Tristan | he/him | PotO and miscellaneous European musicals blog | musician and artist
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Reading the Wikipedia pages for 1910s films is like
"Made on a budget of $75, the film was an unexpected smash hit, selling out theaters across the country. Thought lost after a vault fire in Paris in 1954, a full print was discovered in a Brazilian nursing home in 2013, where it was being used as a doorstop."
Travelling again this weekend, so instead of not streaming at all, decided to try one on Friday night instead!
The past few streams in this 40th Anniversary year have represented performances from the birthplace of Phantom in London's West End, the current World Tour, Copenhagen and the unrealized Paris production.
This week we hop across the Atlantic and into the world of US/North American productions. Of course, the granddaddy here is the Broadway production, which began its historic 35 year run in 1988.
There has also been a series of U.S. National Tours, beginning in 1989.
The two performances for this stream are from the Third U.S. National Tour, also called the Music Box tour (or Music Box Company) which ran from December 1992 through October 2010.
The first performance is from February 11, 2005 in Ft. Myers, Florida, featuring understudy Peter Lockyer as the Phantom, Rebecca Pitcher as Christine and Tim Martin Gleason as principal Raoul. This performance is notable for Mr. Lockyer removing his coat as well as his cape during the end of the title song and persisting through Music of the Night, which he memorably performs in his shirtsleeves and vest. Saturday Streams presented this performance once before in March of 2025. This is a highlights reel which runs about an hour.
To round out the evening, I chose another highlights reel of the same company, at the same stop, just a few nights later on February 17, 2005. This time, for reasons I do not know, Tim Martin Gleason, principal Raoul, stepped into the role of the Phantom--he would become the principal Phantom for the last year and a half of this tour, beginning in May 2009 through October 2010. His Raoul would be the Phantom from our previous highlights reel, Peter Lockyer. As to why the switch happened, we will have to consult Celinapedia.
I thought it might be interesting to watch the same three people in the show with the Phantom and Raoul actors switching roles, and see how that changes the dynamics, especially playing against the same Christine actress. I have not seen this reel, nor has it been played before on Saturday Streams so it could turn out to be not interesting at all...we shall have to see!
As always, the stream will be on cy.tube and shy anons are welcome!
âLink and password will be posted here at 8:45 the day of the stream.
âFor more info, please see the Saturday Streams FAQÂ
âRemember to follow @from-aldebaran for stream posts going forward.
âPFPs featured on the Saturday Streams banner are left to right Streams Founder @operaofthephantom, 300 Club Streams Host @wheel-of-fish, new host @from-aldebaran, and our Phantom Founder, Gaston Leroux. Massive thanks to @opera-ghost for the PFP additions to Fish's original banner design.
â Modified Friday banner by @opera-ghost Thanks, friend!!!
i know we all like to make fun of uwe kröger for several things but we shouldnât forget that when it comes to elisabeth, his opinions are golden
âAs Death Iâm basically the visualization, the personification of her closeness to and longing for death - but with the knowledge of her suffering and the person she was. Meaning, I needed to know just as much about Elisabeth to appear as the knowing good friend in those situations. Definitely not just as a mundane lover, but as a character you canât grasp. I think every aspiration to create something realistic or grounded is wrong. The mystery of Death is in not exactly knowing what or who he is, what he wants and why. I think thatâs the mystery of the character. [âŠ] In conclusion, Death should not be too realistic, that would be wrong. But he should not be too surreal. I think itâs that game with reality and that sentence: âIch weiĂ nicht, wie geschehen kann, was es gar nicht gibtâ, thatâs a very important sentence and that famous gesture Harry Kupfer (the original director) always wants to have, that references the human male body; because Death could be a woman. He is a spirit, not a person.â
âDeath cannot love! He can be sensual, he can be master of the universe, he can think itâs nice that someone is vying for his affection out of his vanity.â
âFor me, the show was - I admit - too kitschy and too emotionally explanatory in Essen. I donât need constant underlining of the meaning of every text and every move. And I donât want to just make some banal lover out of Death. That is completely wrong and unintelligent to me.â
âI still think that Death, with all his masculinity, should not just be some mundane, grounded lover. You take away the depth and dimension the character needs to have with that.â
â[Kein Kommen ohne Gehen] is a wonderful song, but I think it reveals too much too early about the character. To show what happens to him takes away the moment of surprise. Death isnât surprised sheâs still alive - that happens. Death comes, but you survive. He is surprised because she recognizes him and begs him to stay. She sees him - I think thatâs more important than to see what sheâs done with him because when was that supposed to have happened?â
actually annoyed by long distance friends again. i want to go for a walk i want to get drinks i want to sit in the grass and write i want to go to the fucking store together
đš SOS DOES ANYONE KNOW THIS FIC? đš title, author, anything
Any and all shares are appreciated. Someone knows this fic.
(Note that some of the details may be incorrect as my memory is not perfect)
- This was actively being written some time between 2013 - 2016.
- PRETTY SURE it was on AO3 but it couldâve been ff.net (2 people say they think ff.net)
- at least 60 chapters
- I forget the exact time period, but it was horse + buggy times. Potentially Victorian but not sure
- erik is the count (or other highly respectable person). Raoul is also well off but he is less rich than Erik
- raoul lives with a family member (pretty sure sister) not too far from Erikâs estate
- Christine is poor. She ends up at his estate to work for him. Not sure exactly what her job is. Nanny maybe? Maid?
- she ends up sleeping up stairs on the same floor as erik. Sheâs worried he has other intentions but he says he doesnât
- he has a child - a boy 6-8ish years old, pretty sure this is not his son but was taken in when his mother died
- he has a library/office
- he draws or some shit so Christine gets him colored pencils for his bday
- at one point she âborrowsâ a book on sex acts from his library bc she either wants to fuck or is scared sheâs gonna have to fuck. Maybe she was supposed to be a mistress? Or a companion? And she assumed that meant fucking.
- half mask pretty sure
- the unmasking scene is (pretty sure) Christine walks in when erik is playing with his kid in his kids bedroom and heâs unmasked
- Christine runs away to raouls house where she seeks comfort with raouls sister
- erik goes to a bar to purposefully get beaten up.
- Christine moves back in. Erik sort of courts this rich bitch.
- even uncovers an old ballroom for a ball
- later on he confesses that he never wanted to marry the rich bitch and only had eyes for Christine
This is all I remember. I desperately want to re-read it. Iâve been searching for it for like a year now.
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