Phantom of the Opera & Interview with former Phantom, Stephen John Davis

Welcome back to Access London and Thank You once again for your continued support for disability access and awareness to the arts in London.

Tomorrow sees the release of the Phantom 25 dvd and to celebrate Access London has another post in our Phantom series.

This week also saw the release of tickets for venues 2 and 3 of Phantom's 2012 UK tour. Both of these will see John Owen Jones behind the mask as The Phantom and Katie Hall will star alongside as Christine. Phantom will arrive at the Manchester Palace Theatre 5 April 2012 - 19 May 2012. The theatre has wheelchair bays in the Cicrle and lift access to the Circle and Grand Tier. There is also an infra red loop system installed. Access Performances include: BSL - Thurs 26 April 2012, 7.30pm, Audio Described - Wed 2 May 2012, 7.30pm and Captioned - Sat 12 May 2012, 2.30pm. To book access tickets for the Palace, please call: 0161 245 6605. For more information, see the
Manchester Palace Website

Phantom will then be at the Bristol Hippodrome 23 May 2012 - 30 June 2012. For more information on Access performances and facilities, please call the Access booking line on: 0117 302 3222.


Back in London, Phantom's home is at Her Majesty's Theatre on the Haymarket. The stalls are easily accessible to wheelchair and scooter users via a side exit door on Charles II Street - simply inform someone at the front of the theatre and they will open it for you. This leads into the rear of the stalls and has an accessible WC. There is space for 4 wheelchairs and companions in Row S or, if you can transfer from your wheelchair or scooter, any aisle seat is accessible.

There is an infra red hearing system installed at the theatre and 10 headsets are available to use - ask in the foyer or an usher. A maximum of 2 assistance dogs are allowed in at any performance. Both large print programmes and braille cast lists are available on request.

To book Access tickets for Phantom of the Opera (currently available from £22.50 each for you and a carer/companion in the stalls), please call: 0844 412 4648. For all other tickets, please call: 0844 412 4653.

Please note: The Access rate is available to those with a disability, not just those who use a wheelchair or scooter - I'm simply pointing this out as I was at Her Majesty's last week and met a lady who was registered blind yet had no idea she was entitled to this - this rate and service are there for a reason and to help, so please do ring and check to see if you are entitled to them!


As with all of Access London's Phantom posts, I'm delighted to bring you an interview with another former cast member, this week - Stephen John Davis. I'd like to take this opportunity to once again say a huge Thank You to Stephen for his time and support.

AL: How did you become involved with the show?

SJD: I was called in to audition for the show’s associate and resident directors and musical director. I sang Lonely House from Kurt Weill’s “Street Scene”. They then asked me to prepare some of the Phantom’s music and recalled me twice. I was then offered the role of Joseph Buquet and “in house” cover Phantom. Luckily, I was able to perform as the Phantom on many occasions.


AL: Phantom is such an iconic show and so well loved, what did it feel like to be part of this worldwide phenomenon?

SJD: It always feels special when you appear in a show that has such an amazing history and is known by millions around the world. On the days when you’re feeling a bit tired, the buzz from the audience reminds you just how much the show means to those paying to see it.


AL: Who played alongside you in the role of Christine?

SJD: I rehearsed with the lovely Katy Treharne and I was thrilled when we did a couple of shows together. I was also incredibly lucky to work with Gina Beck, Sofia Escobar and Tabitha Webb.


AL: You played The Phantom for the 10,000th performance at Her Majesty's in 2010. What was it like to be onstage with Andrew Lloyd Webber and Michael Crawford to celebrate it?

SJD: It was pretty special to be honest. To be on the original stage at Her Majesty’s where the whole phenomenon began as the Phantom alongside the composer and the original Phantom was a day I will never forget. I will also never apologise for going on about it!!!


AL: What was your favourite scene/song to perform in the show?

SJD: I enjoyed all of it! Sorry that may sound a cop out but it’s true; The Phantom never makes a ”normal” entrance. The powerful first entrance behind the mirror going into the first journey and the boat, I loved the Angel scene at the end of Act 1 (although it was a little uncomfortable!). The Masquerade entrance and exit! The reveal from the cross after “Wishing”, the invasion of Don Juan disguised in the cowl that Piangi should be wearing.
Every scene had something in it that I could really enjoy playing. “Music of the Night” is obviously THE song but there isn’t anything that I didn’t love singing.


AL: What was it like to be a part of the Phantom 25 celebrations?

SJD: Another amazing experience. Don Attilio was such fun to play and the atmosphere was electric. A few of us agreed that we just had to stand at the bows and finale and try to take the whole spectacle in. The RAH is a pretty special place (even if I did rename it the South Ken Village Hall)


AL: In your opinion, why do audiences love the show so much and return to see it time and again?

SJD: The spectacle – Maria Björnson’s designs have never been bettered. The music is probably ALW’s best and the tale of a child being rejected by his own mother, growing up with the world recoiling from him when he has such passion for music and beauty inside is quite heartbreaking. People love a good cry!


AL: Have you watched a performance of Phantom elsewhere in the world? If yes, is it much different to the London production?

SJD: No. I’d love to see it on Broadway. I watched part of the film once.


AL: If you could play any role(s) in musical theatre, what would it/they be?

SJD: I’d like a go at Che in Evita and Albin in La Cage aux folles might be fun!


AL: Do you have a message for Phantom 25 and its fans?

SJD: Thank you! There wouldn’t be a 25th birthday if it weren’t for the “PHANS”. I really hope you enjoyed the RAH performance this year and 10,000th performance last year if you saw them. Here’s to the next 25 years!


You can follow Stephen on Twitter @stephenjdavis1

Stephen is currently appearing in the UK Tour of South Pacific. I saw this production when it was at the Barbican in London and would thoroughly recommend it. To see tour dates and venues, check out THE SOUTH PACIFIC WEBSITE

Phantom of the Opera's 25th Anniversary & Interview with Phantom, Scott Davies

Welcome back to Access London and Thank You once again for supporting disability access and awareness in the Capital.

First off, I must say a massive Thank You to everyone for your feedback on the last post, the responses have been coming in thick and fast about your stories from the Royal Albert Hall - some of you have asked if it is just issues from Phantom25 access seating I am interested in, no, it isn't, any access problems you have had at the Hall, from booking tickets, communication breakdowns to the seating itself.

I did say in the last post that this one would be dedicated to some of the issues that people have been having and some of the feedback I have received from the Hall after having several long conversations with them, including one very long one at the Hall itself after the Phantom25 performance on 1st October. However, due to the amount of messages, comments, Tweets and emails I have received on this, I am delaying this post until next week so that I can edit down all the main points you have been raising, please do continue to send in your stories if you have one though.

Also promised in the previous post was more information about Access at Her Majesty's Theatre....
If you are a wheelchair or scooter user, or cannot manage stairs, then there is a side entrance on Charles II Street that has level access to the rear of the stalls and also a storage area for chairs and scooters and an accessible WC. When you arrive at the theatre, simply ask someone at FOH (usually people outside from about 30-45 minutes before a performance starts) and they will escort you around to this entrance.

There are 4 wheelchair spaces (with companion seats) in Row S in the stalls. If you can transfer then any aisle seat in the stalls can be booked (subject to availability of course!). The stalls have a relatively gentle rake with a handrail along the wall. People making an access booking are assigned an usher to assist them, although a companion must accompany each access booking made and both are entitled to the Access booking rate.

Charles II Street also has several blue badge bays along it - these are time restricted until 6.00pm but not afterwards. There are also several blue badge bays in St James' Square which is a few minutes walk away down Charles II Street.

Her Majesty's has an infra red system with 10 headsets available (a receipt needs to be signed at time of collection) - ask at the box office or any member of staff if you wish to use one. Assistance dogs can be looked after by staff during the performance - a maximum of 2 dogs per performance. Large print programmes and braille cast lists are also available upon request.

To book your access tickets for Phantom of the Opera, please call: 0844 412 4648.


Access London is delighted to share with you another cast interview in celebration of 25 years of the show. Today's interview is with Scott Davies - Scott performed as The Phantom at both Her Majesty's Theatre and on the UK tour, he is currently the Standby Phantom in London. Access London would like to say a huge Thank You to Scott for taking the time to answer some questions....


AL: How does it feel to be part of such an iconic and much-loved show as Phantom?
SD: It's amazing! I still have to pinch myself when I walk past front of house before the show and think, oh! that's me!!


AL: Why do you believe the show is so loved and has audiences returning time and again?
SD: The story is just so simple yet offers everything an audience could want. Obviously the score is beautiful too.


AL: The Phantom's character is quite volatile. How do you go about getting into role each night?
SD: The show has a really clever way of cranking up the tension so a lot of the preparation happens within the actual show. It's really exciting.


AL: I'm sure you've been asked this a lot but, what is the make up process like to go through?
SD: No problem. My Make-up artist is fab and manages to do the make up quickly and effortlessly. We get on well so it's a nice time to catch up with each other.


AL: Do you have a favourite song/scene to perform?
SD: My favourite is the final lair because it shows the real extremes of the Phantom's character.


AL: You have played The Phantom at both Her Majesty's and on the UK tour. How did these experiences differ for you?
SD: Both were great but London is better because it's nice being at home.


AL: Her Majesty's has been the long time home of Phantom since it opened and so is completely set up for it, with staging, sets and technical elements. Does this differ a great deal when the show is on tour?
SD: The sets and props are identical so no differences there. Sometimes playing a larger house though changed the intimacy of the show that is created at Her Majesty's.


AL: Having played opposite quite a few Christines, does your performance change depending on which actress is playing her?
SD: Some reactions are different but my intentions remain the same.


AL: With a show like Phantom that has so many technical elements and special effects in, do you have a tale to tell of a mishap during a performance?
SD: I went on for the final lair on tour and there was no port-cullis, no throne, no organ, no candles, nothing!! Half way through the scene I saw the throne and organ being pushed on by a broom handle!!!


AL: Lastly, do you have a Birthday Message for Phantom and its fans?
SD: Thanks for your ongoing loyalty and support. Here's to the next 25 years!!!


Once again, Thank You Scott for your time and for supporting disabled access to the arts in London. Scott is contracted as the standby Phantom until September 2012. You can also see Scott perform in the English National Opera's production of Tosca at the London Coliseum as Spoletta - performances on 26, 28, 30 November, 2 December and 17, 21, 24, 29 January, with a signed performance on 24 January. To book Access tickets (and to join the Access scheme at ENO) please call: 0871 472 0666. For all other ticket types, please call: 0871 911 0200.


If you have a story about any any Access issue at the Royal Albert Hall, you can contact me at claire@horizon-va.co.uk
Or, send me a Tweet @HorizonVA


COMING SOON: The Globe Theatre, The Lion In Winter, London Coliseum, Royal Albert Hall Access Issues, More from Phantom 25 - interviews with Sofia Escobar and more...

Phantom of the Opera's 25th Anniversary & Interview with former Christine, Rebecca Caine

Welcome back to Access London and Thank You once again for supporting disability access and awareness to the arts in the Capital.

Many of you will already know that throughout September, Access London ran celebration posts for Phantom of the Opera's 25th Anniversary, these posts will be continuing throughout October. Today is officially Phantom's 25th Birthday, so, from Access London, a big Happy Birthday to the show and all current and former cast, crew and creatives - here's to another fabulous 25 years!

The show enjoyed a weekend of celebrations last week at the Royal Albert Hall where one of the concerts was also streamed live to cinemas across the globe on Sunday. Encore showings of this are happening throughout the next couple of months abroad, so make sure you check out your local cinema for any forthcoming showings. Those in the UK will see the dvd and cd recordings released in November.

Unfortunately for those who require disabled access and additional requirements to venues, it seems that the Royal Albert Hall most certainly did not deliver on this front to many last weekend - myself included. I have received many messages about this via email and Twitter and will be dedicating a separate post to some of the issues that people faced at the Hall this coming week. If you have a story of your own about Access at the Hall, I would very much like to hear about it - see my contact details below.

I initiated enquiries this week as to the Access failings at the Hall and these and any changes discussed will be in the next post.

On a more positive note, if you didn't make it to see the live celebrations at RAH or missed the cinema screenings, then don't forget, you can always go and see the show at its London home - Her Majesty's Theatre on the Haymarket. This theatre, I am pleased to say, is most definitely accessible and has some of the most disability aware FOH staff I have experienced at any London theatre - so thank you to everyone there!

More detailed Access information will appear in future posts but for now...Her Majesty's has level access to the rear of the stalls through a side entrance on Charles II Street. There are 4 wheelchair spaces in row S in the stalls with companion seats. If you can transfer, then you can book for any aisle seat and your wheelchair or scooter will be stored for you until the end of the performance. There is an adapted WC next to the accessible entrance/exit and wheelchair space users/transfer seats are assigned an usher to assist and order interval drinks if wished. Please see next post for more detailed explanations on seating at Her Majesty's and facilities for other disabilities.

In keeping with all of Access London's other Phantom25 posts, I'm delighted to share with you another interview with a former cast member, Rebecca Caine. Access London would like to offer a huge Thank You to Rebecca for answering some questions for us. Rebecca joined the original London cast of Phantom and then went on to repeat her role as Christine in the Canadian premiere of the show alongside Colm Wilkinson.


AL: When you joined Phantom, did you realise how big and how loved the music and story would become?
RC: I went in 6 months after it opened to alternate with Claire Moore and for a month Sarah Brightman so I wasn't quite original cast although I did perform with them.
Yes, I did realise because I had just come out of another big show, Les Mis, in which I created Cosette.
No one thought at the time either shows would run as long as they have.


AL: Have you been back to see the show since you left?
RC: Just once, when I went to see my friend Gina Beck a year ago. She was fabulous, I screamed all the way through.


AL: What was your favourite scene/song to perform?
RC: I never had a favourite but The Overture is spectacular.


AL: You played alongside Michael Crawford as The Phantom initially but which other Phantoms did you play alongside and who were your Raoul's?
RC: I opened the Canadian production opposite Colm Wilkinson who I'd worked with in Les Mis. We also recorded it. I played opposite many Phantoms including Peter Karrie.
My Raoul's were Steve Barton, Michael Ball and Byron Nease


AL: What emotions do you think Christine is feeling when she sings the song 'Wishing you were somehow here again'?
RC: I can't remember really. Sad about her father. I certainly felt it when I sang it for the first time after my father had died.
Though during my long run it was generally at that time I started wondering about what was in the fridge when I got home....


AL: You are part of the cast of The Three Phantoms. What is it like going back to sing songs you sang when Phantom first opened?
RC: Difficult to remember any of them as the BOYS will attest! I do notice I can sing them no matter how tired I am and that my body does the moves still. Muscle memory...


AL: Lastly, do you have a Birthday Message for The Phantom of the Opera and its fans?
RC: I'd like to thank ALW for my bathroom refit, Kitchen remodelling and Facelift Fund. x
HAPPY BIRTHDAY!


Once again, a huge Thank You Rebecca, your support for access to the arts is much appreciated.

Rebecca's recordings include the original Canadian cast recording of Phantom, which is personally my favourite recording of the show (for those that have asked me recently). To hear her sing as Christine Daae, pick up you copy from Dress Circle shop or their online store. You can also hear her sing as Cosette (the role that she created) in the original London cast recording which can also be bought from Dress Circle.

Rebecca's beautiful album 'Leading Ladies' can also be purchased from Dress Circle and features her performing 17 stunning tracks including works by Gershwin, Coward and Novello.

"It was the beauty of the music that first attracted me to this repertory, but when I began looking into the women who made it famous, I became increasingly fascinated by their personalities, and the lives they led. They were among the most glamorous stars of their days, on a par with today’s movie and television celebrities.

I do not seek to impersonate them but to interpret them. Their vocal qualities are quite different, from Gertie Millar’s soubrette charm in Moonstruck to Jose Collins’s richer operatic quality in Love Will Find a Way, Gertie Lawrence’s matchless style and Jessie Matthews energy and vivacity. Mary Ellis was a "cross-over" in the truest sense of the word, having started her career at The Metropolitan Opera, singing with Caruso and Chaliapin before she became a serious actress. Evelyn Laye starred in Bitter Sweet on Broadway. Lizbeth Webb could sound like a lyric soprano one minute and a 1950’s pop singer the next. Julie Andrews needs no introduction, being the most internationally famous of all these leading ladies, having become, like Jessie Matthews before her, a great movie star and one of the last true soprano voices in musicals.

I would like to thank Gerald Martin Moore for being the guiding force behind this recording. Without his his knowledge, inspiration and encouragement, this album would have never happened.

I would also like to thank him for his vocal versatility which has given us Noel Coward, American juv lead, George Metaxa, George Guetary, Vaudeville Boy, Hooray Henry voice, four cockney costermongers and my particular favourite, Olive Gilbert.

Rebecca Caine"

Rebecca also performs with the Three Phantoms which is soon to start its new concert dates later this month. She is currently scheduled to perform: 21 and 22 Oct at Wales Millenium Centre, Cardiff, 4 and 5 November New Wolsey Theatre, Ipswich, 6 Nov Bournemouth Pavillion, 19 Nov Theatre Royal Plymouth and 10 and 11 Feb 2012 at the Chichester Festival Theatre - if you can get tickets for any of these, make sure you do for a great and entertaining night out with some top class performers!

To keep up with all of Rebecca's news and performance dates SEE HER WEBSITE
You can also follow her on Twitter @RebeccaCaine


If you would like to get in touch about any Access issues you have had at the Royal Albert Hall, you can do so via claire@horizon-va.co.uk
Or, contact me on Twitter @HorizonVA


To buy any of the above recordings featuring Rebecca Caine and to search the treasure trove that is Dress Circle, visit the website www.dresscircle.co.uk


COMING NEXT: Royal Albert Hall Access
COMING SOON: More Phantom 25 posts & Interviews, London Coliseum, Les Mis, The Globe

Phantom of the Opera's 25th Anniversary & Interview with former Christine, Gina Beck

Welcome back to Access London and Thank You once again for your continued support for disability access and awareness in the Capital.

As many of you will know, Access London has been running a series of posts over the last few weeks for Phantom of the Opera's 25th Anniversary. The celebrations this weekend at the Royal Albert Hall will be the musical event of the year and we've been using the opportunity to promote the Access to both the Hall and to Phantom's London home, Her Majesty's Theatre.

This is the final post before the celebrations begin tomorrow, however, the posts will continue to run throughout the anniversary month and we've lots more fabulous interviews to bring you also.

I mentioned in the last Phantom 25 post that the Royal Albert Hall's disabled parking arrangements had been experiencing some difficulties for this weekend's celebrations. It appears that with the amount of set and equipment being brought in to stage the event, extra parking is needed on site. Obviously this isn't ideal for those who initially booked disabled parking bays at the Hall but I guess we will reap the benefits from what looks to be some spectacular sets once inside. The Hall have been providing people who were booked into these spaces with a free parking permit for another car park nearby. If you did have a space booked at the Hall but haven't heard anything about this I urge you to contact them to check what the arrangements may be for you on 020 7070 4410. Also note that it appears the alternative car park can only be accessed from 6pm so you may need to keep this in mind if you had a table booked at the hall for a pre-show dinner.

Many of you have sent in messages to say that you have signed up for the Hall's Access List since reading the posts. This is becoming quite a common feature in many arts venues in London now (Royal Opera House, The Barbican, London Coliseum, Royal Festival Hall...) and is especially helpful if you are thinking about watching future events at the Hall. The people on the dedicated Access booking line are extremely helpful and knowledgeable about where the best seats are to suit your individual needs once you have signed up to the List, so again, if you haven't already done so, it is well worth it! To sign up to Royal Albert Hall's Access List, call: 020 7070 4410.

If you are a wheelchair or scooter user, when arriving at the Hall, there is ramped access to doors 1, 3, 8, 9 and 12. Once inside, there are lifts to all levels (Basement-Gallery) near doors 1 and 8.

Wheelchair and Access Seating:
"Fourteen wheelchair spaces with adjacent companion seats are situated in the Stalls at Ground floor level. We have a limited number of chairs that can be elevated which may be used by customers seated at the back of the Stalls platforms who are able to transfer from their wheelchair. If you are interested in this facility, please speak to a Steward on arrival.

There are also six wheelchair spaces in the Circle at sections P, R, V and X and four spaces within the unreserved standing area of the Gallery. Please note that due to the physical limitations of the circular shape of the auditorium, the spaces in the Circle are more suitable for customers with good upper body mobility."


If you do have tickets to one of the performances this weekend....have a 'Phantastic' time! If not, then don't forget, the Sunday evening performance is being screened to cinemas around the world and of course you can buy the DVD and new recording from November (UK). Our Phantom 25 posts throughout October will focus on Her Majesty's Access and we'll also have lots more interviews, including some from the current London cast. To book Access tickets to see the show at Her Majesty's Theatre, call: 0844 412 4648.

Today's Phantom 25 interview is with former Christine, the fabulous Gina Beck. Access London would like to take this opportunity to say a Huge Thank You to Gina for taking the time to answer some questions and support disabled access to the arts.


AL: The show and story of The Phantom are so well loved, why do you believe it is so successful?
GB: It's because the character of the Phantom is so complex, and also the relationship between the three central characters. The love triangle creates a gripping tension within the piece all heightened by the dark and dangerous setting of the Opera House.


AL: The designs for the show are spectacular and the costumes beautiful - did you have a favourite costume and set?
GB: The design is absolutely astonishing and it's always been a great sadness that I never got to meet Maria Bjornson the designer. The set for the lair with all the candles is truly breathtaking when it appears and I felt little need to act Christine's amazement as the boat entered the lair every night.


AL: You sang as Christine at Andrew Lloyd Webber's 60th birthday concert in Hyde Park, what was that experience like?
GB: It was unreal, I had opened in the show the Monday before the concert and had performed the show only 6 times. In hindsight I wish I'd had a little more experience as I'm sure I would've enjoyed it more and not simply been petrified!


AL: As far as disabled access goes, Her Majesty's works very well and they have made many efforts there to make it accessible to all. But, as an actress, what is it like as a theatre to perform in?
GB: Oh it's a lovely theatre, perfect setting for the show, I mean it's been there for 25 years so the building and the show are truly bonded now. What a lot of people don't know is that at the top of the theatre is a large room called 'The Dome' which we use for rehearsals and that other people can hire out. It has massive dark wood doors and medieval looking chandeliers inside!


AL: Which was your favourite song/scene to perform in the show?
GB: I did enjoy the journey to the lair.. Who doesn't want to ride on a boat into a room filled with candles?!


AL: Phantom is set in the Paris Opera House. You had the opportunity to perform 'All I Ask Of You' there on the Grand Staircase - what was that like and was it as beautiful as the sets on the show make it?
GB: The Opera Garnier was stunning, I went back to Paris later and was able to do a tour of the building which is very interesting. The auditorium is massive and it was great to get the scope of just how daunting that would have been to Christine on her first night. Filming there was fun but unfortunately something went wrong with Simon's earpiece so he couldn't hear the backing track. I'm sure you'll agree he did suprisingly well considering!


AL: During the final lair scene, the audience sees a much more vulnerable side to The Phantom. How would you describe Christine's character and emotions in that scene?
GB: Well Christine actually comes into her own in this scene, she is scared but she doesn't crumble, she gets angry with the Phantom rather than cowering and then realises what it is that might make him see reason and gives herself to him. After he frees Raoul she has nothing but pity for him and his plight.


AL: If you could perform the role of Christine anywhere in the world, where would it be?
GB: Well I'd love to perform it in Las Vegas because the sets and special effects are all majorly Vegas-ed up! It would be fun to experience the show there.


AL: Having played two of the most recognisable female roles in MT (Christine & Cosette), if you could play any other role, what would it be?
GB: Well as you know I've been lucky enough to secure the role of Glinda in Wicked taking over in December so I would have said that, but I'd also love to play Mary Poppins and Eliza Doolittle. After playing Maria in The Sound of Music earlier this year I've got a taste for the Julie Andrews repertoire!


AL: Lastly, do you have any Birthday Message for Phantom and its fans?
GB: Yes, thank you to all the fans of Phantom who have been so kind to me over the years. I hope you enjoy the celebrations which I'm sad to be unable to take part in, but I'm sure will be spectacular. Here's to another 25 years.


Once again, a huge Thank You to Gina for taking part and for her amazing support for Access London.

Gina will be joining the cast of Wicked from December 12 2011 to play Glinda so make sure you book your tickets to go and see her in Oz!
Gina will also be performing at 'A Night for Jen' a gala charity concert at the Lyric Theatre, Shaftesbury Avenue on 31st October 2011 alongside a line up of over 50West End performers - this promises to be a fabulous, entertaining night out and all for charity.
To keep up with all of Gina's news VISIT HER WEBSITE
You can also Follow Gina on Twitter @Gina_Beck

Photographs of Gina Copyright to Catherine Ashmore, Chris Brown





COMING NEXT: Priscilla & Cast Interview
COMING SOON: More from Phantom 25 & Interviews incl Sofia Escobar, Rebecca Caine, Scott Davies and more...
The Globe Tours & Exhibition, The London Coliseum, Dreamboats & Petticoats.

Phantom of the Opera's 25th Anniversary & Interview with Original Carlotta, Rosemary Ashe

Welcome back to Access London and Thank You once again for your continued support for disability access and awareness in the Capital.

It is now less than a week until the celebrations for Phantom of the Opera's 25th Anniversary are held at the Royal Albert Hall and by all accounts, it is going to be some event!

For those lucky enough to have got tickets to one of the concerts, the Hall's restaurants and bars are all accessible to those using a wheelchair or scooter. Tables can be booked from two hours before the start of a performance. If you do use a wheelchair or scooter, make sure you take advantage of the access booking line to reserve your table - 020 7070 4410. This line can also be used to book and enquire about disabled car parking. The Hall has a limited number of spaces on site reserved for disabled visitors. If travelling in from outside of London, please remember that the single and double yellow line rules differ from other parts of the country - please check the latest guidelines on the blue badge scheme website.

I have heard of a few problems with the onsite disabled parking at the Hall for Phantom 25 - people having made reservations for a space when they booked their concert tickets are now being told that the spaces are being used by other people! However, the Hall are offering spaces at a nearby car park to compensate for this at no charge. If you are affected however, the Hall should have contacted you by now.

The lifts inside the Hall are located near to Doors 1 and 8 (8 being the nearest to the disabled parking bays) and these service all levels of the Hall. For wheelchair spaces in the Hall:

"Fourteen wheelchair spaces with adjacent companion seats are situated in the Stalls at Ground floor level. We have a limited number of chairs that can be elevated which may be used by customers seated at the back of the Stalls platforms who are able to transfer from their wheelchair. If you are interested in this facility, please speak to a Steward on arrival.

There are also six wheelchair spaces in the Circle at sections P, R, V and X and four spaces within the unreserved standing area of the Gallery. Please note that due to the physical limitations of the circular shape of the auditorium, the spaces in the Circle are more suitable for customers with good upper body mobility."

If you are able to transfer, more seating options will be open to you and the Hall can store your chair or scooter throughout the performance. For most events at the Hall, including Phantom 25, a companion/carer can have access to a free ticket when accompanying a disabled guest. The number of companion seats is limited for each performance and is down to the organisers of each individual show there. For all access ticket enquiries, please call 020 7070 4410. For all other tickets, the Hall's box office number is 0845 401 5034.

The Hall also has a scheme called the Access List that enables those with disabilities to book tickets and make enquiries with a more efficient service. It works by registering your details for free with the hall - your access requirements, whether you are a blue badge holder, seating requirements etc. This allows the access box office line (020 7070 4410) to be able to deal with your call more efficiently, rather than having to go through all of your requirements every time. It also entitles you to the free companion/carer tickets (depending on availability).

Access London has been lucky enough to bring you an interview with a current or former cast member with each of our Phantom 25 posts and this post is no different. Today's interview is with the original London Carlotta, Rosemary Ashe. Access London would like to say a huge Thank You to Rosemary for taking the time to answer some questions...

AL: You joined Phantom as part of the original cast. Did you think at the time that it would go on to be one of the longest running and best-loved shows?
RA: When I was rehearsing the new production of 'Phantom' I had no idea it was going to be such a massive hit and run for years. I thought and hoped I would get a year's work out of it. It wasn't really until the press night, when we received a standing ovation, that I realised we were on to a winner. Up until that time you could still purchase tickets quite easily, then the box office went mad, and the rest is history!


AL: In your opinion, why do you think that people love the show so much and come back to see it time and again?
RA: It's such a good story and a brilliant production. The music is very memorable and the whole experience of watching the show is magical and provides escapism


AL: Have you been back to see the show since you left it? If yes, has it changed much since it originally opened?
RA: I've seen the show a few times since I left, as various friends have gone into it. It hasn't really changed that much, although the last time I saw it, there was less humour than before.


AL: Carlotta is such a deliciously extrovert and diva character, what did you enjoy most about playing her?
RA: I loved playing Carlotta because not only is she a wonderfully extrovert character, but she has to sing incredibly difficult music (some of that is MY fault as I was allowed to give my input with the top notes and show off)! Many people just talk about the singing but it's a real acting part too. My favourite combination. Also, having previously done a lot of opera, it was the ideal role for me, to play an opera singer in a musical.


AL: The designs for the production are magnificent. Did you have a favourite costume in the show?
RA: I loved Carlotta's second act costume, the red dress with an ermine stole (originally they used real fur, then had to dye it down as the white of the ermine was too bright! Think they use fake fur these days!). That costume was made after the opening and I didn't get it until several months into the run.


AL: What was your favourite song or scene to perform in Phantom?
RA: 'Prima Donna' because it's so brilliantly written and is a fantastic ensemble number, very operatic in form.


AL: Phantom is full of special effects and technical surprises. Do you have a tale to tell of any mishap during a performance?
RA: There was a performance when the chandelier didn't fly out. I was so busy preparing for my opening cadenza I didn't know until I got on stage. Apparently the stage manager had been gesturing to me from the wings not to go on stage, but I was oblivious. I walked on, singing, carried on until the end, at the same time walking around the chandelier on the floor. When I finished, the stage manager came on stage and stopped the show. So I had to go off while they sorted it! It was all to do with the air conditioning being installed in the theater apparently, someone hadn't switched a simple switch back on. So it didn't take too long to sort out. Then I had to come back on and sing the cadenza again. The audience went wild. It was a matinee day too!


AL: From an Access point of view, Her Majesty's Theatre has made some great efforts to make itself accessible to as many as possible. But, what is it like as a theatre to perform in?
RA: It's a lovely theatre to perform in; in fact I sang there quite recently in a gala concert. It feels very intimate.


AL: Finally, do you have a Birthday Message for Phantom and its fans?
RA: It's incredible that Phantom has reached it's 25th birthday. I am so proud to have been a part of its inception. I have a feeling it will be around for at least another 25 years, and I look forward to being at the 50th celebration!!


Once again, a huge Thank You to Rosemary for taking part. Rosemary will be performing in the 25th Anniversary Concerts this coming weekend. To keep up to date with all of her news, buy cds and watch videos or her perform SEE HER WEBSITE

To see the full cast list for Phantom 25 CHECK OUT THE OFFICIAL WEBSITE



COMING SOON: More from Phantom 25 and Interviews (right through the October anniversary month), Priscilla, The Globe Tour and Exhibition, Billy Elliot.

Phantom of the Opera's 25th Anniversary & Interview with former Christine, AJ Callaghan

Welcome back to Access London and Thank You once again for supporting disability access and awareness in the Capital.

Access London has been running a special series of posts over the last month or so in the lead up to Phantom of the Opera's 25th Anniversary celebrations in October. Thank You to everyone for your kind comments on the posts and access information provided and also your feedback on the interviews - although these Thank You messages go to all the lovely cast members who have given their time to answering the questions. These posts will continue throughout the Anniversary month of October. To read past interviews and posts, please scroll down.

The anniversary concerts are being held at The Royal Albert Hall on the 1st and 2nd October. The majority of the tickets have now been sold but I believe there may still be a few available - although be warned, they may well be in the higher price bracket of around £250! If you are looking for accessible seating, your best bet is to call the dedicated access line at the Hall on 020 7070 4410 as there may be some accessible seats available at a more reasonable price. You can also use this number to pre-book one of the Hall's disabled parking bays to be able to park for free from up to 2 hours before a performance.

The Hall has its own Access Scheme which allows you to register your details and requirements so that the access box office can better assist you in booking seats for you and your companion/carer. For most events at the Hall (including Phantom 25), a companion/carer can go in for free with every full paying disabled visitor. Prices will differ depending on where you are sitting and which event you are going to see. For more information and to register for the Access Scheme, please contact the access box office line on 020 7070 4410. For all other ticket types, please call the main box office on 0845 401 5034. All of the restaurants and bars are accessible at the Hall for those using a wheelchair or scooter. These must be booked in advance of any event and tables can be booked from 2 hours before the performance. For wheelchair and scooter users, again please use the access box office line to book a table and make enquiries to any of the restaurants at the Hall on 020 7070 4410.

Throughout this series of posts we've been lucky enough to bring you interviews with current and former Phantom cast members and today is no different. We're delighted to share with you an interview with former Christine, AJ Callaghan. Access London would like to take this opportunity to say a huge Thank You to AJ for her support and taking the time out to answer the questions.

AL: You were involved with Phantom of the Opera between 2001 and 2004 playing cover, alternate and stand-by Christine Daae. Why did you choose to stay with the production for that amount of time?
AJ: Initially I was hired as first cover Christine for which I completed two nine month contracts. I was then asked back as the alternate for a few months in 2003. It wasn’t until 2004 that I went back as standby Christine. At the time I was actually in Les Miserables, they needed someone to standby, as both the Christine’s at the time were ill. It was brilliant going back to the show and rehearsing Christine again but unfortunately I didn’t get to actually perform.


AL: Now approaching its 25th birthday in London, why do you think that Phantom has been the worldwide success it has?
AJ: For me personally it is the marriage of characters. The love story of Christine and Raoul but also the bittersweet twist of the Phantom and what he brings to the dynamic of the relationship. On the one hand you have this wonderful relationship between Christine and Raoul, which is the typical princess finding her prince analogy and then darkly underlying this is the parallel story of the tortured soul of the Phantom. Reflecting on this from an audience perspective, the story helps the audience relate on a personal level, as it takes a journey from innocence through to broken dreams and aspirations as we watch the characters develop, change and grow. I also think it taps into the every day psych of the fact we all love an underdog and those whose story is so much more challenging than the norm. Then of course, this inter cut with the relationships, twists and turns is a great story set to the most beautiful and incredible score, although quite dark in places it is still a very romantic piece.


AL: Who played opposite you as The Phantom and Raoul?
AJ: I was very fortunate to have two very talented, incredibly supportive and very lovely Phantoms in John Owen Jones and Richard Halton, who was the standby. Equally, my Raoul’s were just as good in Matt Cammelle, who later went on to play the Phantom, and Rob Finlayson. When I returned as standby in 2004 I was lucky to rehearse with Ramin Karimloo, with whom I was later to work with in Les Miserables.


AL: When you were the alternate Christine, are you still involved with the show on the nights you aren't playing her or are you free to pursue other projects?
AJ: As alternate you perform two shows a week. However, each day you are on standby until 3pm, but the company manager will try to let you know as soon as possible if you are performing. When the main Christine is on holiday, as alternate you take over her six shows and the first cover performs your two, which is great as first cover as you are guaranteed to perform the role within the contract.


AL: What was your favourite song/scene to perform in the show and why?
AJ: Christine was my ideal role and part of what helped me decide to choose a career in musical theatre. ‘Think of me’ is a beautiful song to perform as it’s the first time the audience hears Christine sing, starting from a shy nervous ballet girl to a blossoming future opera star by the end of the song. There are many individual lines in the show I particularly enjoyed, ‘and through music my soul began to soar’ on the roof top to where Christine grows in confidence as she questions Carlotta with ‘how dare you’ in the build up to ‘the point of no return’. Christine is confused as she questions her love for Raoul and begins to understand the deeper thoughts of the Phantom with ‘twisted everyway.' I particularly like this as it’s the point in the show we see Christine take a shift from the innocent ingénue to a more mature persona. Ultimately, I loved the final scene, for me, this is the most emotive, passionate and intelligent we see Christine. Her journey has finished and no longer is she scared or naive. I would say she is actually, by the end of the show, the strongest character and shows the audience she has lost all fear of the Phantom and his hold over her and realised her love for him was a confused manifestation of love for her father who she deeply misses. She is now free to love Raoul as she understands he is the one she truly loves, this is highlighted as she finally, and freely, kisses the Phantom goodbye. It really is such an incredibly powerful and poignant scene.


AL: The song 'Wishing You Were Somehow Here Again' is an iconic moment in the show for Christine. What do you believe she is feeling and thinking at this time?
AJ: During this scene Christine takes a very compelling internalised, personal journey. At first she is facing her demons of the Phantom, questioning who he is and why he is there, this soon becomes more significant as she realises she is talking to her father. She has spent so long wanting to see and hear him she has convinced herself the Phantom is an angel sent in a metaphysical manifestation of him. Upon realising this by the end of the song she has freed herself from the Phantom’s clutches by acknowledging finally her father is dead and that she has to go on with out him, thereby engaging finally in her internal strength to face the Phantom and become the force in the situation.


AL: Phantom has many special effects and technical elements in it. Do you have a tale to tell of a mishap or something funny happening during a show?
AJ: One time, the trap doors were open due to a malfunction during the second managers scene. Whilst reading the score walking in circles and singing, I could hear someone in the wing calling out to me, I saw stage management telling me don’t walk straight downstage as the trap door was open. I had to take a strange convoluted route around the stage in order to confront Carlotta which lead to many smirks and hidden laughter by the other cast members and probably confused the audience as to what exactly I was doing.


AL: If you could choose any other female character to play in Phantom, apart from Christine, who would it be and why?
AJ: Definitely Carlotta, she has a fiery and passionate personality which is a great contrast to Christine, they are like Ying and Yang. Christine the calm and intelligent thoughtful one and Carlotta the wild and passionate one, its almost the other side of the same character and would be very interesting to visit the role with this in mind having played Christine. She has some great numbers in the show and her costumes are truly outstanding. Nan Christie was my Carlotta and at the same height as me, 5ft, proved in her fantastic portrayal that Carlotta can be larger than life and a noticeable character regardless of height through portraying the passion and understanding deserved of the role.


AL: Phantom has had many successful productions staged worldwide. If you could choose to perform as Christine anywhere in the world outside of London, where would it be and why?
AJ: Obviously being Welsh my first place would be Cardiff; I would like to bring the character home for the Welsh audiences. Other than Wales, the Netherlands, I love the country and spend a lot of time there. As I am also learning Dutch I would love to sing the role in another language, which would probably bring a whole new dimension to my character analysis and portrayal and could prove a very interesting challenge. Having worked in Sweden and other countries, I know audience reaction changes from country to country so it would also be interesting to see how the reactions to the show form a different perspective to the characterisation.


AL: Do you have a Birthday Message for Phantom and its fans?
AJ: Well obviously to say happy 25th birthday and hope it will live for many more. I also would like to add how wonderful it is that the amateur rights have been released for schools and amateur groups taking the show to a whole new audience for future generations. May it live on for a very long time with new and renewed energy and interpretations! See you at the 50th!


Again, a huge Thank You to AJ for answering the questions, I hope you enjoyed reading them. AJ will be performing in the 25th Anniversary Concerts next weekend. She is also in the current London cast of Les Miserables at The Queens Theatre in ensemble and cover for Fantine until 16th June 2012, so make sure you go and see her perform there also. The cast of Les Mis are also performing a charity concert on Thursday 8th December called Les Mis Gives at Christmas in the Delfont Room at the Prince of Wales Theatre, tickets will go on sale soon.

Remember that the Phantom 25th Concert on 2nd October will be broadcast across cinemas in the UK and worldwide so check with your local cinema to see if it is being shown there. There will also be a DVD and CD release in November. Plus, you can always book tickets to see it at Her Majestys. Please note: There will be no performances at Her Majestys on Friday 30th September and Saturday 1st October because of the anniversary celebrations. Also, as of the beginning of November, the mid-week matinee performance will be on Thursday and not Tuesday!


COMING SOON: The Globe Tour and Exhibition, Priscilla, Les Mis, Billy Elliot, more from Phantom 25 with interviews....

Phantom of the Opera's 25th Anniversary & Interview with former Piangi, Lee David Bowen

Welcome back to Access London and Thank You once again for your continued support for disability access and awareness in the Capital.

Access London has been running a series of posts over the last month to celebrate the forthcoming 25th Anniversary of Phantom of the Opera in October. The show began previews on 27th September 1986 and officially opened the following month. Since then, the show has been seen by over 130 million people and won over 50 major theatre awards, making it the most successful piece of entertainment.

"Far beneath the majesty and splendour of the Paris Opera House, hides the Phantom in a shadowy existence. Shamed by his physical appearance and feared by all, the love he holds for his beautiful protégée Christine Daaé is so strong that even her heart cannot resist."

Phantom's London home is at Her Majesty's Theatre on the Haymarket. For those of you who are wheelchair or scooter users, this theatre is definitely accessible for you! On arrival, simply make yourself known to someone at front of house (usually someone outside from 45 minutes before the start of a performance) and they will escort you around to the accessible entrance on Charles II Street. This entrance leads you straight into the back of the stalls. Facilities: wheelchair spaces, transfer to aisle seats, accessible WC, handrails, gentle rake, wheelchair/scooter storage, assistance to get interval drinks and fetch wheelchair/scooter.

*There are evening performances Monday-Saturday at 7.30pm. There are also matinee performances on Tuesday and Saturday at 2.30pm until the end of October. After this, the matinees will be performed on Thursday and Saturday!*

The Phantom 25th celebrations at The Royal Albert Hall on the 1st and 2nd October will be screened to selected cinemas in the UK and worldwide. There will also be a DVD filmed and new CD recording available to buy from November. Until then, you can always buy the original London cast recording and the original Canadian cast recording.

To book access seats for Phantom, please call 0844 412 4648 where you can get unrestricted view seats in the stalls from £22.50 each for you and a companion/carer! For all other tickets types for Phantom, please call 0844 412 2707.

Access London's next Phantom 25 post will look more at the accessible facilities available at The Royal Albert Hall.

For every Phantom 25th post Access London has written, we have been delighted to share with you an interview we have done with a current/former/original cast member. Today, we are delighted to share with you an interview with former Piangi, Lee Bowen. Access London would like to take this opportunity to say a huge Thank You to Lee for taking the time to answer our questions and for all his continued support for Access London.


AL: You joined the cast of Phantom after it had been running for almost 15 years. What was it like to join such an iconic and much-loved show?
LB: This was a dream job for me, I had always wanted to be a performer in the West End and to get a job in one of its most iconic shows was amazing. It was a great challenge to take on the role of Piangi after many acclaimed performers but I was given a great deal of encouragement from the production team and was able to develop the character and add my own personal stamp upon Piangi.


AL: Why do you think audiences come back to watch the show time and again?
LB: I think as a piece of work it ticks all the boxes - it has a great story, the music is great with some of Lloyd-Webber's best writing not only for solo voice but for ensemble and orchestral music. Also the sets and costumes are fantastic. Emotionally it takes you into a world of fantasy but with a touch of reality which is totally gripping.
Mix that with Hal Prince (original director), Gillian Lynne (choreography), Charles Hart (lyrics) and Maria Bjornson (design) and you have a success!


AL: You played Piangi in the show, what was it like to play such an extrovert and diva-like character?
LB: Piangi was a great role for me as he is so extrovert and diva like, everything about him was exaggerated and over the top which is something I really enjoy . I was also very lucky as the production team really allowed me to put my personal stamp upon the character and also to have Sian Cothi playing the role of Carlotta. We started at the same time and together we worked really well on stage.


AL: What was your favourite song/scene to perform in the show?
LB: My favourite scene would have to be the first managers scene in the first half. Here, the real character of Piangi is really seen as someone quite vulnerable. Also there are some great musical moments in this scene especially during "prima donna" where as a singer you have a great line an octave above the two managers. Interestingly in the original production Piangi actually wasn't in this scene and added at a later date. Although, I did enjoy the opening scene with the elephant and very heavy cloak!


AL: Which Phantoms and Christines did you perform alongside?
LB: I was lucky enough to perform alongside one of the best Phantoms in Scott Davies also John Owen-Jones and Richard Halton. I worked alongside Charlotte Paige, Deborah Dutcher and a long-term friend from my part of the world Claire Louise Hammacott.


AL: You sang the voiceover for Piangi in the 2004 film version of Phantom, what was that experience like?
LB: The actual recording of the soundtrack was a great experience and I feel very privileged to have been asked at the last minute.


AL: If you could play any role(s) in musical theatre, what would it/they be?
LB: I would love to play the role of Thenardier in Les Miserables, this would be the absolute dream for me. Other roles include Mr Bumble in Oliver and Pirelli in Sweeney Todd.


AL: Lastly, do you have a birthday message for Phantom of the Opera and its' fans?
LB: Penblwydd Hapus/ Happy Birthday to Phantom of the Opera after an incredible 25 years in the West End. Diolch yn fawr/ thank you to all the dedicated fans who have loved the show and kept it at the top for so long. Here's to the next 25 years. Lots of love, Lee Bowen.


Since this interview, Lee has changed his stage name to Lee Bowen.
You can find out more about Lee on his agent's site MUSIC INTERNATIONAL
You can also follow Lee for all his latest news on Twitter @LeeBowenTenor



COMING NEXT: The Belle's Stratagem & The Southwark Playhouse
COMING SOON: The Cavendish Hotel's Autumn Offer, Priscilla and Interview, The Globe Exhibition, More Phantom 25 and Interviews (including Sofia Escobar, Rosemary Ashe, Rebecca Caine, Scott Davies, Gina Beck....)

Phantom of the Opera's 25th Anniversary & Interview with former Christine, Myrra Malmberg

Welcome back to Access London and Thank You once again for supporting disability access and awareness in the Capital.

Today's post is the next in our series that is celebrating Phantom of the Opera's upcoming 25th Anniversary in the West End. Please scroll down for previous posts that include Access information to both Her Majesty's Theatre and The Royal Albert Hall.

Her Majesty's Theatre, located on The Haymarket, has great access to its stalls area which has - a fairly shallow rake, handrail along the wall, accessible WC, storage space for scooters and wheelchairs, wheelchair spaces, transfer seating and some of the most helpful staff I have known in any London theatre.

The accessible entrance is on Charles II Street and leads you straight into an area at the rear of the stalls - simply ask a member of the FOH team on arrival (there is always someone outside the front entrance before a performance) and they will escort you around to this entrance. Charles II Street also has several blue badge parking bays (after 6pm there is no time limit on these) and there are also several spaces on St James's Square.

If you are looking for other accessible attractions in the area to visit before a performance, the National Gallery and National Portrait Gallery on Trafalgar Square are 5 minutes away and for younger visitors, Ripley's Believe it or Not is also a short distance away on Piccadilly Circus.

To book Access Tickets for Phantom of the Opera at Her Majesty's (current rate £22.50 for disabled visitor and companion/carer in the stalls!), please call: 0844 412 4648. For all other tickets for Phantom, please call: 0844 412 4653.

Since our previous post on Phantom's 25th, there has been a cast change at Her Majesty's (although several of the previous cast have remained including, John Owen Jones (The Phantom) and Sofia Escobar (Christine Daae)) - so now is a great time to go and show support for the new cast in the lead up to the anniversary date. Please note, there are no performances at Her Majesty's on Friday 30th September and Saturday 1st October 2011 because of the anniversary celebrations at The Royal Albert Hall.

It has also been announced that the anniversary will be screened to cinemas in the UK live on October 2nd 2011 and to various cinemas worldwide throughout October and November. There will also be a DVD and new CD recording released in November.

Previous posts on Phantom's Anniversary have shared interviews with former cast members including, Michael Xavier, Richard Halton and Katy Treharne, please scroll down if you wish to read these. In today's post, Access London is delighted to share with you an interview with former Christine Daae, Myrra Malmberg. Access London would like to take this opportunity to once again thank Myrra for taking the time to talk.

AL: How did you land the role of Christine Daae?
MM: I was in The Music of Andrew Lloyd Webber with the wonderful conductor and composer Michael Reed who worked closely with Sir Andrew and had been Phantom's musical supervisor for years. He introduced me to the then current Musical Supervisor Anthony Inglis. One thing led to another, I auditioned for Hal Prince, and suddenly found myself on stage as Christine at Her Majesty's.

AL: Who have you played alongside as The Phantom and Raoul?
MM: My lovely Phantom was Peter Cousens. My Raoul was Mike Sterling. I was very fortunate to work with a great cast and crew, some of whom have remained close friends.

AL: In your opinion, why do you think that Phantom is the success that it is and has run for so long?
MM: Phantom is a fortunate blend of fantastic music and an intriguing plot, well directed by the amazing Hal Prince. And the late Maria Bjornson's set and costumes are visually stunning.
I think that Phantom speaks to us on many levels; you can feast your eyes and ears and leave it at that, you can flow with the romance; but you can also delve deeper into the psychology of it.

AL: What was your favourite song/scene to perform as Christine?
MM: Oh, I had several favorite scenes and songs... "Think of Me" was always a wonderful moment in the show. I enjoyed the boatride and the scene after. The handing back of the mask was a lovely moment... and the whole emotional ending. Oh, yes, and "Wishing." Happy memories!

AL: How different is it to perform on stage in London/UK to Sweden?
MM: I have performed in many different countries, and in every country the audiences have been different. I was in Italy at the Rome Opera playing Maria in West Side Story for instance and was thrilled by how very romantic the audiences were, but less thrilled by the fact that they were allowed to smoke during performances...
In Sweden, the audiences are usually less demonstrative during the performance (although thankfully non-smoking!) but then they might surprise you with a long standing ovation at the end.
In the UK, there is an theatrical tradition among the general audience that is almost palpable; I have a feeling that people have been brought up with the theatre as a part of their lives. They listen intently, you can feel them with you at every twist and turn of the plot. In the West End obviously you get a mixed crowd of international theatregoers, but I have played regional theatre in the UK as well, and think that I could also detect influences from the Panto tradition in that, once in a while, someone in the audience would yell out a comment to what was happening on stage... Not quite "It's beind you!" but not far from it...

AL: Lastly, do you have a Birthday Message for Phantom of the Opera and its fans?
MM: Happy, happy birthday! Spending a quarter of a century together is something to be treasured and celebrated!


Thank you once again to Myrra Malmberg. To keep up to date with all of Myrra's news VISIT HER WEBSITE
Myrra has released several albums already, all of which can be found on iTunes HERE
Myrra has a new album, being released on 21st September 2011, entitled "Another World". Myrra had this to say about the soon to be released album "it is a foray into the classical crossover world, together with conductor Paul Bateman and one of Scandinavia's top orchestras: The Norrköping Symphony Orchestra. Songs by Benny Andersson (of Abba fame), Jörgen Elofsson (songwriter for Celine Dion, Kelly Clarkson, Britney Spears, etc), Per Magnusson (songs for Il Divo, Josh Groban, Katherine Jenkins, etc) and other wonderful composers. (Including a piece or two by myself...) I am also honored to be the first allowed to record a vocal version of Samuel Barber's Symphony for Strings opus 11."
You will be able to buy Another World from 21st September via iTunes and her website. You can listen to sounds clips right now from the new album HERE


COMING NEXT: The Tempest at Theatre Royal Haymarket
COMING SOON: Priscilla, The Globe and Exhibition, Dreamboats and Petticoats