PHOTOS BY CANON POWERSHOT SX 720 HS
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PHANTOM OF THE OPERA IS THE WORLD'S GREATEST AND MOST POPULAR MUSICAL OF ALL TIME!
MALAYSIANS MAKE IT A POINT TO WATCH THIS SHOW WHEN IN LONDON OR NEW YORK AND NOW FOR THE FIRST TIME IN THIS KALPA, IT IS PERFORMING IN KUALA LUMPUR'S ISTANA BUDAYA!
TICKETS ARE JUMPING OFF THE SHELVES IN THIS MAYBE ONCE IN A LIFETIME OPPORTUNITY. STARTING FROM RM 200 TO WELL, A THOUSAND RINGGIT, IT IS PRICIER THAN WATCHING 'AVENGER; ENDGAME' BUT WORTH EVERY SEN. CATCH THIS SHOW AND THEN DIET ON MAGGI MEE FOR A MONTH!
Based on the novel 'Le Fantome de L'Opera' by Gaston Leroux, The Phantom of the Opera (this is for the benefit of the terminally ignorant!) tells a tale of a disfigured musical genius who haunts the depths of Paris Opera. Mesmerised by both beauty and voice of young soprano Christine, the Phantom lures her to become his protege as he falls madly in love. Together with Raoul who also loves Christine, the stage is set for a dramatic turn of events where love both unrequited and accepted, unbridled passions, jealousy and tragedy collide.
It opened at Her Majesty Theatre in London's West End on 9 October 1986 starring the incredible Sarah Brightman and Michael Crawford and produced by Cameron Mackintosh and The Really Useful Group under Andrew Lloyd Webber.
On 9 January 2006 history was made when it became the longest running Broadway show with 7,486th performance, surpassing the other mega hit Cats. In USA the national touring company celebrated 20,000 performances in the same year.
On 1 January 2018 it celebrated its 13,000th show and on 24 January the same year it celebrated an amazing 30 years on Broadway!
Th Phantom of the Opera is the first and only stage production to gross a staggering RM 16 billion and thrashes all hit movies. Worldwide over 140 million have enjoyed it and I have seen it around a dozen times in London over the decades!
BOOKING ONLINE EXTRA RM 4 BOOKING FEE
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MEGHAN PICERNO AND DATO KEE HUA CHEE ARE SUCH SWEET DARLINGS BEYOND COMPARE
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MEGHAN PICERNO plays Christine Daaé the heroine in Phantom of the Opera. Here she looks like Kate Middleton the Duchess of Cambridge!
Training: The Manhattan
School of Music Conservatory, New York City. Theatre and Opera: Christine in
Love Never Dies (US Premiere and First National Tour), Cunegonde in Candide
(New York City Opera/Gran Teatre del Liceu), Olympia in Les Contes d’Hoffmann,
Marie in La Fille du Régiment, La Fée in Cendrillon, Lucia in Lucia di
Lammermoor, The Dreyfus Affair (Ensemble of the Romantic Century), Musicals in
Mufti: From Berlin to Broadway (York Theatre Company), Maria in West Side
Story, Amalia in She Loves Me, Eliza Doolittle in My Fair Lady and Johanna in
Sweeney Todd (Off-Broadway). Concerts: Royal Albert Hall, San Francisco
Symphony, Theatro Municipal de São Paolo, Lincoln Center, Carnegie Hall,
Kennedy Center, David Geffen Hall, Alice Tully Hall, Birdland, Appel Room.
Competitions: Plácido Domingo’s Operalia International Vocal Competition
(London’s Royal Opera House). Meghan extends so much love and gratitude to her
family, creatives, fairy godmothers, wonderful team, Uzan International
Artists, Tara Rubin Casting, and Hal Prince for introducing her to the
wonderful world of musical theatre! Special thanks and love to Andrew and all
at RUG – so proud to be a part of the phamily!
@meghanpicerno
www.meghanpicerno.com
JONATHAN ROXMOUTH PLAYS THE ROLE OF PHANTOM, THE HERO OR SHOULD THAT BE ANTI-HERO IN THE MEGA HIT MUSICAL PHANTOM OF THE OPERA
JONATHAN ROXMOUTH plays The Phantom in Phantom of the Opera
Musical Theatre: The Phantom
in The Phantom of the Opera (Broadway World Award Best Actor in a Musical),
Billy Flynn in Chicago (International Tour), Jerry Lee Lewis in Great Balls of
Fire, Che in Evita (International Tour), Pharaoh in Joseph and the Amazing
Technicolor Dreamcoat (Broadway World Award Best Supporting Actor in a
Musical), Liberace in Call Me Lee, Danny in Grease (International Tour), Tony
in West Side Story (Artscape, Cape Town/Joburg Theatre, Johannesburg), Sweeney
Todd in Sweeney Todd, Joe Gillis in Sunset Boulevard (Montecasino Theatre,
Johannesburg/Theatre on the Bay, Cape Town), Marvin Hamlisch in I’m Playing
Your Song, Judas in Jesus Christ Superstar, Munkustrap in Cats, Gaston in
Beauty and the Beast (Teatro, Johannesburg/Artscape, Cape Town), Lun Tha in The
King and I (Joburg Theatre, Johannesburg), Buddy Holly in The Buddy Holly Story
and Teen Angel in Grease (Barnyard Theatre). Cabaret, Revues and Concerts:
Lenny...Andrew...Steve and Me, Stage By Stage, Stage By Stage 2, Hats Off!,
Topsy Turvy and Rock Me Amadeus. Albums and Recordings: The Musicals in
Concert, My Lloyd Webber, Stage By Stage Unplugged, I’m Playing Your Song,
Great Balls of Fire Cast Album, Fantasia with The Capital Singers and From The
Footlights. Jonathan’s albums are available for sale in the foyer of this
theatre. Jonathan’s Grandfather Christopher Alexander Berryman taught him how
to conduct to the cassette of the original London Cast Album of The Phantom of
the Opera and this performance is dedicated to his memory.
@jroxmouth
@JonathanRox (Twitter)
jonathanroxmouth.com
MATT LEISY plays Raoul, Vicomte de Chagny and the lover of Christine
MATT LEISY plays Raoul, Vicomte de Chagny
Training: Northwestern
University. Theatre: Sweeney Todd (Barrow Street Theatre, New York), A
Gentleman’s Guide to Love and Murder (Broadway First National Tour), Ragtime,
The 39 Steps, Witness for the Prosecution (Bristol Riverside Theatre), The
Fantasticks (Off-Broadway), Red (Clarence Brown Theatre), The Importance of
Being Earnest (Arizona Theatre Company), Pride and Prejudice (Cincinnati
Playhouse in the Park), The History Boys (Repertory Theatre of St Louis/ Arden
Theatre – Barrymore Award Nominee), Carousel (Lincoln Center) and Ghostlight
(Signature Theatre). Television and Film: The Blacklist (NBC/Universal
Pictures) and Live from Lincoln Center (PBS). Matt is a British-American actor
and singer. He is thrilled to follow in the footsteps of so many friends, and
artists he has looked up to, who have appeared in this iconic Broadway hit.
@MattLeisy
RAINER FRIED
Assistant Director
Rainer has been Assistant
Director for numerous productions of Andrew Lloyd Webber’s The Phantom of the
Opera around the world in cities such as Antwerp, Mexico City, Madrid, Hamburg,
Copenhagen, Cape Town, Johannesburg, Seoul, Stockholm, Paris and the 2007
Australian production followed by two Asian touring productions which he toured
throughout China, South Korea as well as Manila, Hong Kong, Taipei, Bangkok and
Istanbul. Rainer was Associate Director for the Australian productions of
Beautiful: The Carole King Musical and for the Australian production of the
Phantom sequel Love Never Dies in Melbourne and Sydney. He was an Associate
Director for the first Australian production of Billy Elliot (Music/Lyrics by
Elton John/Lee Hall) as well as for its first foreign language production in
Seoul. As Resident Director Rainer has worked on Cameron Mackintosh’s
production of Miss Saigon in Stuttgart. In his early years he was an Assistant
Director and Director in Germany at the Ulm Theatre, the renowned Hamburg Drama
Theatre and the Regional Theatre in Kiel. His further credits include: The
Wizard of Oz by L. Frank Baum; Crimes of the Heart by Beth Henley; Stella by
Johann Wolfgang Goethe; Die Wende by Jörg Graser; Der Räuber Hotzenplotz by
Ottfried Preussler and Little Women the Musical.
DAVID ANDREWS ROGERS
Musical Director
David Andrews Rogers is
thrilled to join the world tour of The Phantom of the Opera as Music Director
and Conductor. His other international touring experience includes An American
in Paris, The Wizard of Oz, Fiddler on the Roof, Chicago, Cats, Show Boat and
Les Misérables. In Paris and Brussels, he was Music Director and Associate
Music Supervisor for Le Magicien d’Oz. David’s additional conducting credits
include Carnegie Hall (the New York Pops), New York’s Lincoln Center, and
Harlem’s legendary Apollo Theatre. He has conducted and/or written
orchestrations for Broadway stars and pop artists including Harvey Fierstein,
Patti LuPone, Joel Grey, Sutton Foster, Kristin Chenoweth, Topol, Nell Carter,
Debbie Gibson, Sheena Easton and Theodore Bikel. His other New York credits
include The Vocal Lords (Chekhov Theatre Ensemble) and Happy Hunting (York
Theatre), as well as over 150 productions in US regional theatre, symphony pops
concerts, recordings and numerous readings of new musicals. MaestroDAR.com
JEE HYUN NOH
Ballet Swing/Resident
Choreographer
Training: Jee-Hyun trained
at Sunhwa Art School, West Street School and London Studio Centre. Theatre:
Carousel (National Theatre, UK) working with Nicholas Hytner and Kenneth
MacMillan, The Phantom of the Opera (West End), Meg in The Phantom of the
Opera, Beauty and the Beast (Seoul, Korea – also Dance Captain), Cats (Big Top,
Korea – also Dance Captain), Meg in The Phantom of the Opera (Asia Tour – also
Dance Captain), Cats (Asia Tour – also Associate Choreographer), Chicago, The
Producers, Cats, Billy Elliot (Seoul – also Resident Choreographer), Sally
Brown in Charlie Brown (Seoul), Werther, Rent, Hairspray (Seoul – also
Choreographer) and Wife in Contact: Act 2 (Did You Move?). She has danced with
Wiener Ballet Theater, London City Ballet, the English National Ballet, Ballet
Ireland and Seoul Ballet Theatre. Television and Film: As Choreographer – Yuna
Kim concert Fest On Ice, Insooni concert, and Son Yeonjae Rhythmic Gymnast Gala
Show. Jee Hyun started in Phantom in London in 1992 working with Harold Prince
and Gillian Lynne. She’s thrilled that she’s back on the World Tour of The
Phantom of the Opera.
He answered, "Not at all. The fact audiences cannot see my face challenges me further as I need to use body language and gesticulations and certain nuances to express my emotions and convey them to the audience. Facial expressions are most important as actors can show their fear, anger, frustrations or joy but these are denied to me. So I have to use other tactics like shrugging my shoulders (not easy with sweeping cloak!) hands and postures. For instance, a simple touch on Christine's shoulders or a wave can convey my feelings. The audience too reciprocate by watching my every move instead of looking at my face and when they actually start to relate, that is very exciting and enriching. At the end of the show, the ultimate satisfaction is when the audience understand and appreciate what I am conveying without the need to see my face! And it does not matter if I wore a mask or not! that is the beauty of acting."
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Well, that is to be expected as she could not possibly say how awful it is to play Christine! So I asked how she psyched herself each day. Her reply; "Yes, I do psyche myself into the mood as it is not easy to just turn up 15 minutes before the show and start playing Christine. I arrive at the theatre 2 hours before curtains and get into the mood by applying make-up, putting on the wig (as you can see I have short hair) and wearing the costumes. Of course I hum to the songs I would be singing and the background music is also from the musical. And yes, this is eerie but true---eventually I start becoming Christine and am no longer Meghan! That is when I know I am ready and totally committed to play Christine as I do understand her and remember Christine is actually a teanager.
"Playing Christine is my life and a very happy and a happy and fruitful one at that! I am not burdened with relationships or business ventures or family as when I work, I give my all. More so when I am outside my home country so I live and breath Christine!"
I asked, "Alright then, a personal question---you get to kiss on the lips BOTH Raoul the Vicomte de Chagny and the Phantom! Do you enjoy the sensation or is it just a job?"
Without missing a beat she replied, "I am very lucky to have two truly great actors playing opposite me so it is a pleasure and blessing to be able to kiss them. And yes, it is also part of the job since the script calls for the kissing scene. I get along well with them so it is obviously not a chore or anything embarrassing when I kiss them. Do I look forward to kissing them? What do you think?"
Friends with benefits. Hmm. I asked if they open their mouths and flick each other's tongues ala French kissing and OK so I did not ask this question but I will when I see her again!
Any hilarious or disastrous anecdotes?
"No, I can't think of any. Perhaps once when my hair got caught and I had to slowly untangle it but nothing disastrous ever happened."
How does she keep her voice in peak condition?
"I drink lots of water so I am well hydrated."says the heroine.
Final question---"Do you stop drinking an hour before going on stage to avoid going to the loo?"
Smiles the vivacious pretty darling, "No, I drink regularly and yes, I do go to the loo all the time! I know my body and time myself to give me ample time to run in and out of the loo so this is not a problem!"
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