Reviews gelezen en het klinkt allemaal vrij geweldig, wat mij betreft. Alleen de kroonluchter, die moet toch echt wel neerstorten. Maar wellicht wordt daar nog aan gewerkt. Het was ook een van de redenen dat de previews uitgesteld moesten worden.

Kwam deze tegen op BroadwayWorld:

Anything that threatens to shake the world of Phantom of the Opera Phans is met with suspicion - just look at the mixed reaction to the announcement of Love Never Dies, even before any of its music had been heard.

The announcement of the new UK tour, however, was met with cautious approval. After all, there are thousands of Phans all round the country who can’t regularly traipse into London to see the show at Her Majesty’s Theatre. They have been very excited about getting the new reimagining of their favourite musical in their town - and the cast are equally excited to be bringing it to them.

“It is great to be back at the Opera in this brand new, re-invention of Phantom,” says Simon Bailey, who’s playing Raoul on the tour after a successful spell in the West End in the same role.

“The tour is going so well so far, playing to packed houses and with an incredible cast. Being able to recreate such iconic roles has been both challenging and rewarding, and we are all so proud to be taking this show on the road for the country to see.”

Kathryn has been a die-hard Phan for 20 years, but it wasn’t until 2008 she got to see the production on a trip to London. Now she’s making the most of the show being on the road - she’s seen the tour version three times already.

“Character differences-wise, the direction of this production has made the Phantom less of a supernatural being, but emphasised more his dark and twisted state.  However, whilst genuinely making the whole story seem more real and tangible, contrarily, the magic and intrigue still remains in full,” she says.

She admits she found some of the small tweaks odd to start with, being so familiar with the original production.

“Every single change, however small or subtle, seemed peculiar: from the actual major set, to a bed in the lair, different costumes, choreography and set in Masquerade, a totally different chandelier…” she explains.

“After a good night’s sleep, I dismissed some of the changes, and realised that the core of what I knew was of course, still there, and I realised further how much I really, really, thoroughly enjoyed the show; and how I completely loved the changes. It sounds like a cliche, but they bring such a freshness and added realism to the show, which makes the show all the more entrancing.”

She lists her favourite tweaks to the production as: “the rooftop scene and All I Ask Of You, mainly when the Phantom comes out; the dressing room with the corps de ballet, just before the mirror scene - it has been said by others also, but this scene is so pretty, it looks just like a Degas painting.

“I also love Masquerade, especially the giant, beautiful mirrors that form the set - they look as ornate, grand and impressive as the CGI ballroom scene in Beauty and the Beast, but are real. Also the candles that are ‘magically’ floating in the lair scenes are brilliant.”

Kerry, another die-hard Phan, hasn’t yet seen the tour but is using the thought of it as a reward to get through her studies this term.

“In forward thinking terms I will love it - but have to wait till it’s here!” she laughs. “I’m really looking forward to it! The thought is getting me through my exams.”

So the tour is settling into its final “reimagining” as it finishes its tenure at Plymouth and heads up to Manchester for a spell. I’ll leave the final word to Kathryn: “I still love ‘The Brilliant Original’ in the West End, and always will; but there is something about this new production that has captured my imagination and I totally love this production - in different ways, too.”

Read more: http://westend.broadwayworld.com/article/PHANTOM-OF-THE-OPERA-UK-Tour-The-Reimagining-And-The-Reaction-20120325#ixzz1qbNpPNuV

Ik ben niet zo weg van de veranderingen, maar zolang ze de Phantom in Londen gewoon laten zoals hij is, heb ik er ook niet zoveel problemen mee. Vind het wel jammer dat ze het nodig vonden om de mismaaktheid van de Phantom te verminderen, net als in LND… Sowieso vind ik dat er een aantal (kleine, dat wel) veranderingen in de tourversie zitten die eerder afbreuk doen aan het verhaal, dan dat ze iets toevoegen…  Maargoed, misschien dat het op het podium er allemaal heel goed uit ziet, als ik het zo lees ben ik gewoon geen fan van de veranderingen.

Beetje jammer ook dat ze ondanks de veranderingen niks aan die stomme punjab lasso hebben gedaan… Gemiste kans!

***** Glenn Meads voor Whatsonstage

After the disappointing box office returns in the UK for the sequel to Phantom of the Opera; Love Never Dies - it seems only right that audiences get the chance to return to the original in this new and spectacular touring version.

The key to the success of this reinvigorated Phantom is a great cast and a brilliant look to the piece (of which, Paul Brown’s fantastic set design is only one part) which makes it less staid and worthy of a 25th Birthday present for fans.

But also, Director Laurence Connor manages to do what he did with the tours of Miss Saigon and Les Miserables - in that, he adds so many wonderful elements, perfect pacing and ups the ante with regards to the emotional intensity of the piece - so much so - it feels like a new show.

My problem with the original is that however good the leads are, the role of the Phantom has often descended into something verging on parody. He scurries around with slicked back hair and a mask - carrying his prey - Christine and scaring theatregoers - but the emotional connection is often missing. Never more so, than in Joel Schumacher’s film version.

But here, you care for him and John Owen-Jones breaks your heart in two as he imbues this ‘creature of the night’ with so much humanity. And he also allows us to see what lies beneath the mask beyond the physical scars.

Katie Hall is a stunning Christine as she is young, fresh and a relatively new talent, like her character. She was brilliant in the tour of Les Miserables but as a lead, she excels as she owns the stage and conveys fear, lust, love and a real sense of longing, which makes the love triangle between the Phantom, she and Raoul (Simon Bailey) seem far more believable. She is in fantastic voice too - recalling a young Sarah Brightman, vocally. Bailey is strident, handsome and stoic, as required.

Owen-Jones had the audience on their feet on opening night and I am not surprised. Like his Jean Valjean - he invests so much emotionally into the role that his “Music of the Night” becomes a stunning love song and he manages to cover some of the plot holes - as he gives far more than is on the page and the result is beautiful.

Angela M Caesar’s Carlotta and the double act of Andy Hockley as Monsieur Firmin and Simon Green as Monsieur Andre bring much needed humour to the piece and Elizabeth Marsh’s terrific turn as Madame Giry the ballet mistress who knows the Phantom’s next move, brings the right amount of knowing glee to the role - to stop it becoming cliched.

The entire company are on top form and they shine as much as the famous and imposing chandelier which hangs above the balcony - reminding you of how iconic the original piece is. As for the songs and music - the 80’s style arrangements you recall from the pop videos are long gone.

Here, you realise how great and enduring the likes of “Think of Me” and “All I Ask of You” are, under the superb musical direction of Anthony Gabrielle. Kudos to Charles Hart, Andrew Lloyd Webber and Richard Stilgoe as these songs and melodies still have the ability to draw you into the narrative and leave you humming in the interval.

This new production of Phantom may not be as scary or thrilling as the recent Vegas version but many problems and niggles have been ironed out and replaced with a heartbeat. So the emotional payoff is far greater.

If you have not seen the original, you are in for a treat as this is not mangy like Cats - it’s breathtaking. If you are already a convert, you are not wasting your money because like a Phantom virgin, you will feel like you are being touched for the very first time.

Bron http://www.whasonstage.com

Mark Shenton voor The Stage

“Night-time sharpens, heightens each sensation/ darkness stirs and wakes imagination/ silently the senses abandon their defences,” the Phantom famously sings in his great aria Music of the Night about the power and longing of his artistic muse, but he could equally be singing about this intense and spectacular new touring production of Lloyd Webber’s most unusual yet forever spellbinding musical romance.

It has newly sharpened and heightened each sensation in a show which is all about unfulfilled yearning and tangible feeling, with a new creative team (drawn from the staff who staged the 25th anniversary concert at the Royal Albert Hall last year) awaking their own imaginations to give it not only a new look but also fresh drama and added momentum.

While Maria Bjornson’s original designs were virtually another character in themselves, Laurence Connor’s production (which retains only Bjornson’s costumes) is characterful instead and just as scenically rich. The celebrated chandelier may only rattle instead of fully fall over the heads of the audience, but nothing else has been stinted, with Paul Brown’s set dominated by a giant drum that variously rotates to offer a backstage fly tower, from which steps magically appear for the Phantom to make his descent to his lair from and out of which set pieces like the manager’s office unfolds.

It makes moments like the escape across the lake - weirdly filled by glistening candelabra in the original London production - more real and powerful, while the Act Two opener Masquerade, instead of taking place on the banks of the grand staircases of the Paris Opera House, is given a more mysterious quality in a hall of reflecting mirrors, exceptionally well lit by Paule Constable.

But the production maintains links to its previous incarnation in its principal casting that draws on alumni of the West End production, including its longest-serving Phantom John Owen-Jones who has played the part there nearly 2000 times yet still gives it fierce dramatic weight and spectacular voice. There’s also wonderful work from Katie Hall as Christine and Simon Bailey as Raoul, who sing as prettily as they both look but also give it some grit. Angela M Caesar’s striking, glamorous Carlotta brings a radiant soprano to the role of the comic diva.

The real wonder remains Lloyd Webber’s soaring ravishing melodies, given full weight under baton of Anthony Gabriele for a re-scored 14 piece orchestra. “It’s over now, the music of the night,” sings the Phantom at the close of the show that bears his name. But this particular musical about a lost man finding his soul at last won’t be over anytime soon, as long as it is given a new creative lease of life like this and maintained to these high standards.

Bron http://www.thestage.co.uk

Op 9 juli zit ik op rij G in Dublin!
Ben heel erg benieuwd.

Bewegend beeld!

https://www.youtube.com/watch?v=2ll37MbcyMg

Ik zit al twee minuten achtereenvolgens de eerste paar seconden terug te spoelen om opnieuw te kijken hoe briljant de dustcovers IN de kroonluchter verdwijnen 😊

Ziet er toch wel erg mooi uit. Zou me best willen laten verrassen…

Ziet er echt ontzettend mooi uit! Ben erg benieuwd, hopelijk komen ze een keer dicht bij 😊

ziet er prachtig uit, maar ik heb het gevoel dat ze het een beetje meer richting de film hebben getrokken.. jammer! maar verder echt heel mooi, vooral het trapje bij de titelsong ;p

Ziet er heel mooi uit! Ik vind het origineel een beetje stoffig aandoen (maar wel mooi, don’t shoot 😉).

Timothytim - 11 July 2012 05:10 PM

ziet er prachtig uit, maar ik heb het gevoel dat ze het een beetje meer richting de film hebben getrokken.. jammer! maar verder echt heel mooi, vooral het trapje bij de titelsong ;p

Bedoel je dat de vormgeving een beetje opgedoft is, meer ‘kleuren en veren’? Ik denk dat deze show dat wel kan hebben. De muziek is ook zoet en cliché (maar mooi, het is een knappe samenstelling van zoetigheid met schoonheid 😄), dus als daar een soort balans in zit, denk ik dat dat prima kan werken.

Ziet er echt prachtig uit. Zou deze versie graag zien. Bij Masquerade mis ik wel een beetje de trap en de Phantom is minder eng zonder die doodskop, maar ik vind het goed dat ze na al die jaren eens een nieuw concept aandurven.

Joriss - 12 July 2012 10:04 AM

Timothytim - 11 July 2012 05:10 PM

ziet er prachtig uit, maar ik heb het gevoel dat ze het een beetje meer richting de film hebben getrokken.. jammer! maar verder echt heel mooi, vooral het trapje bij de titelsong ;p

Bedoel je dat de vormgeving een beetje opgedoft is, meer ‘kleuren en veren’? Ik denk dat deze show dat wel kan hebben. De muziek is ook zoet en cliché (maar mooi, het is een knappe samenstelling van zoetigheid met schoonheid 😄), dus als daar een soort balans in zit, denk ik dat dat prima kan werken.

Dat kan het inderdaad prima hebben, maar ik had het gevoel dat ze bijvoorbeeld de kerkhofscene en ‘why so silent’ een beetje op de film hebben laten lijken.