59 posts
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Post by thenightowl on Jul 6, 2019 10:24:38 GMT
Curve is my nearest 'big' theatre (25min drive) and I feel really lucky to have such a great theatre so local to me. Since we had the recent Mary Poppins tour it really feels like we don't miss out on any of the big shows now (we've since had Les Miserables, Miss Saigon and now Phantom). Financially I'm not sure how Curve are managing to get the shows because although the stage is certainly more than big enough (15.3m W x 8.0m H x 15.9m D), the auditorium currently only seats 902 (depending on seat configuration), although this will increase to 969 this Autumn after more seats are added. When you compare this with a venue like the Birmingham Hippodrome that seats 1,850 the numbers speak for themselves, interestingly though their stage isn't as high but is a bit deeper (12.79m H x 7.92m W x 17.5m D). Perhaps they're using Curve as the preview run in a live theatre getting everything set up and finalised for the tour ahead anf have come to an arrangement with Curve as this will now be the fourth (fifth if we include Barnum) Cameron Mackintosh production to originate in Leicester. Regarding the pricing, I always knew Phantom was going to be expensive. I'm a Curve member so have been fortunate to save 15% on the top price tiers and I've also gone for the front row (D at the moment), FrontroverPaul for your reference I've been advised that we'll get first refusal of row C if/when they put them on sale. Really looking forward to seeing this production. I hope they keep enough of the original London production that gives it the lavish look and feel but update the magic/special effects as they're really starting to look dated in the West End production. The lightning effect in the overture and the sparks from his stick look so cheesy now - I'm sure back in 1986 they were pretty special, but we expect a bit more nowadays.
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Post by xanady on Jul 6, 2019 11:14:57 GMT
The Curve is now a try-out theatre where they iron out problems before London or a full tour,eg On Your Feet before it hit the London Col.Always a very welcoming theatre.
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Post by Deleted on Jul 6, 2019 12:10:33 GMT
Indeed, the Curve is now very much a place for launching and fine tuning big tours. It may not seat that many, but has a very large stage, good wing space, fly facilities, rigs etc etc, is new and technically advanced - makes it an ideal place to tech a big show.
I am REALLY disappointed at their reconfiguration through. I always sit on an aisle seat, a) as I am very tall and b) as I have anxiety and really don't like the feeling of being 'stuck' in the middle of a row. As such I MUCH prefer theatres with one or two central aisles as I can have an aisle seat that also has a good view. Theatres with long rows and only side aisles, I always sit at the side. Front Stalls at Curve going from two central aisles to none is therefore a shame!
That aside is a fantastic comfortable modern theatre.
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Post by ampersand on Jul 6, 2019 16:46:16 GMT
Will this come to Newcastle or Sunderland, do people think?
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Post by justfran on Jul 6, 2019 19:23:22 GMT
I hope it does come to the North East. Personally I’d prefer to see it at the Sunderland Empire, as feel that the show would fit in better with their lovely auditorium and the stage is bigger.
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4,361 posts
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Post by shady23 on Jul 7, 2019 2:40:31 GMT
Will this come to Newcastle or Sunderland, do people think? I'd be very surprised if not but in the meantime we have booked a little road trip trip to see it in Manchester.
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Post by Deleted on Jul 8, 2019 11:54:16 GMT
Word of this tour finally motivated me to do something I've been "getting round to" for nearly 20 years. Framing this wonderful piece of theatrical memorabilia... Poster from the Liverpool Empire exterior, for the touring production 1999! (My first time). Back when Liverpool Empire was under the jurisdiction of Apollo Leisure Theatres. It's in rough shape in places having not been loved for a while and pinned and then blutak-ed to wall for a decade, abused by sunlight, but still a good keepsake.
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637 posts
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Post by Oleanna on Jul 8, 2019 12:57:03 GMT
Word of this tour finally motivated me to do something I've been "getting round to" for nearly 20 years. Framing this wonderful piece of theatrical memorabilia... Poster from the Liverpool Empire exterior, for the touring production 1999! (My first time). Back when Liverpool Empire was under the jurisdiction of Apollo Leisure Theatres. It's in rough shape in places having not been loved for a while and pinned and then blutak-ed to wall for a decade, abused by sunlight, but still a good keepsake. Wonderful poster, thank you for sharing!
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18,777 posts
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Post by BurlyBeaR on Jul 8, 2019 13:49:13 GMT
Does that full face mask ever get used on promo nowadays?
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Post by Deleted on Jul 8, 2019 14:01:44 GMT
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18,777 posts
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Post by BurlyBeaR on Jul 8, 2019 14:51:14 GMT
Hmm. I wonder why they do that when the full mask isn’t in the actual show. I have it in my head somewhere that the full mask was in Bjornson’s original designs but that it was restrictive forthe Phantom to sing, so it got dropped. So why still use the image?
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4,550 posts
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Post by Mark on Jul 8, 2019 16:16:35 GMT
Hmm. I wonder why they do that when the full mask isn’t in the actual show. I have it in my head somewhere that the full mask was in Bjornson’s original designs but that it was restrictive forthe Phantom to sing, so it got dropped. So why still use the image? That sounds right, can’t remember where I read it though.
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637 posts
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Post by Oleanna on Jul 8, 2019 17:11:53 GMT
Hmm. I wonder why they do that when the full mask isn’t in the actual show. I have it in my head somewhere that the full mask was in Bjornson’s original designs but that it was restrictive forthe Phantom to sing, so it got dropped. So why still use the image? That’s correct. It’s become synonymous with the show though, so it stays.
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637 posts
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Post by Oleanna on Jul 8, 2019 18:44:07 GMT
View Attachment Opened up handbill, picked up in the Her Majesty's foyer months before the first preview. Glove holding rose.
Wish the Phantom poster with the Cambridge Theatre name on it had survived the Great Fire of Dress Circle, too. Cambridge Theatre?
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Post by Deleted on Jul 8, 2019 18:44:52 GMT
Opened up handbill, picked up in the Her Majesty's foyer months before the first preview. Glove holding rose.
Wish the Phantom poster with the Cambridge Theatre name on it had survived the Great Fire of Dress Circle, too. Love that
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2,137 posts
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Post by richey on Jul 9, 2019 17:07:59 GMT
Open auditions announced for tour
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637 posts
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Post by Oleanna on Jul 9, 2019 18:15:16 GMT
Yes, considered because the first-choice Palace was full of French peasants Cameron wouldn't re-house. Preliminary artwork was done before "Bugsy Malone" decided it wouldn't hang in there much longer. So interesting, thanks Monkey! I knew the Palace was the first choice, but thought from there it was just Her Majesty’s all the way. Never knew that the Cambridge was a choice. What a different atmosphere the show would have had!
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Post by Deleted on Jul 9, 2019 19:31:47 GMT
Wow! Although this is chat for the London production thread, I cant imagine Phantom in the Cambridge! I wonder if it would have lasted as long had it been there. Part of the success of Her Majesty's is the exterior architecture adding to the atmosphere and even though the seated capacity isn't much different, HMT has an intimacy to the auditorium that the Cambridge doesn't.
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637 posts
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Post by Oleanna on Jul 9, 2019 23:52:11 GMT
I love this show so much. If anybody has any similar, rare and interesting stories to share (either about the London production, or on tour) please do share, I’d love to read!
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Post by Deleted on Jul 10, 2019 8:49:21 GMT
I love this show so much. If anybody has any similar, rare and interesting stories to share (either about the London production, or on tour) please do share, I’d love to read! Back in July 1999 a month after seeing the show at Liverpool Empire, the theatre were still offering backstage tours. My parents booked one for the school holiday but it was cancelled due to short notice cast change - if I remember rightly a new Christine was brought in and rehearsed in the day between shows, hence the cancellation of tours. We were offered a rescheduled date on the proviso that we understood elements maybe restricted due to rehearsal, but this was on the day we were due to go on holiday. I was gutted. My superstar parents, changed our holiday plans to allow for a last minute visit to Liverpool. We were taken on a full tour of the theatre which included being allowed to wander the stage and backstage, looking down into the orchestra pit and getting up-close to key items in the show such as the elephant, the rehearsal piano and press notes on the Phantom's organ. This was mind blowing for an 11 year old still riding high on the initial excitement of seeing the show for the first time. We were told a few 'secrets' as to how some of the effects are archived, such as the rehearsal pianos workings. After a visit around the stage we were taken up to the circle where we were told about the architecture of the auditorium and how adaptions were made for Phantom to fit. They used to have huge palm tress in pots in the 2 boxes but were specifically removed to make the auditorium feel more in keeping with the show. Whilst sat up in the circle, a young Scott Davies semi-moon walked onto the stage singing fairly loudly to himself and greeting the creatives who were setting up in the stalls for the afternoons rehearsal. After a little bit of singing and banter he then realized there was a group of 20 people sat up in the circle on the tour, in quite a funny moment and greeted us all. We were there ushered out of the circle to allow the rehearsal to start - which I may have peered at through the curtain drawn over the stalls door as our tour was concluded.
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Post by Deleted on Jul 10, 2019 9:28:57 GMT
I love this show so much. If anybody has any similar, rare and interesting stories to share (either about the London production, or on tour) please do share, I’d love to read! Back in July 1999 a month after seeing the show at Liverpool Empire, the theatre were still offering backstage tours. My parents booked one for the school holiday but it was cancelled due to short notice cast change - if I remember rightly a new Christine was brought in and rehearsed in the day between shows, hence the cancellation of tours. We were offered a rescheduled date on the proviso that we understood elements maybe restricted due to rehearsal, but this was on the day we were due to go on holiday. I was gutted. My superstar parents, changed our holiday plans to allow for a last minute visit to Liverpool. We were taken on a full tour of the theatre which included being allowed to wander the stage and backstage, looking down into the orchestra pit and getting up-close to key items in the show such as the elephant, the rehearsal piano and press notes on the Phantom's organ. This was mind blowing for an 11 year old still riding high on the initial excitement of seeing the show for the first time. We were told a few 'secrets' as to how some of the effects are archived, such as the rehearsal pianos workings. After a visit around the stage we were taken up to the circle where we were told about the architecture of the auditorium and how adaptions were made for Phantom to fit. They used to have huge palm tress in pots in the 2 boxes but were specifically removed to make the auditorium feel more in keeping with the show. Whilst sat up in the circle, a young Scott Davies semi-moon walked onto the stage singing fairly loudly to himself and greeting the creatives who were setting up in the stalls for the afternoons rehearsal. After a little bit of singing and banter he then realized there was a group of 20 people sat up in the circle on the tour, in quite a funny moment and greeted us all. We were there ushered out of the circle to allow the rehearsal to start - which I may have peered at through the curtain drawn over the stalls door as our tour was concluded. Fabulous story :-)
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214 posts
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Post by paulbrownsey on Jul 10, 2019 9:51:42 GMT
Indeed, the Curve is now very much a place for launching and fine tuning big tours. It may not seat that many, but has a very large stage, good wing space, fly facilities, rigs etc etc, is new and technically advanced - makes it an ideal place to tech a big show. I am REALLY disappointed at their reconfiguration through. I always sit on an aisle seat, a) as I am very tall and b) as I have anxiety and really don't like the feeling of being 'stuck' in the middle of a row. As such I MUCH prefer theatres with one or two central aisles as I can have an aisle seat that also has a good view. Theatres with long rows and only side aisles, I always sit at the side. Front Stalls at Curve going from two central aisles to none is therefore a shame! That aside is a fantastic comfortable modern theatre. I am surprised that the health & safety authorities have allowed so many theatres to remove their centre aisles and fill them up with extra seats. Wouldn't it make for slower evacuation in the event of a fire?
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Post by Deleted on Jul 10, 2019 10:08:47 GMT
Indeed, the Curve is now very much a place for launching and fine tuning big tours. It may not seat that many, but has a very large stage, good wing space, fly facilities, rigs etc etc, is new and technically advanced - makes it an ideal place to tech a big show. I am REALLY disappointed at their reconfiguration through. I always sit on an aisle seat, a) as I am very tall and b) as I have anxiety and really don't like the feeling of being 'stuck' in the middle of a row. As such I MUCH prefer theatres with one or two central aisles as I can have an aisle seat that also has a good view. Theatres with long rows and only side aisles, I always sit at the side. Front Stalls at Curve going from two central aisles to none is therefore a shame! That aside is a fantastic comfortable modern theatre. I am surprised that the health & safety authorities have allowed so many theatres to remove their centre aisles and fill them up with extra seats. Wouldn't it make for slower evacuation in the event of a fire? Going off topic (sorry) yes I often think about this too. With my health hat on (I work in healthcare) there is also an issue if someone needs medical assistance. If you go to the theatre all the time as many of us on here do, people will be aware that medical incidents do happen. I have seen a few occasions where someone may have had a heart attack/stroke/loss of consciousness and often they can be in the middle of the row. Getting help to people who are 15+ seats in (usually without a show stop) is an absolute nightmare and complete pandemonium. What is even more extraordinary is the number of patrons tutting at having to move for someone in serious trouble. Anyway, for fire, evacuation and health I honesty think nobody should be more that 10-12 seats form an aisle.
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637 posts
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Post by Oleanna on Jul 10, 2019 11:51:18 GMT
I love this show so much. If anybody has any similar, rare and interesting stories to share (either about the London production, or on tour) please do share, I’d love to read! Back in July 1999 a month after seeing the show at Liverpool Empire, the theatre were still offering backstage tours. My parents booked one for the school holiday but it was cancelled due to short notice cast change - if I remember rightly a new Christine was brought in and rehearsed in the day between shows, hence the cancellation of tours. We were offered a rescheduled date on the proviso that we understood elements maybe restricted due to rehearsal, but this was on the day we were due to go on holiday. I was gutted. My superstar parents, changed our holiday plans to allow for a last minute visit to Liverpool. We were taken on a full tour of the theatre which included being allowed to wander the stage and backstage, looking down into the orchestra pit and getting up-close to key items in the show such as the elephant, the rehearsal piano and press notes on the Phantom's organ. This was mind blowing for an 11 year old still riding high on the initial excitement of seeing the show for the first time. We were told a few 'secrets' as to how some of the effects are archived, such as the rehearsal pianos workings. After a visit around the stage we were taken up to the circle where we were told about the architecture of the auditorium and how adaptions were made for Phantom to fit. They used to have huge palm tress in pots in the 2 boxes but were specifically removed to make the auditorium feel more in keeping with the show. Whilst sat up in the circle, a young Scott Davies semi-moon walked onto the stage singing fairly loudly to himself and greeting the creatives who were setting up in the stalls for the afternoons rehearsal. After a little bit of singing and banter he then realized there was a group of 20 people sat up in the circle on the tour, in quite a funny moment and greeted us all. We were there ushered out of the circle to allow the rehearsal to start - which I may have peered at through the curtain drawn over the stalls door as our tour was concluded. A wonderful story, thank you for sharing!
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225 posts
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Post by ukpuppetboy on Jul 11, 2019 3:24:31 GMT
I love this show so much. If anybody has any similar, rare and interesting stories to share (either about the London production, or on tour) please do share, I’d love to read! I’ve NEVER managed to get an answer I was happy with as to why only the UK productions have Raoul singing in harmony in “Wandering Child” whilst every other international production has the rather jarring “Leave her” interruption. Back when Peter Land was in the London cast he suggested that ALW wanted to keep something that was specific to the original London show - (this was before the first Manchester/UK tour which I believe also kept the trio). It always seemed a little odd that THIS (and Phantom catching Christine at the end of Music of the Night instead of letting her sleep on the damp concrete floor infront of the mirror overnight!) would be THE moment chosen to be specific to London. Not that I have any reason to doubt Mr Land’s insider knowledge. He was an amazing Andre after all.. The times I have met Hal Prince I have been more interested in why he cut some of the moments in previews, and if he could put them back in. That masquerade disappearance (as originally conceived) would have been awesome.
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225 posts
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Post by ukpuppetboy on Jul 11, 2019 3:40:21 GMT
Opened up handbill, picked up in the Her Majesty's foyer months before the first preview. Glove holding rose.
Wish the Phantom poster with the Cambridge Theatre name on it had survived the Great Fire of Dress Circle, too. I have one of those fold out posters too (kindly given to me by the guy’s at Dress Circle back in the day). £18 top price ticket - those were the days! The various early Phantom poster designs (some with the Cambridge Theatre specified) also appeared in a book that I have somewhere. As I recall they featured more of the Phantom in shadow (a conventional eye mask and white shirt/glove?) and lacked the iconic shattered typography. For memory they looked quite rough. Though my memory maybe playing tricks on me.
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225 posts
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Post by ukpuppetboy on Jul 11, 2019 9:45:09 GMT
Finally found those designs but not sure how to upload the files here so had to tweet a few images and link to that.. Are these the ones you were referring to theatremonkey? Phantom Posters
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225 posts
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Post by ukpuppetboy on Jul 11, 2019 10:01:20 GMT
Yes, ukpuppetboy . Some I've seen, not seen one of the others. Fascinating, thank you so much.
To upload on here, you need to use the "Reply" button to bring up the full reply system. There's then an option button for uploading graphics. Thanks - but I already tried (and failed) there as they are scans on my computer and not weblinks. It’s interesting to ponder who was blacked out of the first design (with the Cambridge Theatre mentioned). I assume it was lyrics by Alan Jay Lerner before he left the project but that is just speculation...
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225 posts
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Post by ukpuppetboy on Jul 11, 2019 11:11:36 GMT
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18,777 posts
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Post by BurlyBeaR on Jul 11, 2019 11:59:02 GMT
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