into him as you walked.

“You’re the only one at the end of the day that I’ll ever need, baby. As long as you’re with me, I’m a better man.” You couldn’t help but blush into his chest as you walked.

“You just always seem to know what to say.” You murmured, squeezing him as you walked. Suddenly, you felt yourself being whisked off of the ground. You yelped as you felt Austin grip your body to his, his arm braced securely under your knee and another around your back.

“I’m gonna fall!” you sputtered in hushed panic.

“I’d never let you fall.” He watched you from above, his eyes deep in thought. There was an unspoken proposition flitting between you in the moment, and no words seemed appropriate in the moment. You wanted him and he most certainly wanted you. “I’ll always catch you, baby.” You stared into his crystal eyes for an extended moment as he landed with you on the front step of the rental.

“Promise?” You asked, knowing of course what his answer would be.

“Always. Except, unfortunately, I gotta put you down to get the keys,” he said with a chuckle that made your stomach churn with butterflies. “Didn’t really think about that.” He set you on your feet and you waited for him to put the keys in the lock. You couldn’t help but giggle while you watched him struggle to get the key into the door.

“Having some trouble there?” You asked, your cheeks pulling up in an eager grin. You could hear him mumbling to himself as he struggled before announcing “Aha!” He pushed the door open with force and you watched it crash against the wall before bouncing back between the two of you. There was a moment of silence between the two of you as you both stood in the doorway. In that moment, you could see in his eyes the question on the table. Your smile faded into something more serious and contemplative as his eyes danced between your lips and your eyes, drifting back and forth within the slowed moment.

“Y/n–” He murmured in an almost whisper, asking to take you. You stopped him, choosing to live in the moment. You looked at him, taking his hand and nodded.

“Please.” That was all he needed to hear. In the next moment, you were swept back into his arms and moved through the threshold of the house without another word. Austin kicked the door shut behind you and strode towards the bedroom, not bothering to turn on any lights. He kneed the second door open and padded into the bedroom, laying you lovingly upon the mattress.

“Come here,” you beckoned him downward to you. You watched as he tore off his suit jacket, throwing it to the floor. Within a second, he was kneeled over you, staring into your soul. You brought your fingers up to his bowtie, untying it feverishly, pulling it into a long black ribbon that fluttered to the floor. He was unbelievably sexy dressed like this. This was the man that so many people were going crazy for. You knew that Austin was well within the realm of becoming America's next huge film sensation–but the man with you tonight loved you. Loved you.

“Hey baby, what’re you thinking about down there?” He asked, pulling you out of your stupor. He met your eyes, trying to read your expression.

You pulled at his cotton dress shirt, unbuttoning it. You shook your head, perhaps even reassuring yourself. “Just thinking about you. How proud I am of you. My movie star.”

You watched as blush creeped up his neck and cheeks. “Baby, you’re the only woman I ever think about. I love you so much.” He leaned over you, kissing you softly on the lips.

“You’re going to have the world at your fingertips, Austin,” you said, pulling his shirt apart to reveal his bare chest.You ran your hands over his sides as he watched you.

He bent down to kiss you on your neck before whispering in your ear. “You are my world, Y/n. Always.” If any man knew how to make you feel loved, it was him. Without giving you more time to think on it, his hands shot underneath you, flipping you so that you were now on top of him. You sat up on his lap as his hands pulled at the hem of your silk dress. He pulled it up your legs and thighs and you lifted your hands over your head for him to bend upward and pull the garment over your head.

“Why so red?” you asked, remarking on his face which was becoming noticeably pink in color.

“Um…uh. You went to Cannes with no panties?” You felt his fingertips glide about your bare ass and hips.

“Honey, silk hides nothing. Especially not panty lines.” You leaned over him, now completely nude. You hadn’t worn a bra either, and you could only imagine the pictures that would appear tomorrow showcasing your nipples through the delicate fabric for the world to see.

“Makes me jealous to think everyone gets to see these,” He murmured as he pulled you down, latching on to one of your breasts with the velvet touch of his full lips. You couldn’t help but bite your bottom lip, letting your head fall back as he rolled your nipple with the tip of his tongue in a figure-8 pattern. You could feel the light prickle of his stubble against your skin.

“Mm, but they don’t get to touch, do they?” You posed the question flirtatiously, as if this man weren’t already underneath you.

You observed his eyes shift with a cocky glint, his lips pulling into a determined smirk. “No one gets to touch you except me.” His hands gripped your body hungrily, craning his neck to kiss your skin and sink his teeth into the softness of your breasts and down your belly.

“Then touch me. Like the entire world is watching.” You challenged him, evening your gaze with his. “I want you to fuck me like—” you paused, attempting to pull words together. “You know how you felt tonight? So honored and proud of yourself? Feeling sexy and wanted by every woman and man in that room?” Your fingertips swirled on his chest as you contemplated. “I want–I need you to fuck me so good that you turn yourself on.” The filth that was spilling from your mouth surprised you, but you meant every word. Watching Austin accept so much kudos and admiration from film critics, producers and officials was quite a sight. He was always especially understated in his demeanor. He was extremely attractive; enough to be America’s next heart throb.

In real life, Austin was an enigma; he loved being behind the camera, but never in front of an audience. His art was sacred to him, almost holy ground to him. The dedication and tireless hours that he spent with his craft continued to leave you in awe. You admired your boyfriend, and for many reasons. The optimism and love he had for life always kept you chasing the next big endeavor alongside him. But just as you chased the rest of his life with him, you also chased him. You wanted to share that fire that he felt for film. You wanted to be that fire for him.

“Unlike some sorry bastards, I don’t have to pretend when I’m with you, baby. You’re the love of my life.” the way he said it erased any fear or doubt in your head in an instant.

“Wait,” you said, pulling away from him to look him in the eye. “Austin, really?” You asked, tears springing to your eyes.

“You’re all I’ve ever wanted.” He assured you, swiping a tear from your cheek before leaning upward to kiss you.

You kissed him deeply, your core set ablaze with a need that was beginning to take over completely. “Take me, Austin. Please.” He pulled his arms around you, rolling with you back into your original position. Feverishly, he pulled at his shirt, pulling it off of his arms and tossing it to the floor. You heard him as his fingers flew to his belt, unfastening and ripping it from the belt loops of his pants. You heard the zipper pull open and tilted your head to watch them sink to the floor, exposing his bare legs and thighs. You sat up and scooted towards him, bringing your hands to the waistband of his underwear. “Let me,” you murmured, pulling them down his hips and ass before sliding them the rest of the way down to the floor. Here, he stood completely naked in front of you, completely vulnerable. “The most handsome man I have ever seen,” you said sweetly, stroking his thigh softly with your thumb.

“Please, baby” He said, the learned southern drawl falling from his lips in a saccharine tone.

“Say that again. I want to hear you say it,” you asked as you took his erection in your hand. You watched as his eyes rolled into the back of his head as you began to stroke him slowly.

“Fuck, baby. Please touch me, just like that.” You would never get tired of the way he spoke, the deep smoky tone stealing your breath away constantly. With your thumb, you rolled slow circles upon the head of his cock, dispersing the bead of slick precum around and underneath the tip. “Baby…” he whispered, his voice completely devoid of tone.

“I know, baby. I know you need me.” You cooed to him as leaned in to tease him with the tip of your tongue, flicking it every which way. It made you feel powerful to be the one in control, and not in a performative way. You would be the one responsible for his whimpers, whines and groans. If he was good, you’d be the one to make him cum, too. You took him into your mouth, hollowing out your cheeks and lolling your tongue around him. You felt his hand move to your hair, undoing the neat hairstyle you had worn to the screening. Your hair fell in tendrils about your face as it fell free. His fingertips brushed your cheeks and temples as he swept it up in a makeshift ponytail, looping the stray hairs around his knuckles. Gaining back just enough control, he steadied his footing beneath you and pulled on your hair like his own set of reins. You took more of him into your mouth, feeling saliva beginning to drip from your lips and drag down your chin. You heard him groaning softly above you as he held you there. There was no vanity left to be had in this position; pushing yourself, you took the rest of his length, closing your throat around him, tears springing to your eyes, threatening to fall.

“Fuck, baby,” he whined, arching his back and bucking his hips into you. His pitch had increased, introducing more gravel into his voice. You hummed against his cock, fully aware that you looked like a mess, but frankly, you didn’t give a shit as long as you could please the man above you.

“Baby,” He said in a warning tone. “Hm?” you hummed against him. You heard the helpless sigh escape his body as he began to stiffen. Without warning, he backed away from you. “Not yet. Lay down for me baby.” His voice was deep and strained and you could tell that it took a lot of self control for him to stop himself.

You grinned up at him and obeyed the order, rolling back on your back and waiting for him. You eyed him as he wrapped his hands around your knees, pulling you to the edge of the bed. “I want to make you feel good, mama.” Your eyes widened as you heard him speak. “Oh I–”

“Did you just?” You asked with a bewildered scoff.

“I didn’t realize, I just– I” He said, fishing for words to say.

“Say it again. I dare you,” you said, biting at your bottom lip. “I liked it.”

He caressed your thighs with his palms for a moment, considering the request. “You like it when I call you mama? Playing like I’m Elvis?” He asked the question, raising his eyebrows.

“I just like it when you say it. When you’re so goddamn cocky, you can’t help but become him. Never thought I’d be so fucking turned on by it.” You were honest with him. You loved his Elvis voice, watching him all those times in the studio assume the character. On particularly successful shooting days, he’d come home and fuck you like he really was the King of Rock and Roll. He hadn’t ever slipped up and called you ‘mama’ though. This was new.

“Well then, I’ll keep that in mind.” With that, he sank down on you, placing soft kisses on the insides of your thighs, pulling them apart to get a better look at you. “So beautiful,” he said, bringing his fingertips to your folds. “Hmph,” he said in an enthused tone. He lifted his slick fingers up so that you could see them. “So wet for me, baby.” You watched as your own wetness webbed between his fingers. “If my voice could do it for you alone, I wonder what my tongue could do, hm?”

“Austin, baby. Please.” You whined, wanting so badly for him to stop teasing you. “I need you.”

“Don’t you worry one bit. I’ll take care of you.”

End of part 1.

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cestlefantome · 8 months

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POTO Italy review

Ok, that’s gonna be a very long post. My synthesis capacity is clearly lacking but I really wanted to put down to paper all the details possible from the Italian production before my memories faded. If you don’t want spoilers, better stop reading this now.

First of all, let me tell you that I absolutely love the Brilliant Original and that I’ve never seen a non-replica production before (except for the 25th anniversary, which I consider a non-replica as it is missing key elements from the original). I was very skeptical of the Italian production after seeing the bootlegs and photos posted on TikTok and also listening to the audio of the first show sent by a friend of mine who was there for the first show. I spent the first week of the run moaning about all the changes and how cheap the production looked, so my expectations were very low. I really thought I was going to hate it. Even Ramin didn’t impress me in the bootleg audio, and if you know me, you will know how much I love his Phantom. That was the state of mind I was in before seeing the first show on July 11.

I am an experienced traveler but arriving in Trieste was a strenuous adventure even for me. It took me 3 flights (the longest one was 11 hours long) and a train, a 30-hour journey in total (and 32 hours to get back home). I stayed with a friend from London in an Airbnb on the same street as the theatre, a three-minute walk. We were really lucky in that regard. The whole city was celebrating Phantom, it was a great happening to them, with many store windows with Phantom-inspired decorations.

The Il Rossetti (Teatro Stabile del Friuli Venezia Giulia) was built in 1878 and heavily restored 3 times, the last one in 1999. It sits 1,531 people and it is stunning with a beautiful ceiling mimicking the sky that can light up as stars. It has an opera house atmosphere which I think is very appropriate for staging Phantom. The original theatre chandelier looks tiny though. We were surprised to find out that there were no rows 1 and 2, so we were closer to the stage than we thought. That was indeed a very pleasant surprise. I saw the show 8 times, from July 11 (the first show of the second week) to 16 (the last show), including both matinees. I sat twice in the first row (in reality numbered as row 3), one of them on the right side and one on the left side of the stalls. Sat 4 times at the second row (numbered as row 4), all of them on the left side of stalls, and twice on the third row (numbered as row 5), one of them on the right side of stalls. The stalls are divided into left and right with a central corridor. I will say that for this specific production, and because of the revolving stage, the seats on the left can have a restricted view in at least two crucial scenes, depending on where you are seated (most specifically as you get the farthest from the center, but not so bad if you are seated near the central corridor).

As you enter the auditorium, the whole stage is blocked by a huge mirror wall written "Phantom".

At the beginning, they had a recording of Ramin saying “Ladies and Gentlemen, welcome to MY theatre. Consider this your first and only warning. Recording or taking pictures during MY show is strictly prohibited. Should these commands be ignored, a disaster beyond your imagination will OCCUR (a low sinister laughter). Enjoy the show.”

When the auditorium goes dark for the show, there’s a flash and a very loud sound of shattering glass, as the mirror wall is lifted to reveal the auction scene. The auction is set at the Opéra Populaire dilapidated and abandoned auditorium. There’s a very cool backdrop of the destroyed boxes and only a partial ceiling, revealing the sky and the Eiffel Tower in the background, with birds singing. The covered chandelier is in the back, near the auctioneer who is standing on the ground and not higher as in the original production. The chairs are arranged just like in the real auditorium, with two rows of chairs on each side with a central corridor. The people attending the auction have their backs to the audience, so in a way, we feel as if we are part of them as well. Old Raoul doesn’t have a wheelchair, he is seated in a normal chair like everyone else. He still has a nurse by his side. I’m pretty sure old Raoul wasn’t played by Bradley Jaden, but by the same actor who played Monsieur Lefevre (Jeremy Rose), wearing a beard. I think that was a nice touch because it looked way more realistic to have an older actor instead of a younger one with not very good makeup.

Fun fact, in lot 664, the wooden pistol and three human skulls from the 1831 production of “Robert Le Diable” by Meyerbeer was replaced by only one human skull. The Monkey music box is very similar to the one from the 2004 movie, wearing a green vest, a red waistband, and a red Fez hat. When Lot 666 is to be revealed, the auctioneer walks to the side and turns an old electricity knife switch that is part of the “backstage” wall of the revolving stage (lateral side of one of the boxes). The chandelier is revealed and the whole theatre goes dark as it is then illuminated in tiers, according to the overture playing (I love this part, it always makes me cry). In the few seconds in darkness, the chairs are removed from the stage to prepare for the next scene, in the past. As the chandelier rises, we can see actors and ballerinas coming into and going from the stage in slow motion. It was a very clever way to represent the restoration of the Opera Populaire to its full glory. During this scene, the revolving stage rotates, and we have a first glimpse of Joseph Buquet (Matt Bond) going up a side spiral staircase with a noose in his hand. Madame Giry crosses the stage looking at him. On the side, Christine and Meg appear talking, also in slow motion.

In this production, the revolving stage acts as a stage within the real stage. From one side it shows as the front of the stage, with the footlights and a prompter box. The back of it is the backstage view, with old black brick wall, a spiral staircase on one side, a hidden door, and the knife switch on the other end. On each of the sides there are three tier theatre boxes and behind each of these boxes there is part of a wall with a window and a curtain for the Manager’s office and on the opposite side, it is Christine’s dressing room set. This revolving set also has a beautiful, decorated ceiling where the chandelier hangs. A very clever set in my opinion.

The stage then stops facing the audience, the Hannibal backdrops falls in place as Meg and Christine leave and Carlotta enters the stage to sing. Carlotta was played by Italian Opera soprano Anna Corvino, and she is fantastic and a very extra and funny La Carlotta. I loved her voice (even though she was trying to sound bad) and how dramatic she was. She was also very nice at stage door.

The stage during Hannibal looks very crowded, because everything happens within the revolving stage limits (because they have to be behind the footlights). The backdrops, costumes, and choreography are all different from the original, but it didn’t bother me, and they didn’t look cheap at all, just different from Maria Björnson’s. There’s no elephant, instead, they have an open sedan chair carried by two people. There are 6 slave girls (counting with Christine) plus the slave master, Christine is on stage dancing from the beginning of the scene, and at one time, she loses her balance and falls on stage after which Madame Giry calls her out “Christine Daae, concentrate girl”. I had the distinct impression that, except for the slave master, none of the girls had ballet training, especially not the actress playing Meg (Zoe Nochi). She had a horrible posture, certainly not one for a trained classical dancer. If it was an acting choice, it was a weird one.

Monsieur Lefevre comes with Messieurs Firmin (Ian Mowat) and Andre (Earl Carpenter). Monsieur Reyer is hidden in the prompter box, we never get to see him. Piangi was played by Italian tenor Gian Luca Pasolini and he has an incredible voice but was a bit stiff on stage. Maybe he was supposed to be like that, I don’t know. It’s not a bad thing, but he doesn’t stand out much, except when he is singing. When he steps inside the sedan chair, the two guys carrying it have a really hard time suspending it until its floor breaks due to Piangi’s weight. It was funny and made up for the missing elephant at the end of Hannibal. Monsieur Lefevre seems overly joyful when he announces he is retiring.

The part in which La Carlotta sings “Think of Me” to Monsieur Andre is also very funny. She’s over dramatic and as he approaches her, she actually spits on his face when singing “Spare a THOUGHT for me” and Andre has to clean it with his hand. Earl’s face at that moment was hilarious, he was born to play Andre. Then the backdrops fall, and Meg comes forward to sing “He’s there, the Phantom of the Opera” and when Firmin replies “Good heavens! Will you show a little courtesy? Mademoiselle, please!”, she actually challenges him with a sarcastic smile on her face, until Madame Giry pulls her back. I will say I didn’t like Meg in this production. Her voice was very harsh and annoying, and I didn’t like her attitude in general, with the exception of one scene.

When Andre asks if there is an understudy for La Carlotta and Monsieur Reyer replies “There is no understudy Monsieur, the production is new”, Meg literally pushes Christine to the front saying “Christine Daae could sing it, sir”. Christine almost loses her balance again. That was a choice because it happened in every single show. Christine then starts singing very shyly and when she tries to leave the stage, Meg comes forward, holds both her hands, and encourages her to keep singing until she is confident enough to sing with her full voice. I really liked that added moment between the two friends. A curiosity, there was no scarf for Elissa, so indeed Christine was a bit more restricted in her (lack of) choreography and sang more or less standing, facing the audience, not much different from the 2004 movie. While Raoul sings his part, the stage rotates 360° so everyone can see him in the box with Andre and Firmin (no Madame Firmin) as well as a view of Christine as seen from “backstage” and that is when Christine moves the most on stage, she does a quick choreography similar to the one she does at the back of the stage in the original production at this very moment.

I have to say that before seeing the show, I told many of my (poor) friends (who had to deal with my moaning for over a week) that Amelia was, in my opinion, the weakest link in the cast, as she had no previous experience and I didn’t like any of the videos of her singing posted previously (not the ones with Ramin in NY and not the ones on her own YT channel). Well, I learned that we should keep our harsh opinions to ourselves after we see the show in person. We can’t judge someone’s talent by a video filmed in a living room, a crappy bootleg, and even worse, by other’s opinions. I personally loved Amelia Milo’s Christine. She has a beautiful, strong voice, is very sweet and both her face and voice convey a lot of emotion. Her voice also blends beautifully with both Ramin’s and Bradley’s. Both men have very powerful voices, and none held back but she just kept up with both, her voice was never drowned by theirs. Bradley Jaden is a very attractive Raoul (he has long hair and wore it in a low ponytail, except for the final Lair) and also has a big, strong voice. He was an overall enjoyable Raoul, at least in my opinion (I’m still team Erik all the way), although at times he seemed very annoyed but in the end, I think it worked and I’ll explain later why.

The whole scene with the ballerinas surrounding Christine, and she holding the big flower bouquets and bowing with her back to the real audience while the curtain closes doesn’t happen in this production. Monsieur Reyer doesn’t appear talking to her either while the ballerinas rehearse in the background. When the Phantom sings “Bravi, Bravi, Bravissimi”, she is already in her dressing room changing to the dressing gown, which looks similar to the one from the original production, except for the sleeves. Ramin’s “Christine” sounded a bit harsh for me. In the 25th anniversary, he sings her name pianissimo, like a caress, so that was something that I didn’t quite understand, because he was supposed to be happy after her successful debut, but it sounded (to me) like he angry.

As I said before, Christine’s dressing room is located behind the boxes on one side of the revolving stage. It consists of a dressing table, a chair, and a huge, tall mirror that sits above her dressing table. When she sits down to change her ballet shoes, there is already a single red rose on her dressing table, from the Phantom. Christine stands up when Meg comes in and she gently makes Meg sit while she sings “Angel of Music”. For most of the song, Meg keeps touching everything on her dressing table and not paying much attention and is sitting in a very unladylike way, not like I would expect a ballerina to sit. Madame Giry comes in, tells Meg to leave, and gives Raoul’s note to Christine.

The scene where Raoul walks to Christine’s dressing room in the company of Messieurs Andre and Firmin (and his wife) was cut, but depending on where you were seated, you could see Andre, Firmin, and Raoul talking in the very back during “Angel of Music”. Raoul then comes to her dressing room (no rose or champagne bottle) and when she recognizes her childhood sweetheart and hugs him, the two sconces positioned on each side of the mirror flicker. Both Christine and Raoul notice it, Raoul looks particularly intrigued, although he doesn’t miss a beat on his part. That was another small change that I enjoyed. We know the Phantom is not happy. The dressing room scene is one of the two scenes I mentioned that have a partially restricted view for those sitting on the left side of the audience. When the revolving stage rotates after “Think of Me”, it stops at an angle, facing the right side of the audience. For the most part, the view is ok. But as Raoul leaves and the Phantom appears in the mirror, his image can’t be seen by at least half of the theater audience. That was a very unfortunate choice by the production, I can’t believe no one sat in different parts of the auditorium to make sure everyone could see this crucial scene. We can only see Erik when he steps out of the mirror and extends his hand to help Christine climb the chair and the dressing table and enter the mirror with him.

I was lucky to be able to see the full scene at least half of the time but was still annoyed by the times I couldn’t see him. Ramin looks amazing inside the mirror. By the way, when he appears in the mirror, Christine knees down and extends her arms as in prayer for her Angel. I absolutely loved this scene, which made it even worse that I couldn’t properly see it every night, even though I had excellent seats very close to the stage. The title song staging is very cool. After entering the mirror, the revolving stage rotates again and stops with the backstage facing the audience. They appear crossing the dark stage from right to left and then a hidden door at the backstage wall opens and they come out from it. The Phantom then comes forward to the edge of the orchestra pit to get a lamp. He reduces the intensity of the lamp light; turns back to get Christine and they go down a stair in the pit. They then appear at the top of the spiral staircase on the right side of the stage (the same we saw Buquet earlier) and descend until they reach the boat (a gondola) and cross the stage, reaching his lair.

The boat stays on the left side of the stage, while a massive organ comes up from the floor in front of the conductor and then slides a little to the middle of the stage. At the same time, a 4-poster bed and the monkey music box appear on the right side. A backdrop of the cellars appears in the back. There are no candelabra or candles in the Phantom’s lair, except for some in the organ. While they are in the boat, there is some dry ice effect and a bluish light, to mimic the lake. The background reminded me of an artwork from Giovanni Battista Piranesi (Carceri d’invenzione) that is mentioned in one of my Palais Garnier books. It is not as spectacular as the original production, but it is still magical, and impressive. Ramin’s Phantom is particularly shy in this production. Except for holding hands (which many times you can notice his shaking), he hardly touches Christine. For “Music of the Night”, Christine is standing on the left side of the stage, near the gondola, where she sings her high E. Erik then plays his organ dramatically (“I have brought you to the seat of sweet music's throne (…)”. He is standing and looks at her. A bench then slides on the stage, and he sits down, facing the audience and with his back to her. He has music sheets on his hand. He sings part of Music of the Night while seated and hardly acknowledges her, but you can see he is very nervous. He stands up only when he sings “turn your thoughts away from cold, unfeeling light and listen to the music of the night”. He slowly approaches her from behind, but when he sings “darkness of the music of the night”, she runs to the opposite side, but then she stops near the bed when he sings “Let your mind start a journey through a strange new world!”

When he approaches her again, he takes a candle from the organ and immediately after he sings “Only then, can you belong to me”, he blows the candle in her direction. You can see some kind of powder and then she is in some kind of a trance. He comes behind her, but he doesn’t really touch her, she is the one to rest again him while he sings “Floating, falling, sweet intoxication! Touch me, trust me savor each sensation!” and she touches his hand and his face very gently and he slightly leans into her hand until he sings “Let the dream begin, let your darker side give in to the power of the music that I write the power of the music of the …”. She faints, he holds her, closes his eyes for a second, looks at her and sings “night”. He then gently places her on the bed and covers her with his cloak and walks around the bed while singing “You alone can make my song take flight, help me make the music of the night”.

I know some people have been pretty vocal about the candle part and him “drugging” Christine and taking away her “consent”. I respect those who felt uncomfortable with this scene, but honestly, I much prefer this to that creepy mirror bride with the likeness of Christine, which implies that maybe Erik does “things” with the mannequin. Even though he did put her in some kind of trance, the way I see it is that they were both overwhelmed and he was bidding his time, without not really knowing what to do and maybe trying to postpone the hard conversation ahead of them, having to explain why he lied about being an Angel. He never touches her inappropriately (before or after the candle), he never approaches her while she is sleeping, and the scene between the candle blow and her fainting takes about 40 seconds (yes, I tracked the time). I’m not saying it is right, but then we will have to discuss if it is right to bring her to his home in the first place, unchaperoned. Is it really much worse than drugging her with chloroform like in the book or hypnotizing her with his voice? Those were different times and men tended to think and treat women as their property. Right or wrong, at least the Phantom was a gentleman.

After Music of the Night, the stage went dark for a few seconds. Erik took off his jacket and moved the bench closer to the organ (no Mandarin coat and hat). I didn’t mention it before, but he has pretty much the same outfit as in the original, except that his waistcoat is white silk with a chain clock (he also wears a red lining black cloak with a shoulder cape with no embellishments and no fedora hat). When the lights go back on, he is sitting on his pipe organ playing, his back to the audience. The music box then starts to play. Erik looks at the Monkey and does the same movement with his hands as if he was playing the cymbals too. A small detail but one that I loved it. He then is back to composing. Christine wakes up and begins singing, he looks at her and is back to composing for a few seconds, but when she sings “Whose is the face in the mask?”, he watches as she gets up from the bed and he stops composing. He then turns on the bench, facing the audience, but he sits at the very end of the bench and starts fiddling with his hands, with his head down, very shy, without really knowing what to do. She approaches him and sits on the bench very close to him, his hands are shaking, he closes his eyes, and she touches his face, and he leans into her hand, so trusty and vulnerable and that’s when she tears the mask from his face. He immediately screams and turns his back to the audience, leaning against the organ while cursing. She tries to escape to the boat, but he goes after her and yanks her from it, and she falls to the floor. When he sings “Curse you”, he sits on the bench, still covering his face with his hand and he actually chuckles and starts singing back again a bit more menacing while he approaches her again, she crawls to the opposite side and then he collapses on his knees and sings “this loathsome gargoyle, who burns in hell, but secretly yearns for heaven, secretly. secretly.”.

In this last part, he sings almost sobbing. The part “But, Christine. Fear can turn to love you'll learn to see, to find the man behind the monster, this repulsive carcass, who seems a beast, but secretly dreams of beauty, secretly. secretly” He sings with so much despair, except for the words monster, repulsive carcass, and beast, which he sings with anger. It’s heartbreaking. The whole time after the unmasking, Christine hardly breaks eye contact with him. Bonus points for her, as most Christine cowers in fear. After her initial shock during his cursing, she looks more regretful than afraid. He covers his head with both hands, bends down, and rocks like a small child while sobbing. She approaches him slowly and tries to touch him and he flinches and sobs a “No”, his voice bears so much fear at this moment, that it seems as if someone is trying to beat him. He then moves his body away from her, still rocking. This whole scene was devasting and the best I’ve ever seen so far. She then extends her arm to him, holding the mask, he looks at her still afraid but takes the mask and puts it on his face, breaths, recovers himself, stands up, and says “Come we must return those two fools who run my theatre will be missing you”, He seems resigned, not angry anymore. Thank God there was no creepy crawling, which is something about this scene in the original that I dislike.

The scene then shifts to the backstage of the opera, while the revolving stage rotates to show Buquet on the top of the spiral staircase with the noose in his hands, singing his part about the O.G. to the frightened ballerinas. Madame Giry arrives and sends the ballerinas away while singing her part “Those who speak of what they know find, too late, that prudent silence is wise. Joseph Buquet, hold your tongue he will burn you with the heat of his eyes.”. At the same time, Buquet comes down the stairs. He comes really close to her, his face is inches away from hers and he actually threatens her with the lasso. She doesn’t even flinch. He starts laughing like a maniac as he leaves the stage.

The stage rotates again to show the manager’s office. That part is about the same, except that the Managers seem to be a bit annoyed with Raoul, and Raoul looks particularly annoyed with La Carlotta, and he is even rude to her. While the conversation between the managers, Raoul, Carlotta, and Piangi is happening, those sitting in the right side can see that Meg is seated on the stage floor in the background, playing with Buquet’s lasso. I have no idea how she got it, but she even has it around her own neck until Madame Giry sees her and takes the lasso away. Meg then follows Madame Giry to the manager’s office where Madame informs everyone that Christine is back and shows them the new Phantom’s note. There are a few amusing moments involving the managers and La Carlotta. The trio is responsible for most of the funny scenes. They start singing Prima Donna in their office but then everyone moves to the stage (as the stage rotates again) to sing the last part “Light up the stage with that age-old rapport! Sing, Prima Donna, once more!”. We then listen to the Phantom threatening them “So, it is to be war between us! If these demands are not met, a disaster beyond your imagination will occur!”, while they sing “Once more!”.

For Il Muto, there is no bed, in fact, there’s no furniture at all on the stage. They have a backdrop very similar to the 2004 movie, with a fake balcony in the middle. Raoul is in Box 5 and Firmin and Andre are in the opposite box, drinking. They both seem to be a bit drunk. Meg is not on the stage. Besides the Countess and the Maid/Serafimo, there’s only the hairdresser, the Jeweler, and the Confidante. Don Attilio is much younger and is not a bass. He is also not so funny. When Don Attilio and the Countess both sing “Addio!” they both hold the note for ages. Don Attilio then leaves and hides in the fake balcony. Christine rips off the maid's skirt to reveal herself as Serafimo. Everything is alright until we hear the Phantom’s voice say, “Did I not instruct that Box Five was to be kept empty?”. Meg then invades the stage out of nowhere, in her Degas-like ballerina outfit to sing: “He's here, the Phantom of the Opera”. Everyone looks terrified. Madame Giry pulls Meg from the stage.

Everything happens as in the original production. The Phantom says “A toad, madame? Perhaps it is you who are the toad” and Carlotta panics. She calls for her dresser that brings that throat spray, just like in the movie. On her way back, she takes away the maid’s skirt, so when they play the scene again, Serafimo has no skirt, like in the original. When Carlotta starts to croak and seems to be losing her voice, chaos breaks loose, Raoul jumps onto the stage, Carlotta leaves crying, Christine runs to Raoul and Firmin announces that the role will be played by Christine. At this, she looks at Raoul in panic and both leave the stage, while Andre goes to announce the ballet. He has a bottle of champagne and a flute glass on his hands and this scene is particularly funny. Earl Carpenter is indeed the perfect Andre. The ballerinas come to the stage, no Sylvan glade costumes, they are all wearing the regular Degas ballerina costumes. The scene happens more or less the same way, but it’s a different choreography, and twice the Phantom swings across the stage in a rope, laughing. The third time, the rope swings with Buquet hanging. The Phantom swinging across the stage wasn’t necessary but I enjoyed the way Buquet hangs, it was way more realistic than the dummy they have in the original production; I believe it is indeed the actor playing Buquet in that scene.

The scene then changes for the rooftop. They have a raised rooftop for the scene and Christine is already there in her dressing robe when Raoul finally climbs the stairs singing “Why have you brought us here?”

The whole scene reminds one of the domes in the Palais Garnier, below it, you can see a structure that reminds the arched structure that supports the main dome above the auditorium and that houses the chandelier counterweights. There’s a backdrop of Paris, partially showing one of the Angel statues and you can also see Notre Dame in the background. The rooftop scene is very different from any version that I’ve seen so far. Raoul is terrified from the height and also because Christine is dangerously close to the edge. Christine is frantic, walking from one side to the other. The only time she seems a bit calmer is when she sings “But his voice filled my spirit with a strange, sweet sound. In that night there was music in my mind. And through music, my soul began to soar! And I heard as I'd never heard before. Yet in his eyes all the sadness of the world. Those pleading eyes, that both threaten and adore.” But then she hears his eerie “Christine” and is immediately frightened again. Raoul tries to pull her from the edge many times and she refuses his touch every single time. In fact, she hardly looks at him, It’s like she is going mad, and she looks suicidal. At one point, Raoul just sits on the edge of the rooftop with his legs out and very slowly moves closer and ends up calming her. It’s one of Raoul’s cutest moments in this production. Christine doesn’t look much at Raoul, she sings most of All I Ask of You looking at the horizon like she is singing to (or thinking of) someone else. Only at the very end, she looks at him and they kiss.

When they leave the rooftop by the same stairs, the spotlight illuminates where the Phantom is seated hidden in the shadows, just below where Raoul and Christine are (no big hat with black feathers). He looks devasted and furious at the same time. He comes to the edge of the Orchestra pit to sing “You will curse the day you did not do all that the Phantom asked of you!”. The chandelier then lights up behind him in the dome structure. He goes to the chandelier and lights it on fire, climbs on top of it, he has some kind of knife on his hand, and he seems to be cutting some of the cables that hold the chandelier. The chandelier then is pushed to the back and when he screams “Go”, it swings to the front of the stage with Ramin on it, while real fire lights up at the very edge of the stage near the Orchestra pit and the lights go down. This was one of my favorite scenes in the musical. Even though I love the chandelier falling over the audience, this scene was spectacular and very impressive as well.

The second act begins with two people fully covered and hooded in Venetian carnival cloaks (a nice touch considering it’s an Italian production). They are standing in front of the mirror screen (the same that was covering the stage at the beginning of Act 1)) and light spots illuminate each of them briefly while they move closer to each other until they meet and show themselves as Firmin and Andre. Andre is wearing his usual tailcoat under the cloak (no skeleton costume), but Firmin reveals a pink bow gown. They leave the stage laughing and happy, the mirror screen opens and reveals the empty auditorium with the chandelier lowered and Meg seated on the floor below it, wearing a monkey music box costume and pretending to be playing the cymbals. Although cool, I didn’t understand why she would be wearing this specific costume. As for the lower chandelier, it is obvious that the Masquerade ball is the inauguration of the new chandelier, as it is raised during the celebrations. There is no great staircase in this production, but in the book, the Masquerade happens in the Grand Foyer and in real life, it usually happened in the auditorium (they would remove all the seats and have wood planks covering the floor to protect the carpets). The ensemble enters the stage one by one, all of them wearing Venetian cloaks and masks in different colors. They are all dancing with mannequins dressed similarly and as they dance, they look like real people, because they move their heads to face the audience, just like the actors. The ones not wearing Venetian cloaks for Masquerade are Andre who took his down at the beginning), Firmin, who is in the pink ball gown, Madame Giry in her usual black costume and a mask, Meg in her Monkey outfit, Raoul in a tailcoat and a silver mask (which he takes off almost immediately) and Christine, who is wearing a beautiful off the shoulder cream satin gown, that reminds me a lot of Chirstine’s wedding dress in the 2004 movie.

At some point, part of the actors on the stage leave and stand in different parts of the auditorium with the audience, Firmin and Andre stand near the first row almost in the middle, there are others that stand near the exits of the auditorium and some in the boxes around the theatre. Christine and Raoul stand just in the middle of the stage and gold and silver confetti falls from the ceiling over the stage and the first few rows of the theatre while they sing Masquerade. It’s a visually very beautiful scene. Then comes Red Death. And I’ll say I was prepared to hate this scene because Maria Björnson’s extravagant, over-the-top Red Death is one of my favorite costumes in the show. In this version, the Phantom wears just a red velvet cape with a hood covering his face. On his hands, the Don Juan score. He looks very much like the figure of a reaper, like the original artwork of Edgar Allan Poe’s Red Death. Raoul and Christine immediately leave the stage. As the Phantom sings “Here I bring the finished score, Don Juan Triumphant!”, Andre approaches him to get the score, but Raoul comes running and prevents him from getting closer. People surround Red Death, he has his back to the audience at this moment and they rip off his cloak but there’s no one underneath it, the Phantom is gone.

Then, a spotlight illuminates Christine and someone all covered in black standing in the auditorium near the first row, inches from the audience and the Phantom takes off his hood and sings “Your chains are still mine; you belong to me!”. I was lucky to be seated front row once, just in front of where they stood. In fact, I noticed that as they both approach their positions, Raoul looks at them and tells them to stop and wait. It gave me the impression that Raoul left Christine in the care of this person, without knowing it was the Phantom, and he is as surprised as everyone else when he sees it’s in fact the Phantom. I already knew it would happen, because it was my last show, but it was incredible to see Ramin as the Phantom standing so close that I could actually touch him if I tried. Since Ramin wasn’t on the stage during this scene, his part was pre-recorded, with the exception of the very last line he sings to Christine.

Immediately after this scene, the auditorium is empty, except for Raoul sitting on the floor, looking bewildered. When he sees Madame Giry and calls her, she says “Monsieur, don't ask me. I know no more than anyone else”, he asks very calmly “That’s not true. You've seen something, haven't you?”. She then replies “I don't know what I've seen. Please don't ask me, Monsieur”. That’s when he stands up and shouts at her face “Madame, for all our sakes”. She then explains what she knows about the man locked in the cage of so many years ago. At this point, they have a background illuminated as the silhouette of a traveling fair, which reminds me of Love Never Dies Phantasma. I like these small details connecting both stories.

The second manager’s scene shows that at this point everyone is on edge, Firmin and Andre are annoyed with the whole O.G. thing, as well as Carlotta’s antics and also at Raoul's permanent presence at the Opera house barking orders. Christine is behind Raoul with the Don Juan score in her hands. She has an aqua dress with small roses embroidered. It was my least favorite of her costumes, to be honest. It wasn’t ugly and I believe it was period-appropriate, it just didn’t stand out to me. Carlotta kept challenging Christine the whole time (while Raoul just stood there like an idiot) and at some point, Christine couldn’t stand anymore and came face to face with Carlotta while singing “How dare you! You evil woman! How dare you!”. After the Phantom’s new note brought by Madame Giry, Christine seems very distressed, especially after Raoul suggests having her as bait to catch the Phantom minutes after assuring her that the managers couldn’t force her to sing. He even has the audacity to put both his hands on her shoulder while he sings “but remember we hold the ace”. This disturbed me way more than the candle thing with the Phantom during MOTN.

While all of them are speaking at the same time, Christine stands up and is even more distressed with the whole situation, and finally collapses on her knees while pleading “Raoul, I'm frightened, don't make me do this. Raoul, it scares me, don't put me through this ordeal by fire. he'll take me, I know. we'll be parted forever. he won't let me go”. While she sings this, everyone in the room is looking at her, except for Raoul, he has his back to her, his hands resting on the manager’s table and he looks really annoyed and frustrated. Only when she starts singing “What I once used to dream I now dread. If he finds me, it won't ever end” he finally faces her but just stares like everyone else. When she cries “and he'll always be there, singing songs in my head. he'll always be there, singing songs in my head.” Carlotta looks at Raoul and says “She is mad”. Only then does he finally kneels down near her and sings “You said yourself he was nothing but a man. Yet if he lives, he will haunt us till we're dead”. She then stands up and moves away from Raoul, and she sounds angry while singing Twisted every Way. Raoul comes closer to her, puts his hands on her shoulders to have her face him (again), and sings gently but very forcibly at the same time “Christine, Christine, don't think that I don't care, but every hope and every prayer rests on you now.”. He then holds her by the waist and leads her against her will to the auditorium (while the stage rotates again) and has her seated with the score. She just looks at him resigned. She clearly doesn’t want to do it. Raoul just stands there, looking at her to make sure she won’t run away, and then shouts to no one in particular “So, it is to be war between us! But this time, clever friend, the disaster will be yours” and leaves the stage as Don Juan rehearsal starts.

The Don Juan rehearsal happens more or less the same way as the original, but instead of the piano just playing alone, it also spins on the stage. Monsieur Reyer was supposedly coordinating the rehearsal from behind the piano and at one moment, we see his arm raised, but when the piano spins, there’s nobody there. Chaos breaks loose as everyone starts to fight. The rehearsal scene is the other scene which is a bit restricted to people seated on the left side because the stage stops at an angle facing the right side of the audience too.

As the violins start playing, Christine stands up and goes to the back while the stage rotates again. As she emerges on the front of the stage (that finally stops rotating), she has her cloak and is holding a single red rose. She walks towards the edge of the stage and in the background, we see the silhouette of the people fighting in slow motion during rehearsal, throwing chairs and things like that, a total mess. Then the graveyard backdrop falls, and Christine is alone on the stage as snow starts to fall and we hear the bells. There is no Daae mausoleum, which never really made sense to me, as they weren´t rich. She sings a good part of the song kneeling down in front of the conductor, as if in front of a simple grave or headstone. She even has the rose resting on the ground as she sings. When she finishes (her Wishing is fantastic) and is ready to leave, the Phantom with raven wings appears illuminated by a single spot behind the backdrop while singing Wandering Child. Christine seems totally mesmerized by the vision of him as an Angel, she sings back to him on her knees with her arms raised, as in prayer, and starts moving towards him when he sings “yet your soul obeys”. As he starts singing “I am your Angel of Music”, he rises from the ground.

The whole time, the Phantom is very aware of Raoul’s presence and becomes more agitated and angrier by the minute. When Raoul manages to shake Christine out of her trance, it culminates with the Phantom fully rising to the sky, maybe 10 meters or more from the ground, and instead of the pitiable fireballs from the original production, he commands lighting and very loud thunder effects. At the very end, he shouts “So be it! Now let it be war upon you both!” and flies down as to attack Christine and Raoul while a thunder sound explodes loudly, and the stage goes dark. That was another favorite scene of mine. Say what you want about it, I’ve always had this canon of the Phantom as a black-winged Angel, so to see my idea turned into reality on the stage by my favorite Phantom was truly incredible.

We are then back to the stage of the Opera house, Raoul, Andre, Firmin and the chief of the Gendarmerie are on the stage and the Gendarme with the gun is in a box, with the audience, instead of the orchestra pit. The Chief of the Gendarmerie shouts, “Are the doors secure?” and someone replies back “secure” only once, there’s no sound of slamming doors from all around the auditorium, which makes way more sense, because soon after, the Phantom sings “Let the audience in”, which would be impossible with all the doors closed.

As they leave the stage, the revolving stage shows the silhouette of the actors in Don Juan from the backstage until it fully rotates and stops facing the audience. The backdrop falls and it is very similar to the one in the original production. Piangi’s Don Juan outfit is somewhat similar too. Passarino’s outfit is different from the stage musical though. The first time I saw an image of this scene, I absolutely hated it, I’m so used to the black hooded cloak that I couldn’t understand the yellowish-brown cloak and big hat. But it makes sense with Passarino’s outfit, that it’s about the same color. So, when Don Juan changes his red cloak and hat with Passarino, it makes sense to have the Phantom dressed as so. The more I watched the show, the less it bothered me. There is really no right or wrong, this scene doesn’t even exist in the book, only in ALW’s version. At least it makes more sense than the outfit he wears in the 2004 movie when he doesn’t even try to disguise himself.

Christine’s outfit reminds me of Emmy’s outfit in the movie, and she even has the basket. When the Phantom comes out singing, it is the voice of Piangi that we hear. It is supposed to sound like the Phantom mimicking Piangi’s voice to perfection. This had me very confused when I first listened to the audio from the first show my friend sent me. I knew it didn’t sound a bit like Ramin, but at the same time, it was supposed to be him singing and my brain was so confused. Only when he starts singing “Past the point of no return -no backward glances (…)” it shifts to Ramin’s voice. I believe that’s the exact moment when Christine realizes it’s him and not Piangi. She even looks at Raoul at this point.

This scene is very interesting because Erik acts as if very much in control while he is singing, but as soon as Christine is singing, he looks very nervous and even terrified. He sits awkwardly and doesn´t know what to do with his hands, they are shaking, and Christine acts very provocatively and touches him a lot. By the time she sings “In my mind, I've already imagined our bodies entwining defenseless and silent”, she has her leg almost on top of him, and after “And now I am here with you: no second thoughts, I've decided, decided”, she is already seated across the bench facing him, while he seems even more nervous, seated facing the audience. By the “Past the point of no return -no going back now (…)” she forces him to look at her by holding both his hands, and when she sings “When will the flames, at last, consume us?” they both stand up, she leans her back on him, they are both still holding hands. He slowly sits down again, bringing her to sit on his leg while they both sing “Past the point of no return the final threshold, the bridge is crossed, so stand and watch it burn. We've passed the point of no return”.

The whole scene is very sexy. At this point, she actually tries to kiss him, but he pushes her away and moves to the very end of the bench, opposite her. He then takes off the hat revealing himself on stage. Everyone gasps, including Christine, but I believe she is shocked because she wasn’t expecting him to show himself like that. The stage is invaded by the police, the managers, Madame Giry, and Meg. Raoul immediately jumps from box 5 to the stage and tries to reach the Phantom, but Christine prevents everyone from getting near him. He starts singing All I Ask of You reprise, very softly, looking at the floor and fiddling with his hands. At that moment, I think he believed it was his last chance to win her willingly, he is very vulnerable, and there are lots of people pointing guns at him, but he keeps seated, the way he sings is truly heartbreaking, it is a pleading, his last chance to be happy. He then stands up and puts the ring on her finger and she betrays him, pulling his mask and wig. His scream is painful, and he just catches her and flees the stage with her under his cloak. Piangi is not dead (which I appreciate because his death is pointless). We see Piangi in the background, on his feet, being helped by two men while Carlotta cries out his name.

Firmin is hysterical shouting “We are ruined Andre, ruined”. He is holding a lantern. Andre faces him and holds the lantern too. He shakes his head in an affirmative way, silently telling Firmin that there is only one thing they can do. They both release the lantern, initiating a fire that ultimately destroys the theatre. I believe they did it seeking for some kind of insurance. I prefer this to the idea of the Phantom being responsible for all the destruction.

Madame Giry calls Raoul and leads him to the same staircase near the orchestra pit from where we see Erik and Christine descending in the journey to the lair during the title song. She doesn’t go with him. Meg is not with them either.

The scene changes to the Phantom and Christine in the gondola, on their way to his lair, and he is totally unhinged at this point. His humor shifts from totally devasted (and almost crying) to very angry and violent. Christine is still wearing Aminta’s outfit. Erik hands her a veil and a wedding dress, but she never gets to change. He doesn’t sing “That fate, which condemns me to wallow in blood has also denied me the joys of the flesh. This face, the infection which poisons our love” angrily as in the 25th anniversary, he sings very softy, almost as if he is about to cry. The same happens when he sings “This face, which earned a mother's fear and loathing. A mask, my first unfeeling scrap of clothing”, it is all very shy and sad until the “scrap of clothing” part, when he touches his face in disgust and sings these last few worlds more harshly.

Christine sings “This haunted face holds no horror for me now” and he looks at her almost hopeful, but then she says “It's in your soul that the true distortion lies.” And he shakes his head in disbelief. But then he senses Raoul’s presence, puts his hand over Christine’s mouth, and says “Wait! I think, my dear, we have a guest!”.

Raoul is crawling from the lake and the Phantom pulls him inside by his hair, throws him on the ground, towers over him with his feet on each side, and slowly bends over Raoul while singing “And now my wish comes true, you have truly made my night!”. Raoul seems as terrified as Christine and manages to crawl away from him, hiding near the bed. The Phantom then grabs Christine (sometimes the Phantom would grab her by the neck, but not always. Not my favorite part) and Raoul starts to plead for him to free her until Erik says “be my guest” and releases her. He always looks at his hand, as if he regrets his action. Christine runs to Raoul and they both embrace each other until Erik comes and puts the lasso around his head. He then climbs on the bench and pulls Raoul about 1 meter from the ground. This scene is very impressive, and I believe that’s the reason why Raoul is shirtless because we can’t see any harness and still, he is literally hanging by his neck. Of course, there’s a trick here and if you are close enough, depending on where you are sitting, you can understand how they are able to do this scene, but it is still way more impressive than the original and makes the whole situation much more dramatic, as we see Raoul struggling to breath for a good time.

On the last Sunday matinee, the mechanism to raise Raoul didn’t work, so his feet were on the ground the whole scene. It actually took a bit for Ramin to realize it wouldn’t work (he tried more than once). To compensate, he was way more aggressive and gave Raoul a really hard time. I have to say that from the moment Erik and Christine arrived at the lair, he looked already defeated. He knew he lost his last chance during Don Juan. We could see on Ramin’s face and body language that he knew he ruined everything. It was very clear, especially at one point while he sat on the side of the gondola and looked at Christine trying to free Raoul, but even before that. He had nothing else to lose at this point, he was literally fighting for any paltry crumbs. That’s his state of mind when he sings “You've passed the point of no return”

Christine furiously replies “Angel of Music, you deceived me. I gave my mind blindly.” At that, he approaches her like a predator, lifts her chin with one finger, and says very slowly and menacingly “You try my patience. Make your choice!”. Christine is shaking and crying while this happens. He then moves away from her. She looks at him, and then at Raoul struggling and kisses the Phantom after singing her lines. During the second kiss, she touches his deformity. He doesn’t touch her during the first kiss, during the second one, he puts his hand over hers. In some of the shows, he was the one to break the kiss. In others, it was she who ended it, but it was always him that moved away from her, totally overwhelmed, and crying, touching his lips. At this moment, he looks at Raoul, hanging limp and Christine follows his gaze. When she realizes that Raoul looks lifeless, she tries to swallow a sob. They both look at each other. She doesn’t move, she just keeps still staring at the Phantom with tears in her eyes. He looks from her to Raoul, shakes his head, he is still touching his lips as he approaches Raoul, looks at her again, pulls him down, and yanks the lasso from his neck while singing “Take her, forget me, forget all of this. Leave me alone, forget all you've seen”. Raoul has hardly any strength left to move. The Phantom brings the gondola to near where they are, and Christine practically drags Raoul into it and he collapses in the boat.

As they leave, the Phantom is the one who collapses on his knees, crying with the veil on his hands. The Monkey starts to play. Erik takes the music box from the bench at the foot of the bed and puts it on the ground next to him and starts singing Masquerade. In some of the shows, Ramin’s voice broke (on purpose) when he sang “Hide your face so the world will never find you”. He then senses Christine, but he never looks back at her, I think he knows it is pointless, but he sings “Christine, I love you” anyway. She is crying too, so she leaves the ring on the bench near the bed (where the monkey was) and leaves. He looks at the monkey very sadly and only then, looks back and reaches for the ring. He puts the ring on his finger, holds the veil again, and rocks like a child, crying, while she and Raoul sing on their way out. He then stands up and sings “You alone can make my song take flight. It's over now, the music of the night”.

That’s when he hears the mob coming. He sits on the bed and half covers himself while crying and rocking. Madame Giry arrives at his lair and sees him. They both look at each other and his face is incredibly sad. They both reach for each other with their hands from afar. The mob comes closer. She silently tells him to hide. He lies down and covers himself with the bed sheet. The mob arrives and Madame Giry points in the opposite direction, to give him time. When they finally notice something moving under the sheets, an armed Gendarme points the gun to the bed and pulls the sheet, but they find only his mask. The Phantom is gone. Meg takes the mask and gives it to Madame Giry and the spotlight illuminates it on her hand instead of Meg’s. I really enjoyed this change, because it clearly shows that they were indeed friends, and it makes more sense if you think that in Love Never Dies she admits she helped him escape.

And that was it. I love this production very much, all the changes were very clever, and even the ones some people found tacky, I enjoyed seeing them live. The show as a whole works very well and it is still visually beautiful. I have to say I never had a clear view of the Phantom’s deformity, despite having sat in the first row twice. Even the one white eye, I only noticed after checking my curtain call photos. Ramin said he was practically blind from that eye due to the contact lens. Considering that most people didn’t notice it, I wish they would just disregard this detail.

#phantom of the opera #the phantom of the opera #ramin karimloo #erik x christine

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