Ha this may be my 3rd or 4th comment on this, but I took a good listen to it again tonight. Holy smokes that cast was incredible. I left HMT in May 2019 absolutely gobsmacked at how good they were. Everybody nailed their roles, whether it be Ellen Jackson, Philip Griffiths, Scotty, Amy Manford, or Kimberly Blake. Just absolutely incredible stuff.
I have to comment again on this. This song is one of ALW’s most cleverly orchestrated pieces, along with an amazing flow of lyrics. The orchestra coupled with that many voices on stage was something that needed to be seen live. Pair that with the updated sound system at HMT, and it was such an experience to witness. You were left saying, “holy cow!” I left HMT a very happy man after seeing most of this cast. Take a listen to 2:31. Those horns add so much to the music. The same goes for the strings and woodwinds. It absolutely irks the hell out of me that the customers paying good money don’t get to witness that now in London.
Agree! It quite frankly annoys me when I have heard people criticize this number for being too difficult to understand or claim it’s ALW trying to show off when the same people have praised Sondheim for the exact same thing. No matter the composer, getting the music to flow well alongside several actors singing at the same time is an art.
@@phanoftheopera When the show is tight, it’s not difficult to follow it. I think it was David Caddick on those Bway rehearsal clips who really stressed the enunciations, and when to cut off the syllables to make it understood. I love those videos, btw. I know I gripe about the orchestra, and some of the changes, but I never want it to come across as anything towards the current performers and musicians. They’re working with what they’ve been given. I have a ton of respect for all of them. 😎
@@MattTexas David Caddick is a true master. Whenever I’ve seen him conduct you can hear the difference in the music and how the actors perform. The lyrics especially. I’ll never forget the way he slowed down ‘Think of Me’ just enough so the Christine could enunciate her words and allow her to twist her voice just the way she wanted.
Now that restrictions are about to end in London, I REALLLY hope the powers that be will bring back that full orchestra. I just listened to this song from the current production, and it’s a night and day’s difference in orchestral quality.
I would LOVE to be wrong, but CM’s cheapness seems to exist with or without a pandemic. Would love to see even 5 more musicians hired, but I doubt it’ll happen.
I agree, the show can scale back sets, not musicians. The scale of the ensemble is what has made the show live on. People go for the scale and the sheer power of the orchestrations.
3:13 sees the Les Mis resemblance: “Ooooooonnnnnnceeeee…” = “OOOOOOOOONEEEE DAAAAAAAYY…” 3:17 “…MOOOOOOOORRRE” *breaks into final pose same as One Day More*
David Thaxton (Phantom), Kelly Mathieson (Christine), Jeremy Taylor (Raoul), Kimberly Blake (Carlotta), Ross Dawes (Monsieur Firmin), Kris Manuel (Monsieur Andre), Jacinta Mulcahy (Madame Giry), Matt Bateman (u/s Ubaldo Piangi), Georgia Ware/Lily Howes (Meg Giry)
Ha this may be my 3rd or 4th comment on this, but I took a good listen to it again tonight. Holy smokes that cast was incredible. I left HMT in May 2019 absolutely gobsmacked at how good they were.
Everybody nailed their roles, whether it be Ellen Jackson, Philip Griffiths, Scotty, Amy Manford, or Kimberly Blake. Just absolutely incredible stuff.
I have to comment again on this. This song is one of ALW’s most cleverly orchestrated pieces, along with an amazing flow of lyrics. The orchestra coupled with that many voices on stage was something that needed to be seen live. Pair that with the updated sound system at HMT, and it was such an experience to witness. You were left saying, “holy cow!” I left HMT a very happy man after seeing most of this cast.
Take a listen to 2:31. Those horns add so much to the music. The same goes for the strings and woodwinds. It absolutely irks the hell out of me that the customers paying good money don’t get to witness that now in London.
Agree! It quite frankly annoys me when I have heard people criticize this number for being too difficult to understand or claim it’s ALW trying to show off when the same people have praised Sondheim for the exact same thing. No matter the composer, getting the music to flow well alongside several actors singing at the same time is an art.
@@phanoftheopera When the show is tight, it’s not difficult to follow it. I think it was David Caddick on those Bway rehearsal clips who really stressed the enunciations, and when to cut off the syllables to make it understood. I love those videos, btw.
I know I gripe about the orchestra, and some of the changes, but I never want it to come across as anything towards the current performers and musicians. They’re working with what they’ve been given. I have a ton of respect for all of them. 😎
@@MattTexas David Caddick is a true master. Whenever I’ve seen him conduct you can hear the difference in the music and how the actors perform. The lyrics especially. I’ll never forget the way he slowed down ‘Think of Me’ just enough so the Christine could enunciate her words and allow her to twist her voice just the way she wanted.
When did he conduct?
Now that restrictions are about to end in London, I REALLLY hope the powers that be will bring back that full orchestra. I just listened to this song from the current production, and it’s a night and day’s difference in orchestral quality.
I would LOVE to be wrong, but CM’s cheapness seems to exist with or without a pandemic. Would love to see even 5 more musicians hired, but I doubt it’ll happen.
@@phanoftheopera I agree. It’s wishful thinking on my part. I’m fortunate NY still has it, but it just blows my mind why it was done at the flagship.
I agree, the show can scale back sets, not musicians. The scale of the ensemble is what has made the show live on. People go for the scale and the sheer power of the orchestrations.
Lovely cast ❤️ I miss this cast. As always my dear thank you for this amazing cast flash back
The Brilliant Original. 😎 Also, that brilliant orchestra.
I concur; lovely
She had amazing tone and I think Carlotta needs to be more a spoiled diva than anything else
🥰🥰🥰
Taken with a phone camera.
The filmer of this video did several over the years, almost certainly with a camera more high quality than a phone
3:13 sees the Les Mis resemblance:
“Ooooooonnnnnnceeeee…” = “OOOOOOOOONEEEE DAAAAAAAYY…”
3:17 “…MOOOOOOOORRRE”
*breaks into final pose same as One Day More*
Ubaldo Piangi: Matt Bateman (u/s)
Who was the rest of the cast?
David Thaxton (Phantom), Kelly Mathieson (Christine), Jeremy Taylor (Raoul), Kimberly Blake (Carlotta), Ross Dawes (Monsieur Firmin), Kris Manuel (Monsieur Andre), Jacinta Mulcahy (Madame Giry), Matt Bateman (u/s Ubaldo Piangi), Georgia Ware/Lily Howes (Meg Giry)
역시!!~~오페라의 유령은 살아있는 전설의 뮤지컬이다!!!~~~