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#Anthony Warlow
opera-ghost · 1 year
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"but christine..."
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lambstooth · 11 months
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erwik
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almaviva90 · 10 months
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Anthony Warlow & Marina Prior Australia’s original Phantom and Christine (1990-1991)
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mistysblueboxstuff · 7 months
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allergies are kicking my ass today, made this little Doctor Zhivago (the musical) sketch to feel a bit better 😓
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minnownox · 7 months
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jekyll and hyde musical fandom if you're still kicking can you adopt me please i've wanted in for 6 years
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werewiire · 11 months
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Sweeney Todd Audio Gift <3
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Sweeney Todd - Sydney - June 15, 2019 - Afternoon
Anthony Warlow (Sweeney Todd) & Gina Riley (Mrs Lovett)
Untracked (sorry), link under cut
Full principle cast: Anthony Warlow (Todd), Gina Riley (Lovett), Daniel Sumegi (Judge Turpin), Anton Berezin (Beadle Bamford), Owen McCredie (Anthony Hope), Genevieve Kingsford (Johanna Barker), Jonathan Hickey (Tobias Ragg), Debra Byrne (Beggar Woman), Tod Strike (u/s Pirelli), Matt Heyward (Fogg/ensemble).
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Not for sale! Please gift/trade as normal :)
At the beginning of the show, during Ballad of Sweeney Todd, the ensemble is slowly gathering around a table to host a seance. They join hands, and near the climax of the song, the tablecloth begins to rise and eventually Todd appears from beneath it like a ghost. Pretty neat staging idea.
Includes the Judge's reprise of Johanna, which is cut in many productions.
The orchestra is on stage, and during A Little Priest, Todd interacts with them -- especially during the "fiddle player"/"piccolo player" bit.
Link <3
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Top 10 Favorite Performances of "Music of the Night"
Honorable Mentions: Laird Mackintosh
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I have an affinity for Laird that I can't quite explain. I love an understudy/alt/swing who's been with the production and just lingers for years and years (this is borne out in the rest of the list, as you'll see), I love that he started out in ballet, and I love how energetic he is. Though he falls short on the high notes, he plays the reaction to Christine fainting very well
Honorable Mentions: Dave Willetts
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He's so smooth and creeping, and he's one of the especially good Phantoms who catches Christine before she falls (I'm a sucker for that, as will also be borne out in the rest of the list). He's been accused of "Copying" Michael Crawford, and I do see where that criticism is valid, but I think it's understandable given that he took up the mantle very early in the West End run.
Honorable Mentions: Cris Groenendaal
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Cris is a really underrated Phantom. Another Alt/Understudy (who, like Laird, spent a lot of time in the role of M. Andre), I think he's got a wonderful power in his voice. His MotN is melodic and seductive. His pitfall is that he does tend to get a little bit nasal for my tastes.
Honorable Mentions: Ramin Karimloo
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Honestly I think Ramin lands in most people's top tens. Certainly the 25th Anniversary at the Royal Albert Hall has made him on of the most ubiquitous Phantoms out there. Now, frankly, Ramin has taken a while to grow on me, and while my viewing of the 25th was the thing that pushed me to include him on this list, that performance is not the one that I chose to include here. Instead I went back, to his West End run. While I think Ramin's performance is a bit broad whenever he's actually in character, I do see what people mean about his emphasis on Erik's vulnerability. He does (with slightly less refinement) what I will later in this list praise Earl Carpenter for (and that's high praise from me, as you'll see). Still while I like Ramin's Erik a lot more now than I did, say, four months ago when all this brain-rot started, he's just not one that feels personal to me, which is why I hesitated to put him in the top ten proper.
10. Paul Stanley
I mean of course I'm fascinated by Paul Stanley's whole Phantom saga, so of course he's in here. He's far from the most technically proficient, he struggles with the high notes, but he really does a good job otherwise, and I have to admire his moxy.
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09. Brent Barrett
Emphatic and sexy with compelling body language. So underrated.
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08. Howard McGillin
Spectral, Resonant and controlled; a legend.
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07. Hugh Panaro
Hugh is one of those that I feel like is a pre-requisite in a top ten list. My favorite thing is how he plays heavily on the phantom's fascination with Christine, and not solely on making her fascinated by him
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06. Michael Crawford
Another prerequisite. He's ghostly, coaxing; the OG OG. The man who said, "No I want them to be able to see how lustfully he's touching her in the back row. I need to show more skin: make my sleeves shorter." This man understood the assignment and he set the tone and God bless him for it.
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05. Anthony Warlow
The original Sydney Phantom, another beautifully strong, clear vocal quality. He has a very old-fashioned style of singing, I think which has a particular charm. If I had to name a fault it would be that he is quite theatrical, which I don't mind, though I tend to prefer an understated phantom. He never undersells a single line. I think his phantom is one of the most "hopeless romantic" interpretations. A particular standout for me is how he conveys that Christine's reluctance tries his patience, but he holds it together and his "touch me, trust me" is beautifully reassuring, while many phantoms choose to portray lust or longing in this moment, his is an appeal for understanding which is very attractive in its own way.
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04. Ben Lewis
The power! The gravitas! Ben Lewis is truly one of the greatest blessings in PotO history and his high note? Off the charts. Also, since this is the whole first lair, I just want to say that this is one of my favorite versions of "Stranger than You Dreamt It" I've ever heard.
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03. Ted Keegan
Refreshingly sharp and clean. I just love how powerful he is without being overpowering. He's strong, sensual and smooth. *sigh* ~,~ If only he caught her...
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02. Earl Carpenter
So pleading, so gentle--holy hell I love Earl so much. Watch him show Erik's inner struggle with his desire for contact and his fear of his deformity throughout this entire scene! Watch him think to himself "Yes, let her touch you! Why shouldn't you?" And then lose his nerve at the last moment! I could go on for hours. Find me a sweeter Phantom. Go ahead.
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01. John Owen-Jones
Without a doubt in my mind THE strongest vocal performer in this role. I just love to hear him booming out in his great, Welsh way. He strikes an exquisite balance between his acting and his singing. His vibe in general is amazing, like he really leans into the idea that he's been Christine's teacher as much as her muse. He has guided her through music and he wishes to be her guide into romance as well, and that manifests in every aspect of his performance. Such as the fact that he doesn't walk away from Christine for the second verse, so he's leaning close when he sings "Let your spirit start to soar" and almost always gestures with his hand over her diaphragm. If I'm completely honest, he's the only Phantom (except perhaps Michael Crawford or Gerard Butler) that I can actually imagine giving Christine singing lessons. So few actually inhabit this music obsessed weirdo like JOJ does.
He, perhaps the ultimate gentleman phantom, also catches and carries Christine before she falls. (Special shout out to my girl Gina Beck for also REALLY leaning in to the romanticism of the moment; she looks just so utterly in ecstasy through this whole sequence and that's exactly how I would want to play Christine).
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I need to tack a caveat onto the end here:
Gerard Butler's Music of the Night is my actual, number one favorite rendition.
But I wanted this list to be stage versions only.
I think I can put my feelings on this most succinctly like this:
I love JOJ's confidence, his command and his sensuality
I love Earl's gentleness and vulnerability
I love Anthony's patience
I love Ted's crispness
I love Paul's humanity
I love Ben's power
Gerard Butler somehow manages to crystallize ALL of those elements and ramp them every one of them up to 11 with an added element of wholly smitten wonder at Christine that makes me so weak.
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wheel-of-fish · 1 year
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Hello Fish! Happy spooky October! May I request a gif set of all the Phantoms holding the veil after Christine left? If I remember correctly, there’s one where Erik touch the veil to his lips? Thank you!
There would be waaay too many gifs if I posted ALL of them, but here's a decent variety!
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Row 1: Eiji Akutagawa, Juan Carlos Barona, Franc D'Ambrosio Row 2: Ethan Freeman, Peter Karrie, Uwe Kröger Row 3: Laird Mackintosh, Gary Mauer, Greg Mills Row 4: James Romick, Paul Schaefer, Anthony Warlow
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burningarchitecture · 2 years
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*starts a dramatic mad scientist monologue*
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AAAAàaaaáAAÁAaAAAAAAAAAAAAaaaAAAÃAÅ
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Nevermind. Evil Now.
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spookycathymorshaw · 1 year
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Hi ! Just a note from your local poll maker : you have an 'other' option AND tags and I could only pick 9 options. Many people have played this role, I did my best to pick the most popular ones.
Oh and please respect everyone's opinion. We're all allowed to have dubious taste. "Favorite" doesn't have to mean "Best".
Christine's poll.
Other polls in my pinned post.
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atlasiel · 6 months
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Confrontation (Jekyll and Hyde) is genuinely such a good song. It rips my heart apart every time I listen to it
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harperrowswife · 9 months
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GUYS. I- HOW IS THIS HUMANLY POSSIBLE. I NEED THIS TATTOOED INTO MY BRAIN. I NEED THIS TO BE ON REPEAT UNTIL I DIE
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marleneoftheopera · 1 year
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Australia’s three principal Phantom’s:
Anthony Warlow (1990-91, 2007-09)
Rob Guest (1991-98)
Josh Piterman (2022-23)
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alastorvalentine · 2 months
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Practicing a skin+face care routine and shamelessly blasting alive is the typa mood im in right now
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a-model-of-propriety · 5 months
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Quick disclaimer: I drafted this particular post in 2021. part of me wants to go back and edit it to better align with my present thoughts/opinions, but for now I'll leave it as it was.
Since I apparently can’t stop overanalyzing this show, I am Back with More Thoughts. In this session, I will be comparing Warlow!Jekyll to Cuccioli!Jekyll.
The biggest difference in their characters, the “root” of their differences, is their motivation. This was a purposeful change for Broadway, to make Jekyll more sympathetic. If you don’t already know from my dramatic lead-up, I’m referring to the change from I Need to Know to Lost In the Darkness.
This changed Jekyll’s motivations from the book!canon, more selfish motive of discovering for himself (and for science) into the “noble endeavor” of saving his father.
I have mixed feelings about this change, but I’m not going to get into them here
This change in motivations fundamentally changes the character. Warlow is really intense and super dedicated to his work. He would do anything to prove his theories and further his own knowledge concerning the nature of mankind. Cucci, on the other hand, is emotional. He is just as dedicated to his work, but his determination to succeed comes from his desperation to help his father, not his own desire for knowledge.
One of the easiest places to see this is in Board of Governors. When Warlow is denied, he gets frustrated. The Board Members are getting in the way of his work, so they are an obstacle he must overcome. When we look at the same song, Cucci gets upset. In the 95 tour especially, he sounds close to tears in the line “Can’t you see I am not playing games?” In OBC, he gets angry. He physically grabs the Bishop and feels just inches away from attacking the entire Board. Maybe Warlow would have seemed more emotional, more angry in a live performance, but when working with what I have, Cucci is definitely the emotional one.
Another interesting difference lies in their different interactions with Stride, specifically the “I leave pretention like that, sir, to you!” dig. Warlow is much more forceful with this line. He fully means this insult, and he absolutely wants Stride to be offended by it. Cucci’s delivery of this line is very different. In the 95 tour, he doesn’t say it with anywhere near the force of Warlow, and in OBC, he uses this insult to calm himself down. Before this line, he was practically shouting, and he brings his volume back down to a reasonable level for this line. He’s using it to recompose himself. It’s less of an attack on Stride than an effort to recenter himself.
Another difference lies in their opinions of the hospital itself. Warlow obviously wants to help the “doomed, broken souls” within, but he doesn’t have a particularly strong opinion on how the patients are being treated. Cucci, however, obviously hates the hospital. He calls it a prison and says that the patients are “left there to rot”. Because he has his father in there as a patient, he sees the mistreatment of the patients firsthand, and he has this palpable contempt for the hospital. When Warlow focuses solely on his work and the good it could do, Cucci verbally attacks St. Jude’s, emphasizing the mistreatment of its patients.
This got long and rambly. I’ll stop now.
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almaviva90 · 5 months
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Anthony Warlow as Billy Flynn in the upcoming Australian tour of Chicago
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