#poto norway
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THE GOLD STATUES IN MASQUERADE
In the version designed by Andrew Riley (Romania, Norway, Greece, Middle East Tour) the middle mirror set is flanked by four gold sculptures - two at the mantle, and two next to the mantle, carrying candelabras. During Masquerade the candelabra sculptures breaks free and dance with the other guests - which is a nice surprise. So here is a photoset devoted to that!
Norwegian promo video
Norwegian promo video
Norwegian promo video
"Gold statue" dancing, Oslo 2018
Norwegian promo video
"Gold statues" backstage in Oslo 2019
"Gold statues" backstage in Athens 2023
"Gold statues" backstage in Riyadh 2023
"Gold statues" in place, Thessaloniki 2020
"Gold statues" in place, Athens 2023
"Gold statue" dancing, Riyadh 2023
"Gold statue" dancing, Riyadh 2023
Harriet Jones and ballerinas in Riyadh 2023
(extra shout-out to the crazy gold makeup in Oslo!)
#phantom of the opera#masquerade#costume design#set design#andrew riley#corps de ballet#gold statue#poto norway#poto greece#poto middle east tour
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Confirmed cast members for the Middle East tour:
Rachel Bird
David Burilin
Ester Cameron
Grace Chapman
Maria Conneely
Paul Erbs
Daniel Jagusz-Holley
Michael Kirby
Ebony Jayne Kitts
Rhidian Marc
Rebecca Ridout
Nikki Skinner
These people have been confirmed to be part of the tour by their agents or Spotlight cvs.
#phantomoftheopera#phantom of the opera#poto Middle Eastern tour#poto Middle East tour#poto Riyadh#poto Saudi Arabia#poto Dubai#poto UAE#poto United Arab Emirates#poto Doha#poto Qatar#poto Kuwait#previously known as#poto greece#poto norway#poto romania#Andrew Riley
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70 shows & 20 Christines later, still in love with this show!
Picture credit to performers & shows social media accounts (hmt house photographer, danny_with_a_camera & My_photography_journal_)
#phantom of the opera#phantomoftheopera#poto london#poto west end#poto west end revival#poto broadway#poto czech republic#poto prague#poto Czechia#Fantom Opery#poto denmark revival#poto sweden revival#poto norway
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Things I find amusing; the Scandinavians wildly differing on which ages should get to see the 25th anniversary DVD of phantom of the opera
[Image description: a photo of the back of a DVD case. At the bottom the age restrictions for the different countries says in order from left to right
Sverige -Barntillåten (sweden -allowed for children)
Danmark- tilladt for börn over 15 år (denmark- allowed for children over 15 years old)
Norge- aldersgrense 11 år (norway- allowed for children past 11 years old)]
Since the countries are so uneven i come to you tumblr for guidence:
#yes i couldn't figure out how to get tge danish ö on my phone im sorry. sorry denmark and norway#phantom of the opera#poto#polls#my posts
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Me over here actually loving how Leroux!Raoul started out as presumptuous and stuck in his privileged mindset and self-focused, because LOOK at where the man ends up? Sure, vibes-wise I usually prefer the musical (POTO only) version, but Raoul’s concern and risks for Christine in the end have so much more arc and growth to them with that Leroux starting point! Never mind Raoul’s general heightened fear and victimhood in the book making his acts of bravery feel more significant.
And his efforts don’t end in the lair in the book, oh no. Leroux makes it clear Raoul was suspected in his brother’s death and ran away with Christine AND Mamma Valerius into obscurity in Scandinavia (suggested Norway, perhaps even Sweden?). And that wasn’t fully a choice given that murder suspicion, sure, but the guy still had sisters and maybe aunts he was presumably close to (he lost his mom at birth and dad at twelve, his extended family WAS family and that’s not even touching on Erik costing him his stand-in-father of a brother). And he runs off to a foreign country, abandons his remaining family and country and connections and who knows how much of his resources to be with Christine, while also securing HER remaining semblance of family? It’s a happily ever after, yes, but it is just as much an act of love as going after Christine in the first place.
#granted the musical COULD have some of these details inserted#but removing philippe and his death and making raoul the financier changes a LOT of the context for me#raoul de chagny#poto#phantom of the opera#raoulstine#gaston leroux
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What goes into the decision behind running a replica vs. non-replica POTO? Does it boil down to costs or contracts or is it related to artistic license? And even when they run non-replica, it still says ALW's Phantom, so how much still has to run true to his original?
For the decision-making, it just depends on the production! There are some versions that could probably afford to do the replica production, but choose not to because they want to explore other interpretations or because they have always done non-replicas. For example, musicals in Hungary, the Czech Republic, and Finland have traditionally always done non-replicas, so when they put Phantom on, it's no different. Within this category too are other reasons - for example, several of these productions are also in repertoire theaters, meaning they have multiple different shows cycling in the same theater across the year, so it's also about using the space wisely.
For other productions, yes, cost is a big reason. This is more the case in countries where musical theater is not as established, such as Italy, Norway, or Greece; here, it's easier to not have to pay the licensing costs or production to put on the replica and just make a version that is cheaper and likely to recoup the money back. But that doesn't mean artistry or creative license is not a factor, and creators of productions on a lower budget have still talked about how they wanted the opportunity to reinterpret the material.
As for the second question, the show has to use the same music, story, and lyrics (with some leeway for translations) as the replica, but the sets, costumes, choreography, and blocking can change. If you look at any non-replica of ALW's, they are still playing the same music, singing the same songs, and following the same general story; it's just the visuals and the blocking that changes, and even the latter has to stay within the boundaries of the story (no Christine going back to the Phantom at the end, for example). If everything changes, then you're not a non-replica, you're just a totally different version, e.g. the Ken Hill version, the Yeston/Kopit version.
Not that that's stopped some high school productions from trying to insert their new and improved lines.
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OMG… I feel like Horatio in scene 1, act 1 of Hamlet when he sees the ghost of the king (recognizable by the apparently iconic armour he wore during a battle with Norway) he’s shook but knows he saw what he saw 👀
Or Macbeth when he’s like, “am I seeing dagger irl or is my heat-oppressed brain tripping rn 🤔”
Reblogs > Likes 😲
TY POTO FAM I vow to spend more time at work doodling in your honour 🫡 appreciate y’all 🙏🙏🙏
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nighttime sharpens, heightens each sensation...
#*mine#astrid giske#poto oslo#poto norway#she's so angelic wtF#i'm obsessed#phantom of the opera#the phantom of the opera#poto#potoedit
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Phantom of the Opera Oslo (x)
#phantom of the opera#poto oslo#poto norway#there's a lot to unpack here#gifset#edit#mine#mira ormala#carl lindquist#espen grjotheim
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POTO Oslo and POTO Copenhagen are closing this month and I'm sad
#i mean it's not like I would ever actually get to see either of these productions live#but still#poto#poto oslo#poto copenhagen#poto norway#poto denmark
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Charlotte Brænna as Christine
She was principal Meg Giry, but went on as Christine for the very last show in Oslo in March 2019
Photo from here (edited)
#floof#phantom of the opera#charlotte brænna#christine daae#poto oslo#poto norway#angel costume#andrew riley
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Round Chandeliers! (In Oslo & London)
My pictures
#phantom of the opera#poto norway#poto west end revival#poto west end#poto london#poto oslo#phantomoftheopera
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Phanniversary posts: 2021 (15)
Astrid Giske
Fifteenth live Christine
Saw in December 2018
Pictures: Astrid Giske social media (Christine Engstad, Fredrik Arff)
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Better quality pictures of the new concept art for Phantom of the Opera in Olso, Norway from the designer’s, Andrew Riley, instagram.
It turns out they are changing Raoul’s masquerade costume from a clown to basically a fop. I love 1700s aesthetic and this is an upgrade, but I don’t think Raoul fits it. He already gets to much of a fop rap as it is. Although looking at, it might me early 1700s inspired look with how the coat and waistcoat is . Maybe a sort of hunting/riding costume with the boots? Or probably it was to mirror the Phantom’s costume like with both wearing a tricorn hat with a feather(s)
I actually asked Riley about the Phantom’s Mephistopheles’ looking costume on instagram and he said that he “imagined if phantom was going to dress like anyone for a masquerade ball it would be Mephistopheles [a devil like creature]” he also mentions that there is an angel/devil contrast with Christine, so this means that Christine will keep her Angel costume.
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Why do you think that the master of the newly released poto video with celia graham has waited until now with releasing it?
Without knowing why the master left in the first place, I can't say for certain, but I can give you some possibilities as to why masters leave and how it affects the chances of them coming back, as well as examples of bootlegs that have had a very long release lag time.
The first and biggest reason is: they got caught and suffered some pretty dire results. Depending on the consequences, this usually provides them an excellent reason not to film and/or release for a long time, or if they do, they keep on the very down-low. In this situation, you can expect that the filmer will either never return or will only come back after a very long time has passed. Some examples I know of:
The person who mastered many videos of the Phantom Broadway cast from 2013-2014 went to a performance and was told by management that they knew who she was and what she was doing and they would be watching her, so she understandably stopped after that
Two prolific German filmers got arrested some years ago (so if you're wondering why there were so many European videos from around 2013-2015 that abruptly stopped, now you know), and while they were released, they quite reasonably stopped mastering videos
The person who filmed the World Tour video of Jonathan Roxmouth was also, I believe, caught, hence why they released two boots in quick succession (and filmed a third that was not released because of technical issues) and then suddenly stopped
In countries like Japan and Korea, the consequences for bootlegging are apparently quite a bit worse, which is also why the trading community there is either very underground (Japan) or extremely paranoid (Korea)
Second reason: they left voluntarily. These are the ones who are more likely to return since they did not get in trouble or anything, they left for other reasons, though how long before they return can really vary. A few examples:
A pretty well-known filmer who did a lot of various Broadway and tour shows left because various issues in their life took over
Another quite well-known filmer got tired of leaks and, after many, many warnings, just up and left
One filmer from the 2000s left because they got quite tired of how the trading community in general had changed; that being said, they may have returned, as some videos they filmed in the 2010s suddenly started cropping up a couple years ago (which means they had a release lag time of about a decade)
The person who filmed several videos of Franc D'Ambrosio, Davis Gaines, Brad Little, and Peter Karrie, filmed them in 1998 but did not trade it out or anything because essentially, other things in life took over; it was 2020 when they finally got back around to their collection and digitizing them - so a gap of 22 years
Third reason: the video was lost or they thought it would not generate any interest or they were playing it safe and waiting a while, BUT they found it or something convinced them people wanted it or they decided enough time had passed. Examples off the top of my head:
A person who took audios of various Phantom non-replica shows in Sweden, Norway, and Finland, released theirs about a year later, stating that they had no idea people even wanted those shows
The master of the David Shannon and Gina Beck videos and the one of London's Love Never Dies post-changes took about 4-7 years to release them, for no reason as far as I can tell besides that they felt ready or safe enough to do so
One of the well-known filmers from the above list released a bunch of Phantom films from as far back as 2007, in 2017 (so about 10 years or so of lag time), again for no reason that I can discern, other than that maybe he had had them a while and had only just gotten around to digitizing and releasing them
And the last, most interesting reason for something being released: death. The person known as aurora spiderwoman on YouTube has videos going back to at least 1988 (they have video of the original Broadway cast of Phantom), and they'll post clips of them, but it's well-known that none of it will be released until they have passed (so 34 years and counting until that video's release, if you want to think of it that way). And a recently released highlights video of Michael Crawford in LA, filmed in 1991, was only released into wider trading circles in 2021 because the filmer, who wanted it kept strictly not to be shared further, passed away, and one of the few people who had it figured it was safe to share now.
So I guess what I'm saying is: if you a 16 year lag time on release is long, look at the 20 to 30 year ones! (And counting...)
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