Past the point of no return Broadway October 25, 2021. New Staging. Crawford, Picerno
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- Опубліковано 24 жов 2021
- Since the shut down, a few changes have been made to phantom of the opera. By far the biggest one is the staging of ponr. Here’s the new staging, filmed October 25, 2021.
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I don't know why the Phantom was ever considered this embodiment of masculinity or something because he never was. That was always an illusion. It makes lots of sense when confronted with overt sexuality for the first time he'd be afraid. Realistically he's a virgin who can only act how he's read about in books and try to give Christine what he thinks she wants but for her to show desire in him is something new and scary. She (to him) isn't just intrigued, she wants him. That's the first time anyone has wanted him. That's scary as hell when you've constantly been abandoned your entire life. It's not that big a change and honestly it's more in character then Christine acting like a completely different character for half the song.
I mean, the idea of the Phantom as romantic is certainly flawed. He is definitely the embodiment of an incel, so while admired by a certain subset, it is obvious to a more mature and experienced person that he is still clearly the villain!
I never saw The Phantom as masculine. He’s a little boy trapped in a man’s body, unable to grow up. Trying to imitate men like Raoul. Watching his attempts makes your heart go out to him all the more because he can’t do it and is bound to fail. The audience can see that coming, but he can’t. This change ignores that essence of the character.
I see Erik as being quite Stoic (which I associate with Masculinity). He really struggles expressing his emotions and only seems to be able to truly express them when he’s singing.
I’d consider him to be stuck in his wounded masculine energy as he’s controlling (the Garnier and Christine), overdoes everything (we know Erik like the dramatic flair), definitely manipulative (presenting to be her father /Angel)
Not true. The phantom was a lost soul a desperate man. But he was powerful. If he was not disfigured he could have been an emperor. That’s what the story tries to convey. We don’t know how many Christine’s he had before and murdered. It’s all surrounded by mystery of the phantom of the opera. A mystery never fully understood
Christine really said: "I'm not stuck on this stage with you, YOU'RE stuck on this stage with ME!"
Where
lol
@@johnharry9371 It's a meme. Like "Call an ambulance! Call and ambulance! But not for me!" she didn't literally say that but with the new blocking, she has more authority and actually looks like she wants to do this and help rather than her being coerced into it like in the original blocking. Sorry for the super late reply lol
I know I’m so late to this party but I just don’t like this staging. Christine is supposed to be scared out of her mind that Erik is on stage with her. Staging this way with a more assertive up front Christine destroys the nature, tone, and character transformation of the final lair
Also "I'm in control here not you "
I think they could of combined both blockings.
Just imagine Christine realizing it's the Phantom from his voice. Her at first running away from him but deciding enough is enough and taking control of the remainder of their interaction.
The power dynamic and power shift between the two. Phantom resorting to the "All I ask of You" Reprise in a last ditch attempt to regain control. But Christine ,unflinching, takes off his mask... Perfect blocking in my opinion.
I love that idea!
That would be much better… but original was the way it should stay. She’s supposed to be terrified when she realizes it’s the Phantom. She knows he’s done something to the other actor and now she’s trapped and has to finish the opera with the man she fears. Christine standing up for herself is during the final lair scene after he drags her down and forces her into the wedding gown. She’s like “ok. You have me. Now what? Are you going to r*pe me? Kill more? What did you think would happen? I don’t love you, I hate you for this.”
Interesting hypothesis regarding the power dynamic in their relationship. I wonder if the Choreographer and set designer/costume (deceased) were consulted. Any alteration to their work could change the chemistry of the show. Remember the part where Christine takes control is the Final Lair. She stands up to the phantom and stands between him and Raoul. She also confronts him directly and then shows him empathy caring and love. Changing the dynamic between the two in the Phantom's opera doesn't make sense, IMO.
@@ryanb4940 i think that you shouldnt include the word "rape" in any comment section on youtube, let alone on a youtube video about a opera. its actually fucking weird for you to bring that up
@@rowan312Christine literally asks Erik in The Final Lair "Am I now to be prey to your lust for flesh?", and Erik responds with "That fate which condemns me to wallow in blood, has also denied me the joys of the flesh"
This person isn't bringing up that word just because, they're doing it because it's literally stated in the song that Christine believes that Erik might 🍇 her.
This new blocking is everything!! Christine is truly the heroine of her own story and it’s beautiful to finally see changes that are more in line with this narrative. She’s truly so much more than the naive damsel in distress most associate her to be.
Nothing wrong with being in distress damsel or not….the way people feel about women in distress is disturbing you all make it seem like it’s a problem?
@@sharpaycutie2 My comment wasn’t meant to imply anything negative or spread hate about these types of characters. A woman can be whatever she wants to be and no one should have a say on that.
I’m just talking about Christine’s character, specifically. People often think that she’s the type of person who needs someone else to save her, when in reality she really ends up saving herself and it’s so great to see updates to this show that better support that narrative.
To whatever extent she isn’t that in the play, it’s a big change from the novel. The novel is the most generic trash…
The play’s change of the story to make Christine the main character and the Phantom not a complete monster (and Raoul not a pure hero who saves her)… isn’t as positive as people seem to think it is. Because the phantom still doesn’t see her as a person, really. He doesn’t really care what she wants, he still sees her as a prize. As much of a stereotypical, traditional male hero as Raoul is, even as a novel he saw Christine as more of a person than those characters typically do.
Even if they want to take this script and this story and make her as much of a “strong woman standing up for herself” as possible, I’d still have the same problems with this as I do with Tosca. Which is… she’s stupid. She believes things she shouldn’t believe (in Christine’s case, this whole angel of music thing), she’s just naive. If someone is naive, no matter how much they “stand their ground” and look danger in the face and don’t shirk and whatever, I don’t find that admirable. No matter how much they “go after what they want” or whatever, I can’t call it admirable if it doesn’t come from honest knowledge.
You can cite circumstances and say she was sheltered, and it’s probably true, but then it’s just not a story I’m interested in. I much prefer the Norinas and Despinas and Adinas of opera over the Toscas - the characters who get what they want through wits.
I agree with some of your points, but I do find your points on people standing their ground and going after what they want problematic and unrelated to her character. Yes, we do meet her as a naive ingenue and we see this for the whole of Act 1 and at the start of Act 2, but she does have a turning point. We see this when she visits her father in the graveyard scene where she sings Wishing You Were Somehow Here Again. Realizing that this angel of music figure is no longer what she’s made it out to be in the past, she doesn’t ask for her father to save her, but instead she asks for guidance and the strength to forgive, let go, and move on with her life. It’s here that we really finally see her realizing that the only person who can truly save her is herself. That being said, I truly believe she’s much more than your statements make her out to be.
In line with this, I really believe this show provides a beautiful depiction of grief and its intricacies. For most of her naivety that we see in Act 1, I read this as a coping mechanism of hers in dealing with the grief of losing her father. She’s alone with no immediate family left and so to confide in this idea of an angel of music is her way of having a more tangible connection with her father. Grief has a way of making people lose themselves and Christine is a good example of this. At least we can deduce that this naivety comes from somewhere and to finally see her have that turning point in Wishing and face her fears for the remainder of the show, speaks volumes of her innate strength and her finally deciding to stand up for herself. People can grow, people can change, and Christine is no exception to that. Stereotyping will also never be fair, especially when its based on shallow first impressions.
I've never felt so undecided by something before, I both love and hate it. I love it because it shows the Phantom being venerable and nervous while Christine seems to take charge, but we no longer see Christine go from fear of the Phantom to standing up to him and I always liked that. But maybe that all happens now in the graveyard. Idk lol
I like it
It’s like her “moment” of ok you screwed with me now I’m gonna screw with you
I like her empowerment but I didn’t like his run at 6:50 just makes him look weak, not strong like I think of the Phantom in general.
I agree. There’s nothing wrong with Christine having more control in the situation, but I feel like the prior staging showed how much of a master manipulator the Phantom really was, which makes Christine’s unconditional forgiveness for him in the end that much more profound. Christine may have been manipulated and coerced throughout the entire show (by both the Phantom and Raoul), but in the last few minutes she is in control and everything is decided on her terms.
Don't like the changes....saw thursday October 28 at 1pm....
My 16th time,my favorite.
But the changes are not for the better,may never see again. As I want to remember as what I loved.🕊🇺🇲💕
@@cheryldodd-marko9787 I haven’t been able to see it in person yet. Can you elaborate on some of these changes?
I saw a clip of the title number, and I think losing the doubles was definitely a downgrade, especially with the new blocking of Raul, Giry, and the ballerinas.
I won’t state what everyone else is commenting because this is obviously the better version of stage blocking. I’ll just say that I saw both of them in December and I got chills SO MANY TIMES. The feeling of watching live plays is addictive, I could easily go broke.
Torn on this. I think these two things don’t make sense motivation-wise (imo):
1) Phantom wouldn’t run from Christine for being forward. He just killed a man to get on that stage with her. I understand he isn’t ACTUALLY a Don Juan but it feels like too much of a stretch to me.
2) Christine has no motivation NOT to leave the stage when Andre and Firmin call to her. She’s already done her part and revealed him. So this blocking implies she always intended to remove his mask, which would be a cruel thing to do and not in her character.
So here’s my proposal, lol:
1. Make the block after “consume us” be more of a power struggle. He’s realizing she knows who he is so now they’re finally singing to each other without pretense. How about he realizes she knows it’s him and stands to face her and she walks around the bench so they’re staring directly at each other?
That builds up tension and still keeps with her standing up to him for the first time. He can also just turn and grab her so they’re both grabbing each other without anyone running away.
2) Christine should start to leave when Andre and Firmin call her. Then she can stop and turn when he starts the reprise of “All I ask of you.” That being the catalyst for her to stay on stage makes sense and can be played in a few ways - she’s compassionate and sad for him OR she has actual feelings and love for him OR he is once again using his voice and getting to her (or all 3 at once lol) In any of these versions when he grabs her arm and puts on the ring she can kind of “snap out of it” and then be motivated to take off of his mask.
All in all we just need the characters to be consistent with what they present to us thus far. Either way though, I’ll cry when I watch it 😂🥰
I actually think the movie version that she knows (and probably everyone knows) from very beginning that its him makes more sense. She starts to play his game and at the end reveal the 100% truth of him.
I am a musical performer as well and i would prefer to present the movie version of this scene.
As a longtime fan and director of a few regional productions, I want to give my own insight to this. Because I am AMAZED by this change!
We all know the original with her being the one to panic. For Christine, during/after the graveyard scene, there is a HUGE revelation and release of her past. She's letting go of the naivety and control her father's memory holds on her. I can completely understand why fans are unsure about this new blocking, as the original kept the Phantom in control and very masculine/powerful in the scene. Seeing him sexy and overtly strong is a good feeling. But we ALL know PoNR is a smokescreen. He wishes he were Don Juan but he certainly knows in his heart that that persona is everything he will never be. This is his fantasy played out on stage and this fellow, who has never been shown real sexuality, is understandably scared. He knows that she knows it's him, in that moment, as well. (She would know the second she heard his voice anyhow, let's be honest.)
I personally find this to be huge growth for her character, and such an absolutely stunning display of his realistic vulnerabilities.
You are absolutely welcome to disagree, of course. There are some aspects I loathe them changing. This, however, is not one of them. I love her taking control in that moment, defiant, and showing him "No no, you started this and you're going to finish it."
i agree 100%
I absolutely agree. She knows what the risks are and decides to go with the plan. Why would she want to run away in the middle of it? This change offers a great development to the character, considering that every decision she makes for the rest of the show is pivotal to the story and she quite independently makes those choices for herself and others.
I totally get what you are saying, but we have the whole final lair for the phantom to reveal the fact he has never been shown real sexuality and is scared - it’s totally evident in their kiss by his reaction in that scene. As a longtime fan whose seen this live multiple times with different Phantoms since 1993, I miss the in control masculine powerful Phantom in this scene. I just do. The overtly strong sexy Phantom, and passion/tension build up in this scene was always a highlight. To see him almost run away arms flailing like a school boy at 6:50 just looks silly to me. I feel like they could indeed make Christine more confident without making him so weak. I’m totally for a more empowered Christine but how great would it be to see a more empowered Christine against the idea of a strong powerful Phantom. He could have recoiled, moved away slowly, but seriously running like that just shatters my idea of the strong seductive Phantom in that scene, and again we have from the time of the unmasking in PONR through the whole final lair to witness a realistic vulnerable Phantom and thats why I’m saddened at this. I saw it live right from center orchestra in early November and to me, that part was a let down, as much as I loved the actors. I wish I could have liked it more I just can’t.
@@AtMyHappyPlace I think exactly the same. The final lair is supposed to be the rupture of the confident and imposing phantom, it is when he truly reveals himself and get exposed. It doesn't make sense that the phantom shows himself so scared in PoNR, since he doesn't know about the scheme, he should be inebriated by the moment he's having with Christine, that's why it has always felt right when he acted more like sexual and powerful (having the feeling that he got what he wanted). In my opinion this inversion is nonsense, they should have let them both look confident.
@@MaryFruitJuice yes, I 100% agree.
Am I the only one who misses the old blocking for "Abandon thought and let the dream descend" where he tries to lead her to the curtain/bedroom and she breaks away? I wish I could see more of exactly what she is doing for that line now.
Don't like how the Phantom runs from Christine after she feels his face at 6:49, which is new. Usually Christine is scared to find out that it's really the Phantom under the robe. Then he grabs both her hands so that she cannot flee. Goes against her character's dilemma, which is sung in Twisted Every Way...The dynamic between the two characters is more complex than what is seen here. It's more than a simple empowerment of Christine's character and an emasculation of the Phantom. There is a lot more going on, which is not seen with the new staging. Just a shame. Gillian Lynn and Maria Bjornson are rolling over in their graves. So are true Phantom Phans.
I agree with you, and i think is one of the reasons, why Phantom closed, nobody wants to see the new version, everyone wants to see the original, Harold Prince wouldn't ever allow these changes both choreography and sets in London.
@@ip22343 Yes, RIP Harold Prince. What a loss. The original production has a maturity about it that the newer staging doesn't reflect. You're right, everyone pays to see the original production not the Vegas spectacular or the new Point of No Return on Broadway.
How brave Christine in this version is! She doesn't run away from the phantom. And the phantom doesn't pull and yank her! She runs after, pulls and yanks the phantom?? It is very new for me. I knew only the version that the phantom runs after her and pulls her hands and she runs away from the phantom.
edit:I really like this version, but I'm sure that there are various opinion. It is difficult for me to understand all of replies very well because of my poor English ability (Actually, I'm not an English speaker), so I can say nothing but I like this version.
However, I read all replies and some other comments with transrator, and I think, the reason why I like it is that Christine did her job. In another version, she was scared, going to run away from the phantom, and it means she runs away from her job. I don't want her to abandon her job, music, that is singing songs. She respected her angel before and still loves music given by her angel, I think. How can she run away from her music even if she was scared? I like her fighting as singing song because it is the most sincere way for both of her and the phantom.
I think my English isn't good, so sorry. I'm not sure if I could express my thought...
yess, i really liked this version too
Is this a woke restaging to appease our society? Where is Christine’s fear? Instead she’s enthralled with her seducer? Stupid
Actually if you see Michael Crawford version in Las Vegas in 1990 also there Christine does not run and he does not force her but seduce her
@@ARReith yeah i hate this.
@@ARReith you can be afraid and still do the brave thing. WtF dude. This is not the hill to die on
This version would better lead into the story in Love Never Dies. Were there any small changes in the final lair scene that would show Christine is more accepting of the Phantom? I got the feeling in the 25th anniversary that Raul was a little more possessive and forceful with Christine at times and that in the final lair scene Christine was more indecisive about leaving the Phantom.
@ugly dog "Christine looking back at the Phantom before going off with Raul didn't feel like any sort of acceptance to me"
that part did feel like that to me, which i think might have been the intention, especially since the actors who played Christine and the Phantom in the 25th also originated the roles in LND
Would love to see their final lair!
me too
Thanks, I hate it. As others have pointed out, those are some bizarre blocking choices at the end. I suppose this may be in consequence of past critiques of the way the Christine actor can be overly-manhandled in this scene (which is valid critique, and thus requires that both actors be fully respectful of each other and communicate expectations beforehand), but imho it goes way too far the other way, and makes Christine look a tad manic.
I agree with this, I also really dislike that Madame Giry is the one to stop the Phantom from getting off stage.
Personal time stamps:
3:31 - Past the Point of No Return
3:41 - Our games of make believe are at an end…
4:02 - Abandon thought and let the dream begin…
4:39 - What warm, unspoken secrets will we learn? Beyond the point of no return…
5:02 - Christine: You have come here…
6:29 - How long *should* we two wait before we’re one…
*You have brought me
I love this new version. The way Christine is finally standing up against The Phantom, HE is now the one cowering. I also love how they have Firmin and Andre motioning for Christine to leave and her declining, as opposed to the old version where she tries to run but they block her.
Nothings ring with being scared. It was a scary situation for her
@@sharpaycutie2 you can be brave while being scared you know.
Nope. It deems "Twisted Every Way" pointless. The woman is terrified performing DJT. This new staging makes no sense.
@@sx666 Agreed.
@@sx666 Clearly you missed the point of Wishing You Were Somehow Here Again.
I don’t know how I feel about this version. Christine seems pretty chill for someone hanging out with a stalker and murderer lol
Exactly. This re-staging is dumb and pointless. Christine "takes control" when she reveals and then unmasks him.
@@sx666 yeah I feel like it also takes away from the intimidation factor of the phantom if he is supposedly more afraid of her than she is of him
@@sx666 I feel like it could be better if it felt like it went back and forth a little bit, if they could figure something like that out
I love how Carlotta still manages to steal the beginning of this scene
such plays shouldn't stray from the orginal.. Im afraid what will be performed in several decades because of such changes
I'd love to see this production. Ever since the original Broadway production with Michael Crawford and Sarah Brightman I have loved this musical.
So I like it.... but I don't lol. I think it makes a lot more sense for the phantoms character to be as reserved as he is here, being fearful to even be touched by Christine. But for Christines character... she never seems to visibly overcome the fear that she has had from the Phantom watching her every move for months. The entire lead up to this scene is how afraid she is to perform it, something extremely visible in the 25th version. Christine visibly fights her fear in the last lines "The Bridge is crossed so stand and watch it burn, we've past the point of no return" and by the end of that line she's overcome her fears and removes the hood. And then she does it again when the Phantom asks her to be his, she basically says no- something she really couldn't do earlier in the show. But in this version she just never has that triumphant moment and is just never has that visible struggle on stage. I feel like they could incorporate both a reserved phantom with a more fearful Christine at the same time- although I can see the struggles of having two characters afraid of each other on stage lol
This raises so many questions for me about character intentions and I love it! I love the old staging too, but seeing a fresh take is always fun 🥰
I can't help but wonder what Christine's goal is with pushing the Phantom this way. What is she trying to get out of it? Right after the singing ends, André and Firmin motion for her to come off stage: she had an out, and she refused it. What is her goal in this scene? It's so interesting to me, it seems like a Very different Christine from the one we're accustomed too and I find that Very exciting!
Maybe she’s finally understanding a little of the phantom more that like her in the graveyard he’s starting to go through a metamorphosis of a sort which leads perfectly into love never dies beneath a moonless sky it’s a continuation of this song
Problem is, the old staging is going bye bye for this new one. We don't have a choice to see the old/original version anymore.
Japan, still uses original set and coreography.
IM SCREAMING
I’m sorry I just don’t get it
Christine refuses to perform in Don Juan bc she’s terrified of the Phantom. She wouldn’t be all over him. Let alone after he shoots fireballs at her
Why would they fix what's not broken. Why.
Yes, Christine lets go of her naivety during the graveyard scene, but that is her naivety that's been let go, not her fear for the Phantom.
Also at the corner of her heart is a sympathy for the Phantom. In Leroux's original novel she even states that it's too cruel to leave the Phantom behind without giving him her final performance. She's still compassionate for the Phantom. And for her to confront the Phantom like that is just... it breaks the character and thus the plot for me.
Not to mention the apocalyptic blasphemy of a blocking that is the excised doubles during the first lair sequence. The Brilliant Original is dead.
And to add: she sings how she is frightened and fears getting parted and taken away by the Phantom, right before this very scene! So her taking charge and confronting the Phantom is just simply contradictory.
You are a blessing for this!
Do you happen to have any other parts like the title song.
thx you do much for this, i was crazy to see the performance in the reopening night
Simply AMAZING! I love this. This cast is incredible.
I like how everyone is saying this is a completely new interpretation… I feel like I’m the only person who always interpreted this scene as her being pretty active (or at least thought it would be better if Christine became aware before her verse and was actively trying to trap the Phantom) and I got a similar subtext from the 25th anniversary as well…
Ah well, I guess it’s clarified now. As a whole I think this blocking is fine but would fare better with a better cast.
OMG Thank you💓💓
I love this new take.
Ooh I think this makes a lot of sense!
how come erik doesn't say anything/yell when the mask is pulled off? he seems weirdly silent to me?
i enjoyed this though! they both have beautiful voices!
I don't see that character's name in my playbill. Who is that in the show?
@@arcana1973 Erik?? That's the Phantom's name in the book.
Why is he just standing there when she grabs him. This is a guy with trauma about his face.
Because all he wants is her touch
Шикарно! Здорово что " Призрак" вернулся... Меган браво!!!
I'm Brazilian 🇧🇷, and love It ♥️. Please.....more 🙏😍
omfg I love how this captures how much of a virgin phantom is
The Phantom’s entire life has been leading up to this moment, it’s his stage debut in a world where the stage is everything. For many years He’s watched from the shadows, learned to sing, learned that artifice can hide any flaw onstage, realized that talent is more important that beauty in this artificial world and he’s daring to perform in his own opera. He’s making one last desperate bid for the woman he loves by imitating the man she’s in love with. That’s the point of him singing their song. Why would he creep fearfully around the stage in robes and a veil? That’s perverting his own dream with a pathetic compromise. The original is heartbreaking. This is only sad.
I like Christine being more forceful, but i feel like this violates the character of the Phantom. His whole being is about the mask, the act he puts on. I can’t see him abandoning that facade in his biggest moment.
I uh...I want to like it but I don't. I do think seeing other ben crawford parts of the show he may go a little too on the aggressive phantom side and less on the vulnerable damaged side, so i would like to see more of that (like Ramin's performances), but not at this point in the show. Christine is supposed to be afraid of him. The whole show demonstrates that. She should be the one to run in this situation. It's the point of no return. It's the phantoms last shot, he knows the trap is set and he is trying to get her.
Exactly! I agree. And this was her worst fear of what could happen. She already had her moment of strength- the entire rest of the song. She stayed on the stage until she could find a better way to deal with it. We didn't need this to show that she's gotten stronger. It doesn't make much sense either because she wants to be with Raoul and every moment she stands on that stage after pulling that hood off (or even before but that's where it gets more serious) is a moment that wish could be ripped away from her
I really do agree with this, it doesn’t make any sense for her to be so aggro in yanking at him. I wish they’d just left it alone…..
Yu are an Angel for this!! Thx!! Do yu happen to have the Auction?! The Audio of that brought me to tears on Sunday as I listened to it!!!!!!!
Changing the climax of this song changes the entire point of this scene, and screws up the narrative flow of the whole story. Not every change is necessarily bad, but this one is a crime, in my opinion.
Agreed, adding Madam Giry into the mix, using her to stop the Phantom from getting off stage boils my blood.
Yes it’s awful.
This staging makes a lot more sense than the original! So glad they addressed some of the nonsensical parts of the former staging.
Holy moly ben crawford and his voice✨️💙
Wow, they've made it so....cold.
Neutered the sexual tension of scene.
Great job 2021 😒
Yes that’s totally gone…agree.
Yeah the old staging made me sweat, this one just feels... sad.
I don't like how they've slowly turned everything to staccato tbh. It sounds rushed. Not really sure how i feel about the changes otherwise. I don't think i really like Christine like this. It may be the choreography, but it just seems off to me.
That was one of my complaints seeing the show very recently. There's no room for the tension to build, it's like the music is rushing to the next song.
I kind of agree with you….I have to say I’ve really enjoy going back and listening to Michael Crawford clips, it almost seems like they are being played at a slower speed compared to how it is performed now…it’s really nice to hear it like that. I feel that way especially right before Music of the night, When Phantom first goes to the keyboard, I hate when that part is rushed. It’s amazing g the differences between Michael’s original portrayal and today’s version. Ben Crawford really has a fabulous voice too, though.
@@AtMyHappyPlace yeah the singers themselves are really awesome, I especially love the current London cast. I think if i had not heard the original or grown up with it, i might like the new way.
Giving Christine more agency through blocking? HECK YES
It was there in the original. Calm your woke.
@@sx666 Oh darling darling darling, as someone who has been a diehard fan for decades now, I know it was, I'm merely appreciating the fact that we get to see more. It's just a little thing called excitement, which is a response to joy. And I'm not "woke" my dear, rather just someone striving to be better and working for more and to change. Hopefully you'll be able to change your unfortunate habit of trying to kill people's happiness by riling them up when I couldn't be more serene and at peace with myself. Ask yourself if you can say the same. But I must be off. Ta-ta! (blows kiss)
@@julietantonio1049 I'm sure your serenity and peace has to do with the self-friggin you do. Keep flicking that bean!
@@sx666 See i never understood why f you was such an insult because I gain quite a LOT of pleasure from it, so if that's your suggestion, I will go do it VERY happily! Thank you for thinking of me and my wants and needs and desires, it's very thoughtful of you :)
@@julietantonio1049 **vomits**
Interesting.
Really interested to see this and, like others, this leaves me a little cold. As a contrast, I looked back at the original Crawford/Brightman video and there are two key differences. First is the lighting: the stage was much darker save for two spots on the principals. This gave the moment more intimacy. The second was Crawford's performance. His voice was sweeter and less naturally strong and powerful, giving the character greater vulnerability. Brightman's expression of horror when taking off the mask also heightens the effect. The lighting issue was also key in this moment of the film. We don't want to see the stage or the other characters. The audience needs to be solely focused on the Phantom and Christine, not sidetracked by plot details from the other characters.
I don’t like this new staging , I’ve tried to like it but I can’t :(
I know it’s been a while but w was it announced at the time that there was changes to the show over in Broadway?
The new staging, evens the playing as to who has the power. Is it Christine or the Phantom?
Can someone explain the new blocking? I don't get it
Who is playing the Phantom in this version?
Ben Crawford -not related to Michael Crawford.
How funny you can see the actors in the wing
🥰🥰🥰
The phantom is Michael Crawford?
No, the phantom is Ben Crawford
Did you film the whole show? Lol
I did not unfortunately. I just tried to get what scenes had big Changes.
@@christinethephantomqueen1388 I thought you’re not allowed to film/record any part of the show. They make that very clear!!
@@manuelacallis1274 Despite what they'll tell you, these bootlegs bring more fans, and a more passionate fanbase, and more money into the production. Not less.
This is fantastic.
Ubaldo!!!!
Is Hal Prince still listed as director in the Playbill? Either they were given permission by his estate to make all these changes, or someone is going to get sued.
I would guess MacIntosh and ALW as producers have the legal authority to make such changes
@@craigmmcgill just look what they’ve done to Phantom on the West End! 😭💔
When did they change the staging ?
Is it just for this song?
Hill kills without a thought, he murders all that's good, i know I can't refuse and yet I wish I could Oh God is....
Seems a rather strange juxtaposition.
He's also severely emotionally damaged and clearly has trouble with intimacy, which has been part of the show since the beginning. Two things can be true.
In America, Christine dances on the table and they both do loud stomps during the song that adds more dramatic effect IMO
Broadway is in America tho, so this is in America i'm pretty sure
So the Phantom isn’t in control anymore??? Isn’t that a theme of the show? Good heavens - leave the scene alone. It was great before.
Ok I dont get the reasons to why people love or hate the new blocking. It really isnt much different at all from the original, especially the Crawford/Brightman staging. First of all , the point has ALWAYS been that Christine regains her power and agency during this song, this isn't something new. I never saw Christine as a damsel in this scene. So all the praise for it suddenly "Giving Christine agency" don't make sense to me. Granted, they did start playing up more of the fear in tis scene in the last 10/15 years but Christina still kept her power, despite being afraid. Watch an og staging of the play of the 80's/90's and you'll see its more similar to this,
I do think there are complaints to be made, but mostly that's all about the actress/singer playing Christine....not a great performance imo, not vocally and not acting wise.
Is it secret or sleeping? Cus I’m sure it is sleeping
I noticed that too, did they change the lyrics prior to this??
I'm incredibly thankful for the video but... Does singing this close to the stage kind of suck? Kind of seems like half the production hidden behind the stage from such a viewing angle.
It could be that the camera was down below the stage, so it looks worse on camera than it does in the audience. (I’m an usher at a theater, for reference.)
@@SuzieNerds yeeeah that is a valid point. Of course they aren't blatantly holding up their phone/camera and recording. Didn't think about them needing to be discreet with the recording. xD
saw this a couple of days ago,and noticed the difference- l o v e d i t
Y’know the new staging is why they’re closing phantom because nobody likes the new crap, everyone likes the original
My birthday is today.
Happy birthday!
@@christinethephantomqueen1388 thank you so much. By the way, ALW’s The Phantom of the Opera is my favorite musical and I ship Erik (The Phantom) and Christine forever.
@@sameaston9587 thank you.
she willingly goes with him?! it annoys me that he is not held more accountable for doing terrible things and now this??
also, isn't cheating out so that no audience member ever sees an actor's back like theatre 101?! it does not seem like he got the memo. i mean you cannot even see her for forty seconds!
That's because of how close the person that recorded is to the stage, he was standing sideways so everyone further away and not facing the stage at such an angle could see her just fine
Love Ben but I cringe at 6:49 every time I watch this. Rid running like a scared school boy, arms flailing ruins this each time 😞
Love the new staging, but not a fan of this particular phantom.
I hate the new stage. They took away all the stage magic. I watched this production 10 times before the change and once after. I won’t watch again.
Thank you for everything Christine! Here’s a little something for you: ua-cam.com/video/qDeVxNat4Hs/v-deo.html
Did you not read/hear the recording of a performance is not allowed? I adore this show, but to see it this way. No! 1st, I'm surprised UA-cam allowed this and 2nd, Patti LuPone is looking for you! Cheers!!
Funny how theres official recordings of shows on UA-cam... Jfc not everyone can afford to go see it in person, it's not like putting a clip of a song up is robbing the actors and stage production blind
Like the other person who commented on this said... not everyone can afford to see it in person. There are also fans of POTO who are under 18 (like me) who literally can't go lol
Also the show is the longest running musical and i'm pretty sure the highest grossing? so... this is definitely not taking money away from them
@@zxvx39r8e fans who are under 18 literally can’t go? I was TWELVE when I first saw Phantom!
@@thespianist I meant fans under 18 who don't have parents/legal guardians willing to take them or don't live close enough to a place that does productions. I'm talking out of personal experience lol I'm 16 and I live in NZ I can't just go overseas on my own to see it
Beside all other comments, there are people who dont have a possibility to go to US like me. I need to apply for visa and pay just for visa and then for plane tickets, stay which is too expensive for me and also there is a chance I wont get visa at all. So just calm down
Man. Crawford is a bad fit for the role