Some Things about Me
|
Read
my Dreambook! Sign my Dreambook! |  |
If you don't want to think they're not magic, don't read on.
The Mirror:
How does the Phantom suddenly appear in Christine's mirror, which still shows her reflection?
This is achieved with a half-silvered mirror, and lighting. With no lighting at the back, and lit from the front,
it functions as a normal mirror. However, when the lights are dropped from the front and it is it from the back,
it becomes transparent, and the Phantom can be seen behind it. Cleverly controlled lighting and the mirror produce
the effect. When Christine has stepped through and the glass slid back, the lights are turned off behind the
mirror, and it is once again lit from the front and reflects normally.
The Labyrinth and Lair:
How do they get up the top so quickly?
They don't. The Phantom and Christine who walk across the stage are doubles; the pair who walk across the
travelators are also doubles. The real Phantom and Christine come out in the boat, which is radio-controlled.
Where do the candles come from?
The candles and candelabras are under the stage, and rise up through trap doors. In touring productions where
the stages don't have the necessary traps, the candelabras slide on from the side of the stage instead.
How does the mannequin lean forward?
It's an actress, with a plastic mask to make her face look less real. She is replaced by a real Mannequin for
the next scene in the blackout.
How does the music box start playing?
It's also radio-controlled. (Some of these may be replaced by infra-red signals, as radio controlls are prone
to interference.)
Doubles:
In what other places are doubles used?
As well as those in the title song, there is a Phantom double used at the end of the Masquerade scene(the
second Red Death), and appearing briefly in Box 5 ("I'm here... I'm here... I'm here!"). The Phantom who casts the
shadows over the Il Muto ballet is also a double of sorts - the "real" Phantom is already in the angel at this
point.
Act Two
How does the Phantom disappear at the end of Masquerade?
Through a trap door. In London, there are two small raised points on the stage so he can feel through his
shoes and make sure he's standing in the right place without looking down. The Phantom's lines to Christine are
the cue for the trap dropping him down. On tours with no trap doors, he runs off stage instead.
Don't ask how he gets back up the stairs so quickly, please... See above.
Where does he appear from in the Graveyard Scene?
The cross isn't solid; the Phantom is standing inside it. In some productions he may come from behind the
cross instead.
The Final Lair
How does the throne work?
It has a false back. When the Phantom throws his cloak over himself, he attaches the top to wire which pulls out,
keeping the shape of a head. The back is released and he can move into the false back of the chair. If Meg sat on
the chair at the end, she would be almost sitting on the Phantom's lap.
Recording in Phantom
Why does the show use pre-recording?
Pre-recording is used in a number of places in the show, most often for the practical reason that the cast
members who need to be singing are busy moving about backstage - in the title song, doubles are used while the
principals get in place, and the singing must therefore be recorded.
It may be that not every production is exactly the same in this, but here is the usual list:
The Phantom of the Opera, title song. All the singing is recorded, for reasons noted above.
The Phantom's "Sing, my angel of music" etc are not recorded. One or two people have sworn
that the San Francisco production switches to live singing once the Phantom and Christine are on stage, but
I've no idea whether that's correct.
The Phantom's notes, in the Notes scenes.
The Phantom's laughs, when he drops the chandeliers and Buquet's body.
The Phantom's lines as Red Death in Masquerade, while he is on the stairs. His lines to
Christine ("Your chains are still mine...") are live (and the cue for the trap door).
The Phantom's "seal my fate tonight, I hate to have to cut the fun short..." section. This is one that can
vary - Peter Karrie chose to sing it live.
The "I'm here, the Phantom of the Opera" lines, before the curtain up on Don Juan Triumphant.
Also, the "Secure"s in response to "Are the doors secure?" in this section.
The lines before "Il Muto": "Gentlemen, if you would care to take your seats?..."
The lines before AIAOY: "To the roof..."
The managers' lines in the chaos after Piangi's body is discovered: "Oh, my God, my God" and "We're ruined, Andre,
ruined!"
It has also been said that much of the Overture is pre-taped, though I'm not sure on this; it could be pre-
programmed synthesizers.
Early Phantom of the Opera Effects
The special effects that never made it to the final show...
Descent to the Lair
A dummy of Christine was to ride down the bridge on a white model horse, being led by the Phantom. It
looked lovely but it had to be cut as it had an annoying habit of going down the bridge backwards. It
was set up as a skate board, and the actor operated the brakes. When he stood on the board the breaks
came off. Unfortunately they couldn't get it to turn around in time.
Masquerade
Michael Crawford was gong to walk down the Masquerade stairs on 3 ft stilts. This was taken out as they
were worried about the other actors and understudies doing it.
The Phantom was originally going to walk down the stairs carrying a tall staff. When he was on the
trapdoor, the crowd would close in on him, and he would crumble into a heap of clothes. This was done by
putting the staff into a hole on the stage and the actor would go down the trapdoor leaving the hat, mask
and cloak etc, as they were attached to the staff. They used padding and a false arm to give the
impression that he was still there after he had gone through the trap door. The effect ran out of time
during rehearsals and could not be finished, so was scrapped.
The Mausoleum
When Christine sang "little Lotte" as an introduction to "Wishing", her father could be seen through the gauze,
playing the violin, as a "flashback".
There were two stone angels on the platform with the cross. Two actresses in grey starched costumes
would kneel motionless for the whole scene, only to move suddenly as the pyrotechnics went off at the end.
Many Thanks to The Phantom of the Opera Appreciation Site by Christine Daae
My Links
My Partner of 13 Years, Brian
Jays & Brian
My Favorite Blue Jay, Jose Cruz Jr.
My Favorite Pitcher, Pat Hentgen
Another Favorite Pitcher, Paul Quantrill
Internantional Chat at Gay.com
The Toronto Blue Jays Baseball Club
Where My Guys Play!
Peter Karrie
Michael Crawford
Robear's Lair
The Official Stephen King Web Presence
The Toronto Sun a Local Toronto Newspaper
Bowcreek Postcards
The Official Peter Karrie Home Page
CanGuy's Place, Found This Guy's Site, Very Unique!
Jays98's Pictures and Links - To Go To My Tripod Page
