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Natasha and Pierre, King Lear with Anthony Hopkins and Much Ado About Nothing with Tennant

I don’t usually do this but please listen to The View Upstairs!! It’s based on a real life event that so few people know about:

In June of 1973, there was an arson attack on the Upstairs Lounge, a gay bar in the french quarter of New Orleans. 32 people died and the case was never really investigated. A culprit was never found and the incident was buried in history along with the stories of the lives lost. 

The story of this musical is told from the perspective of Wes, a young millennial, that after doing too many drugs find himself in this very bar on the evening it all happened. By hearing the stories of the people that died he will learn the importance of the lgbtq community, why the past matters, how far we’ve come and how far the way to go still is!!

This show is one of very few musicals that has been written, directed and is played by queer people! It’s also one of a very few shows that tackles the lgbtq community before the aids crisis. I don’t want the show to be forgotten about; it’s such a joyful (yes despite the ending I said what I said) and authentic piece of gay theater, with an all star cast!! (like the theater credits of everyone involved in this!!) The show takes you on an emotional roller coaster like you’ve never seen one, and it’s so worth your time. I’ve left links to my audio master besides this. 

Feel free to trade and gift the audio wherever, but please please please do not share any audio clips or links on Instagram or Twitter as those are platforms where cast and creatives are very active and I don’t want them to come across this!! 

This post is dedicated to the two Der Tods whom I feel are the most underrated, by which I mean I rarely hear anyone mentioning them even though they are some of my most favorite portrayals of the character.

Audio Gifts:

Elisabeth, Seoul, South Korea,  August 2, 2015

Cast: Jeon Dong-suk, Jo Jung-eun, Kim Soo-yong, Yun Young-seok, Baek Hyung-hun

Link: https://drive.google.com/open?id=1qKokx8Z2qlsUc2vPyOPqI6VwSwhCkduR

I’ve always preferred deeper voices for the role as I feel it gives the character a more seductive presence. Dongsuk’s vocals are buttery smooth and he is very comfortable switching between tenor and baritone ranges. His voice carries a very dreamy quality to it that is a bit hard to describe but very engaging nonetheless. Vocal performance aside, he gives one of the more outwardly passionate and longing portrayals of the character, and also plays up the manipulative puppeteer aspects of the character, complete with elaborate hand gestures and the such. Probably my favorite Korean Tod, holistically speaking.

Elisabeth, Tokyo, Japan, 2012

Cast: Ishimaru Kanji, Sena Jun, Ishikawa Zen

Link: https://drive.google.com/open?id=1lQ4Va8E4_AU0hyCdEDz0T-lLpg1lg9rI

Hi! One obvious answer is Then She Fell (https://ci.ovationtix.com/35034/production/989005?_ga=2.129023884.1213261183.1563460244-833604754.1563460244)

Another thing is is Midsummer: A Banquet (https://ci.ovationtix.com/35204/production/1011556) 

Not sure if The Unbrunch is still going on, but if they put tickets out, I definitely recommend it (https://www.theunbrunch.com/)

I am not sure when exactly are you in town, but if you can make it to Noirtown, should definitely check it out (https://ci.ovationtix.com/35213/production/1012922)

Last but not least, check out No Proscenium Now Playing: New York City (Updated 7/12/2019) Listings are not limited to Sleep No More type of immersive theater. There are also site-specific performances, interactive and multi-media art installations, etc.. 

 Macbeth: 

Lady Macbeth: 

Lady Macduff: 

Duncan: 

Malcolm: 

Banquo: 

Porter: 

Danvers: 

Bald Witch: 

Sexy Witch: 

Boy Witch: 

Hecate: 

Speakeasy: 

Fulton: 

Agnes: 

Bonus: 

White Masks:

Black Masks:

Kit (because these both suits her):

This is not an in-depth review of the show. It’s just a run-down of who I’ve seen in each role, if any shows stand out, Burr’s corners, what happens at stage door, where is good to sit, that sort of thing.

Under the cut.

No. times I’ve seen each person in a principal role

(And I’ve ranked them in order of preference because I’m a b*tch like that. Although, there is literally no one I don’t love. I love them all.)

Hamilton: Jamael Westman (15), Ash Hunter (3), Sifiso Mazibuko (2)

Burr: Giles Terera (12), Sifiso Mazibuko (8)

Eliza: Rachelle Ann Go (16), Marsha Songcome (4)

Washington: Obioma Ugoala (17), Gabriel Mokake (3)

Angelica: Rachel John (17), Miriam Teak Lee (3)

Peggy/Maria: Christine Allado (17), Miriam Teak Lee (1), Marsha Songcome (2)

Lafayette/Jefferson: Waylon Jacobs (3), Jason Pennycooke (17)

Laurens/Philip: Cleve September (20)

Mulligan/Madison: Tarinn Callender (18), Gabriel Mokake (2)

King George: Waylon Jacobs (3), Mike Jibson (17)

Covers I’m really keen to see but haven’t yet: Waylon Jacobs as Burr. Anyone else as Eliza. Aaron Lee Lambert as anyone. Stephenson Ardern-Sodje and Sam Oladeinde as any of their principal covers.

Places I’ve sat

Front stalls: I’ve sat front row of the stalls a few times. This view is nice once in a while. It’s nice to see their facial expressions and sweat and spit up close. It really makes you feel part of everything. However, these seats aren’t cheap (unless you win the lottery), and are pretty restricted. There is quite a lot you simply can’t see. You can’t see any lighting or footwork, and often certain things get blocked by props and other cast members. It also really depends which side you’re on/how central you are as to what you can see.

Middle/rear stalls: Really depends on whether you have a tall person in front of you because there isn’t much of a rake, apart from the back few rows. I sat mid stalls once and back stalls once and was lucky both times, but I know it can be a pain. I quite enjoy this view as you’re never super far away but you can still see lighting and choreo. More leg room than the circles. However, the price hike has hit these seats hard. Rear stalls have almost doubled in price. So I won’t be sitting here again as I think you can get much better value elsewhere.

Front royal circle: Best seats in the house. Easily. The leg room is pretty restricted in both circles, especially the grand and especially in the front rows. I am 5ft 5.5in and I hardly notice it, but for taller people it is problematic. However, the view at the front of the royal circle is completely worth it. Close enough that you can see facial expressions and details, far enough away that you can see choreo and lighting. It really is the best. It’s also expensive. Very expensive. It does seem like these seats often come up in the returns queue though - I think they are company seats. 

Middle/rear royal circle: These seats were really good when they were £57.50. Anywhere in the royal gets you a really good view. But since the price hike, everywhere in the royal circle is £100+, so I won’t be sitting here anymore. You can definitely pay less for a good view elsewhere in the room. 

Royal boxes. I’ve only sat in one, the closest one to the stage. And I loved it. Probably the best value seats in my opinion. You get as much legroom as you want because you can move your seat around, and you are again, really close to the stage, but high enough that you can get a good overall picture. Because they are at the side, you do miss bits of one side of the stage, hence they are more affordable. But worth it. 10/10 would recommend.

Front grand circle: One of the best views in the room. Probably a bit far away that you can’t see facial expressions in detail, but you get a really nice, unrestricted overall picture. However the price of these seats seems really inflated to me. They used to be £37.50 but now they’re £75+ depending on where in the row you sit. Really annoying, because they are quite far away. 

Rear grand circle: Good for the price. The only seats left in the building which are £37.50 since the hike. Accept that you are far away and you’re missing small details, but enjoy that you can see the overall picture (and watch your fave constantly the whole time without them knowing about it…). This is where I sit most regularly because it’s about all I can afford. As far back as about row G, you can see everything. From row H to the back, you miss the tops of their heads when they are on the surround. Which is a bit annoying. I won’t sit any further back than row H any more. I’d rather just pay less and do standing. 

Places I have yet to sit: Royal slips (£37.50), grand slips (£20), grand box (£37.50), standing (back of the grand, £12.50). I think all of these views are fairly restricted, but pretty cheap. Sitting in a grand slip next week, and will probably do standing soon, so will update!

Generally, as with all theatres, the more central you are sitting, the better your view. If you are towards the end of a row in any of the sections, your view of one side of the stage will be restricted. For example, if you sit in the low numbers, you miss the right hand corner as you look at it, and the same for the high numbers on the left. But it doesn’t really effect the story or enjoyment at all. It’s just small things. 

Shows which stand out 

I’ve been 20, so I think it’s probably fair to pick 5. Here we go. 

1) December 6th - First Preview. Yep. I’ve been on this ride since day 0. This was my first time seeing the show. I was front row of the royal circle so it’s also the best view I’ve ever had. I have never had a more intense and happy experience. I have never known satisfaction like sitting in my seat knowing I was FINALLY about to see Hamilton for the first time. Not one person stood out to me in this show. I knew they were all extraordinary and that I was watching something *really* special. 

2) February 7th - Cleve Revelation. Also the first time I sat front row. Fourth time in total. This was the first show where I basically couldn’t take my eyes off Cleve the entire time and fell into my Cleve hole. Up until this point, nobody had particularly stood out to me as a favourite. It was also the first time I saw Waylon as LafJeff which was another revelation (he is a recurring theme in my standout shows…). Also the first time I stage-doored and met some of them including Cleve. This was the top of my slippery slope.

3) April 12th - My Go-to Audio. This show still sticks out as one of the most fun ones I’ve been to. I was sitting quite far back in the grand circle, but I really enjoyed being able to Cleve-watch from this view. Because you can really appreciate the choreo and how he moves, and he can’t hide behind anyone because it’s basically a bird’s-eye-view. Waylon was on as Lafjeff. Always a bonus. Cleve, Giles, Waylon and Obi were all riffing their tits off, and there were a few really funny small mistakes. Until very recently, this was my favourite audio to listen to.

4) April 21st Matinee. I don’t really know why this show sticks out. It was just a really good day. Cleve was magic. First time I heard him do his ‘ri-i-ise up’ riff and his 'gladly jo-o-oin the fight’ riff. There were a few covers on including two Schuyler covers (Marsha for Eliza and Miriam for Peggy), I was front row again, and the energy was really good. I had a wonderful anxiety-free stage door experience as well this day, which helps make it stick out in my mind. There is a really nice quality audio from this show (not mine!) which I like to listen to a lot.

5) July 17th - Firework Cleve Day. His family were in this day so his energy was absolutely wild. And he got very emotional at curtain call. For me as a One Woman Cleve September Appreciation Society, this was a really special show. I wrote a big essay about it. Waylon was on as Lafjeff too which always makes for a particularly enjoyable show. This is my new favourite audio to listen to. I had a really nice seat at the front of the grand circle too thanks to a very good friend hooking me up 💙 I gifted the audio for this show recently.

Burr’s Corners I’ve Seen

Giles on April 12th did something like 'everyone give it a blerghhdeblurghgeblghh mlerghhdergh fightin Frenchman!’

Same show, and not really a Burr’s corner, but after 'Daddy’s calling’ someone in the audience yelled 'oooooooohhhhhhhhh’ and the whole audience laughed and Jamael just stood there waiting for it all to settle before spinning and walking off, and it made the whole thing about 500x funnier.

Gabriel as GWash on June 11th just… Didn’t come in on the whole 'you wanna pull yourself together?’ in Cabinet Battle 1 and was just standing in the corner while the band played. He then went 'Governing’s easy young man, winning is harder’…

Same show, Gabriel full on collided with Jack Butterworth during Right Hand Man. Full head on collision. Ouch.

Also same show, Sifiso was on for Hamilton after being Burr the whole previous week. He missed his 'unless’ in We Know 'I don’t have to tell you anything at all. Unless…’ and just did it as if he was Burr, with the rest of them.

He also completely skipped his 'A dot Ham’ at the end of Your Obedient Servant. There was just silence.

17th July, Jamael in Stay Alive forgot two whole lines and just freestyled them. Something like 'Charles Lee meneemenameneeemenameh pissin. He started showin off and that’s exactly what we’re missing’. And the hilarious thing about this is that he made exactly the same mistake two shows later, and filled in the with exact same collection of sounds 😂

There are probably loads more but these are the ones I can remember.

Stage Door

Is to the left hand side of the theatre as you look at it (turn right as you leave the main doors) and there are barriers set up. Stand behind them. Stand in the queue. Respect the queue. Usually stage door is extremely organised and polite at Hamilton, I’m happy to say. Fridays and Saturdays are the busiest days.

Who comes out:

Most/All of the time: Leslie Garcia Bowman, Tarinn Callender, Cleve September, Mike Jibson, Jason Pennycooke, Ash Hunter if he’s on for Hamilton (not if he’s on for Laurens/Philip), Marsha Songcome if she’s on for a principal, Miriam Teak Lee if she’s on for a principal, Waylon Jacobs if he’s on for a principal.

Some of the time: Jamael Westman (more rarely more recently) Giles Terera, Kelly Downing, Gabriel Mokake if he’s on for a Principal, Sifiso Mazibuko if he’s on, Rachelle Ann Go, Jon-Scott Clarke if he’s on.

Occasionally: Rachel John, Obioma Ugoala, Courtney Mae Briggs, Jack Butterworth, Johnny Bishop, Gregory Haney, Leah Hill, Stephenson Ardern-Sodje did it when he was Hamilton, but not since.

The rest I’ve never seen at stage door! Doesn’t mean they don’t do it though.

More recently (in the last month) fewer of them have been coming to stage door. Maybe only 2 or 3 each time. I’m sure they have their reasons, but hopefully this will pick up again soon! 

General Notes About The Theatre and Tickets and Stuff

They don’t issue tickets, so you have to queue to enter and show your ID, confirmation email, and payment card, and they will search everyone’s bags. The queue always looks horrendous, but they are very quick and efficient. I’ve never had to wait longer than 15 minutes to get in.

I’ve entered the lottery via the Hamilton app virtually every day since it opened and I’ve never won. I have a friend who has won twice. She can f*ck off tbh. (Jk lysm)

To get tickets, just pick a day you want, and check ticketmaster every day, multiple times a day. Returns come up all the time. It is NOT THAT HARD to get affordable tickets to Hamilton West End if you are prepared to actually try. 

Returns queue and standing are also last-minute options which I have never actually done myself but I know people who have. For returns, turn up a few hours before the show (4.30pm for an evening is probably safe) and queue up to the left of the theatre (where the stage door queue usually is). Bring both card and cash.

The theatre is beautiful. Truly. Take a minute to have a look round and the furnishings and decor because it is stunning.

There is one cast board, downstairs in the foyer, next to the box office.

There is a merchandise stand on each level where they sell clothing and trinkets at ridiculously inflated prices. You might have to queue a bit for these at the start. Helpful hint: the grand circle one is always quieter.

They have LOADS of really nice, spacious toilets. The queue moves quick, even at the interval.

The front of house staff are the friendliest and best I’ve ever known. Honestly. I can’t sing their praises highly enough.

That’s about all I can think of to say right now?

RULE: Tag 10 people you want to get to know better.

I’m sorry if I always tag the same people, I’ll try to search for different blogs. @carolyndolly @miekemaus @liife-isnt-faiir @kateandtheuniverse @mirmi @sinfonia-antarctica @little-lottes @3andastra3 @musicaladventure @phantasmagoricfebruary

2ND RULE: BOLD the statements that are true.

I am 5'7" or taller I wear glasses I have at least one tattoo I have at least one piercing I have blonde hair I have brown eyes I have short hair My abs are at least somewhat defined I have or have had braces

PERSONALITY:

I love meeting new people Helping others with their problems is a big priority for me I enjoy physical challenges I enjoy mental challenges I’m playfully rude with people I know well I started saying something ironically and now I can’t stop saying it

ABILITY:

I can sing well I can play an instrument I can do over 30 pushups without stopping I’m a fast runner I can draw well I have a good memory I’m good at doing math in my head I can hold my breath underwater for over a minute I have beaten at least 2 people in arm wrestling I know how to cook at least 3 meals from scratch I know how to throw a proper punch

HOBBIES:

I enjoy playing sports I’m on a sports team at my school or somewhere else I’m in an orchestra or choir at my school or somewhere else I have learned a new song in the past week I work out at least once a week I’ve gone for runs at least once a week in the warmer months I have drawn something in the past month FANDOMS ARE MY #1 PASSION I do or have done martial arts

EXPERIENCES:

I have had my first kiss I have had alcohol I have scored the winning goal in a sports game I have watched an entire season of a TV show in one sitting I have been at an overnight event I have been in a taxi I have been in the hospital or ER in the past year I have beaten a video game in one day I have visited another country I have been to one of my favorite band’s concerts

RELATIONSHIPS

I’m in a relationship I have a crush on a celebrity I have a crush on someone I know I have been in at least 3 relationships I have never been in a relationship I have asked someone out or admitted my feelings to them I get crushes easily I have had a crush on someone for over a year I have been in a relationship for at least a year I have had feelings for a friend

MY LIFE:

I have at least one person I consider a “best friend” I live close to my school My parents are still together I have at least one sibling I live in the United States There is snow right now where I live I have hung out with a friend in the past month I have a smartphone I have at least 15 CDs

RANDOM SHIT:

Barbara: Merk dir eins. Die ganze Angelegenheit muss ein Geheimnis bleiben.

Maria-Anna: Nein, es soll nicht länger ein Geheimnis bleiben. Alle sollen es hören! Tausendfach!

Barbara: Mein Schatz, ich weiß es macht dir schrecklich große Mühe. Tu es trotzdem. Denke nach!

Maria-Anna: Was soll das heißen “denke nach”? Ich denke nach! Nicht nur über mein eigenes Glück, auch über das von jedem und jeder anderen!

Maria-Anna: In mir ist so viel Freude, die muss einfach raus! Die ganz große Liebe… (no idea, what she’s saying here, help me out). Mein Glück zu verstecken, halt ich nicht mehr aus! Ich möchte jeden überreden sich mit mir zu freuen. Ich freu mich! Ich bin ja so glücklich! Kommt seid alle glücklich mit mir! Was immer euch auch Kummer macht auf dieser Erde hier, seid jetzt alle glücklich, freut euch, freut euch mit mir!

Maria-Anna: Oh, Frau Schikaneder! Es ist ihnen ja bekannt, dass ihr Mann und ich ein Liebespaar sind?

Eleonore: Natürlich…

Maria-Anna: Und jetzt ist etwas ganz Wunderbares geschehen!

Maria-Anna: Ich lieb ihn und er liebt mich und jetzt werd ich ein Kind bekommen! Ich bin so froh! Die Welt ist himmelblau!

Maria-Anna: Oh, Gott! Mir scheint sie krämen sich. Die Nachricht hat sie mitgenommen. Ich verstehs… sie sind ja jetzt noch seine Frau. Doch lieben sie ihn noch, dann macht sie doch bestimmt …(don’t know what the word is again) die Fabelheit der Vaterschaft! Froh und glücklich! Glücklich!

Eleonore: Dein Problem du kennst mich nicht. Mach ich diese Art Gesicht, dann freu ich mich.

Zusammen: Freu mich mit dir!

Eleonore: Weiß Emanuel von dem Kind?

Maria-Anna: Nein, noch nicht. Und selbstverständlich dachte ich, sie hätten das Recht, es zuerst zu erfahren.

Maria-Anna: Ihre Ehe liegt in Trümmern. Das tut mir wirklich leid, denn er heiratet mich. Ich erwart es kaum!

Eleonore: Ah, Mädchen… Ich kann dir verraten eins steht fest mit Sicherheit: Die Heirat bleibt für dich ein unerwünschter Traum.

so the next part is very hard, because they’re singing different lines at the same time, but i’ll try my best. that means some stuff might be wrong and i will leave out stuff.

Maria-Anna: Jetzt erst recht, sieh uns zu. Mein fröhliches Lied! La la la la la la…! Denn singt man von mir, dann singt jeder mit. Nicht… (idk) den Klang von Geige und Klavier! So glücklich! Alle sind so glücklich! Seid doch alle glücklich mit mir! Seid einfach alle glücklich! Niemand freut sich so wie ich. Ich bin glücklich. Glücklich. Sooo, sooo, sooo, sooo, sooo… glücklich! Fröhlich!

at the same time

Emanuel: Das Publikum wird dich feiern als Lady Anne… und ich auch! Denn wir sind das hellstrahlendste Traumpaar!

Zusammen: Wir sind das hellstrahlendste Traumpaar!

Ensemble/Alle: Von Stuttgart nach Salzburg und dann wird’s weiter gehen. So einen Bühnenzauber hat man noch nie gesehen!

Ensemble/Alle: Feuer und Wasser. Schnee und Sturm. Blitz und Donner und Rauch. Großes, freies Theater mit Kutsche und Tier aber auch! Freche und …(?) Komödien. Effekte, die …(again?). Das Publikum nimmt Teil und will den Schurken attackieren. Es gibt nichts was uns so gefangen nimmt. Wie das Glanz spendenste, bestsingenste, meistgeltenste, Geld bringenste, hellstrahlendste Traumpaar auf der Welt! Auf der Welt. Auf… das hellstrahlendste Traumpaar.

Eleonore: Wir waren das hellstrahlendste Traumpaar und ich glaubte lang das geht nie vorbei.

Von mir aus, es ist mir egal! Schon morgen denk ich sicher gar nicht mehr daran! Was war ist abgetan. Ich schreibe Spiel und Plan. Ich bin ein sehr, sehr gefragter Mann.

Ein Mann dessen Zufriedenheit von Weibern abhängt, tut mir Leid! Will eine mich verlassen - jeder Zeit. Andere stehen bereit.

Es gibt viele Fische im Meer. So viele Reize zu entdecken. Frauen mit viel… Freude am Spiel. Das Sehnen nach denen tröstet sehr!

So viele Fische im Meer! So viele Wünsche aufzuwecken. Will eine gehen? - Auf Wiedersehen! Es wird doppeltschön hinterher! Es gibt so viele Fische im Meer.

Ein eigenes Theater? Oh Gott, oh Gott, oh Gott, das absehbare Ende heißt… Bankrott! Herr Gott, ihr droht der Bankrott!

Ha! Sicher spielt sie friedensdumme Schwänke (that’s what I hear, but it might be wrong) bis niemand mehr in ihr Theater geht. Ihr Ehrgeiz wird verspottet, die Bühne wird verschrottet! Dann heult sie, doch die Reue kommt zu spät!

Es reißt mein Herz entzwei, wenn ich dran denke, wie sie abrutscht in ein Leben voller Qual und ihr klar wird sie traf eine falsche Wahl! Zerlumpt und hungrig, schmal und totenfahl! (ok, this doesn’t make any sense to me, but some of the lyrics are a little weird, soo it might be correct as well) Zum Untergehen verdammt im Jammertal, bin ich dann ihr letzter Hoffnungsstrahl!

Schuldbewusst kriecht sie zu mir her. Und wenn sie zitternd und verzagt voll Reue ihren Namen sagt, blick ich auf und frag: Eleonore wer?

Genau so kommt es unter Garantie! Ich sehe es voraus, male es mir aus, wenn ich übrhaupt noch denk an sie!

Denn es gibt so viele Fische im Meer! So viele Früchte an den Bäumen! Geliebt zu sein und nicht allein ist für einen Mann wie mich nicht schwer!

Schöne Frauen Tag für Tag! Wann immer ich mag! Fördern mein Wohlbehagen so sehr!

Warum trauern es gibt neue Spiele! So viele, so viele herrliche Fische im Meer!

PETER JÖBACK: So… I expected to maybe like him better than I did? Cause I like what he brings to the role, how he talks about it, I like so much *around* the actual interpretation and performance. But was kinda underwhelmed. Or, I liked his Phantom. Quite a bit, in fact. But I didn’t *love* his Phantom.

So, OK, his Swedish Phantom was definitely the most solid of the lot. He sounded more comfortable singing in his mother tongue, not forcing an accent, which made him less twangy. A very good thing. Also, he seemed to maybe have more leeway with the acting specifics, which made him add some discrete ad-lib-ing moments. And yet…

Though his Phantom was solid in so many ways, I still had the feeling of seeing more of a caricature? Like, more Phantom Manor than Phantom of the Opera. More how he thought the role should look than what the character is. Everything seemed just a *bit* exaggerated. And frankly, though he probably sung his heart out, I didn’t quite feel he had the voice to nail it. Like, he has the range, but not the booming quality. You can do elements of kitsch if you have the voice to justify it (Ian Jon Bourg, Scott Davies). But with a good voice with pop phrasing, you better keep the acting on the classy or classical side, so there is a balance. But he went for exaggerated hand gestures, lots of bent knees, and not fully justified moments, paired with a good voice with a pop approach.

All that said, I saw two slightly different performances from him. One Friday evening, where he clearly struggled voice wise, shifted way too much between chest voice and falsetto, and rather devastatingly missed the high note in «Down Once More». Also finished MOTN long before the orchestra. I was like «???». I remembered him as vocally much better. Turns out he is. That performance was either an off-night or just low energy. On the Saturday matinée he seemed more secure, with steadier voice, longer notes and also not missing any key notes. Was very happy to see him a second time and see that he handled the score fine.

I quite liked him in the Mirror Scene, the Phantom’s curse, as Red Death and in the Final Lair. Those were stand-out scenes for me. Those are also scenes where you expect the larger-than-life acting. His MOTN in the Saturday matinée was also quite nice, and he did a gorgeous «soooaaaar».

His Final Lair was definitely the most interesting one. He stumbled around stage with bent knees, was quite unpredictable, and displayed some fine acting. I also loved his added «NEEEEJ!!!», pronounced like a small, spoiled child experiencing someone taking his toys away. He did it three times; one after Christine throws the wedding veil at him, once right before letting Raoul loose of the magical lasso, and I can’t remember the third one. It was a good detail.

Yet, I stand by what I wrote above, about his Phantom feeling like a caricature at places, and that he has too much of a pop sound in his voice. Things I thought could be done differently. But all in all a solid Phantom, a good voice, and the sole reason this production came to be, probably. I was very happy to see him twice, to see how he might do stuff differently the second time, and to get a feeling of what his Phantom was all about. And it should be added that he had good chemistry with Emmi Christensson.

EMMI CHRISTENSSON: WHAT. A. GEM!!!!!!! Gorgeous, soaring, clear, bell-like, strong voice. A nuanced and detailed portrayal. So beautiful on stage.

I saw her as Cosette in the Norwegian tour in 2014, and adored her voice. I’ve heard clips from her London run as Christine, and loved it. So obviously I was hyped to see her live in Stockholm. But she was WAY better than I imagined. She had moments of very nervous, distressed emotions - not quite on the level of Anna O’Byrne, but still distressed. Kinda hammering the palm of her hands over her ears in the WYWSHA intro is one example, desperately trying to kill the voices. She also looked so perfectly innocent on stage.

Standout scene for me was WYWSHA - the whole thing seemed so genuine and so in despair. Instead of going for «listen to the grandeur that is my voice», she took it down a notch, displaying Christine’s grief and solitude. It was really nice. A bit similar to Mia Karlsson in Copenhagen. TOM was also a thing of beauty. Such a gorgeous voice, so feather light and pleasant and yet with a strength, especially the upper notes. TOM was a scene I never wanted to end, in large because of her voice, but also because of Anton Zetterholm’s acting, and because of the GORGEOUS World Tour Elissa skirt. Baaah.

Also, the Swedish translation of «The tears I might have shed for your dark fate…» is one of my favourites out there, and was extremely well delivered by Emmi C: «Du kunde fått förståelse och stöd. Men nej - jag kunde se dig DÖD!» (you could have gotten understanding and support (from me). But no (now) I could (happily) see you DEAD). That’s strong words.

All in all, Emmi Christensson really is one of those ultimate Christines. I loved her portrayal, I adored her voice, I loved many of the details, and she totally looked the part. And she’s Swedish too. Can’t beat that combo.

ANTON ZETTERHOLM: Due to a very Copenhagen-esque directing in the Swedish revival, Anton Zetterholm did have moments where he reminded a bit of Tomas Ambt Kofod. And y’all know that will never be a bad thing, as Kofod is probably my all-time fave Raoul.

That’s however not to say that Anton Zetterholm was a blueprint. He had moments where I got the feeling he tried to imagine why Raoul reacted as he did. For example, a more unique detail was exactly HOW bored Anton’s Raoul seemed to be during TOM, tapping his fingers, looking around, mostly looking like he wanted to leave. When Mme Firmin looked through her binaculars, he seemed to get curious and borrow them from her, only to discover it’s CHRISTINE, and then he is on fire, leading up to his sung lines. The change from utterly bored to super exited was more pronunced than I’ve ever seen it before. Really, REALLY good acting. And also kinda justifying the Phantom’s raging «slave of fashion» - this Raoul isn’t really into music, he’s only into Christine. Though not because the rest of Paris is. Rather due to their childhood friendship.

He also had fine moments in «Little Lotte», where he perceived what Christine told him so innocently and so different from what she intended. He wasn’t brushing her off, but appearing to think she was talking allegorically, but then getting down to business - food, catching up over dinner, the joy of meeting his childhood friend again, the joy over her triumph and her success.

Last, but not least, he really REALLY fought that magical lasso in the Final Lair. I was about to write “like his life depended on it”, which I guess is quite suitable for the role of Raoul in that moment…

And on the shallow side: so cool to see a blonde Raoul. Costume design (and slightly Barton) coming alive!

Another impressive artist was Karolina Andersson, I love her brilliant voice and the figure she developed for Carlotta.