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The Phantom: From scan to showtime
Source: instagram.com
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Anonymous asked:
Is it true that the recent West End deformity has gotten less bulky?
I believe the sculpt itself is the same, but that it depends on the makeup artst and/or head of costume how pronounced and (pun intended) fleshed out it is. For example, there is quite a difference between the official photos of Killian Donnelly and Jon Robyns - both from the West End revival:
Killian Donnelly's deformity makeup was more red in the "wounded" area and toned out towards his skin. This was pretty much the same style as seen before Covid closed the production.
Jon Robyn's deformity makeup was more beige in the "wounded" area, and with white contours. But to my eye the sculpt itself looks rather similar. As a comparison, here's Ben Forster from before the production closed down:
It is however true that the makeup on the "good " side is much duller today than in the past. The "good" side used to be accentuated, with a defined or lifted eyebrow, noticeable eye-makeup and contoured chins. Sometimes also quite red lipstick. The whole face was also usually pancaked. Here's James Paterson in the original West End production:
John Owen-Jones in 2003, when they really accentuated the eye and eyebrow:
And West End's next-last original Phantom, Tim Howar:
As a contrast, Killian Donnelly, the first Phantom in the revival:
And Jon Robyns, who left just a few days ago:
I mean, it is a choice, and it does make the "good" side prettier for photos. Still... maybe I'm just used to the good ol' days, but I do think the current look is too discrete for stagewear. I wish they'd funk and contour it up just a tiny bit. But the whole production has this "more natural" philosophy in both makeup and wigs, so I'm guess the new look is there to stay.
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Anonymous asked:
Hi Anea! I've always wondered what the Star Princess makeup looks like? I've seen Patti Cohenour's dark blue eyeshadow and it looks interesting. Thank you!!!
I would say that the makeup here is whatever the Christine actress wears in the rest of the show, as it really isn't any time to adjust the makeup after Masquerade.
That said, the earlier Christines wore heavier makeup than what's seen on most Christines today. They "pancaked" their face more, with heavier and paler foundation, and they wore more eye makeup. It started out with very blue eyeshadow - a true child of the 1980s - as seen on Sarah Brightmana and Claire Moore in West End, in many of the early Japanese Christines, the early Hamburg Christines etc. Here's Sarah Brightman:
And Claire Moore:
Anna Maria Kaufmann in Hamburg:
Kyoko Suzuki in Japan:
(not sure if this is indeed Kyoko Suzuki, but it does at least show the quite blue eye-makeup with the Star Princess costume):
In the original Broadway production they did instead do heavier "smoky eye" makeup. This was also implanted into the West End production, as well as the Australian. It means Claire Moore went from the very blue eyeshadow above and to this:
Ditto for Sarah Brightman on Broadway:
And thus also Patti Cohenour:
She also kept a dark makeup for her Canadian run, but I would say it was a tad lighter than her Broadway run. More light areas on the eyelid, in sync with the other Canadian Christines.
Which again would translate into the Star Princess look. Not that I have a supergood photo of her makeup there, but this cropped blurry fullshow still gives an indication:
I hope that answered your question... If not you did at least get a look of the rare and amazing VERY BLUE EYESHADOW of the 1980s...!
jennyfair7 reblogged
back in the golden years of phantom makeup where the phantom actually wore stage makeup on his "good side"!!!!!!!
now look where we are...
(no hate to the performers, just strong constructive criticism towards the make up supervisors)
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Anonymous asked:
Hello Anea! Hope you're having a wonderful day. I'm not sure if somebody else already asked this, but do you know any examples in POTO productions (replica & non-replica) where the phantom's deformity extends beyond the "masked" area? I know that most productions have the bloated lips, but some deformities seem to even reach down the chin (Vegas?) or disfigure the ear (World Tour, Restaged Tour?). Another question, are there defomities that don't have the bloated lips? Thank you for reading!
Looking through photos, it actually seems more the norm than the exception that the deformity is visible beyond outline of the mask. But exactly how much and what area can vary quite a bit. Here’s some examples (other than all the versions with a sneering/bloated lip, which is mainly done in replica versions):
The Las Vegas deformity (here: Anthony Crivello) had a jawline with visible deformity under the ear, and then continuing to the lip in front, outlining the mask. The actual deformity was also way more red and scattered.
The World Tour deformity (here: Ian Jan Bourg) had a deformed ear area, visible under the wig. It looks surprisingly believable, and I love that it’s so visible in promoshots, like this one. Makes you realize something isn’t right.
The Aussie leg of the World Tour (here: Anthony Warlow) also had a deformed ear area, but differently executed than in the later WT as it covers more of the ear and makes it rounder and more “bloated”. I suspect this version distorted hearing a bit, and that’s why they changed it?
The Polish deformity (here: Damian Aleksander?) is not directly applied to the actor’s skin, but rather a latex-line piece attached over the ear and fastened in front. The line of the piece is visible over the nose and down the chin, especially since their masks doesn’t have a nose area.
The Czech deformity (here: Radim Schwab) appears quite similar to the Polish one outside the mask, except their masks fully cover the nose. I also think they apply the deformity to the skin rather than doing it as a removable piece.
The Norwegian deformity (here: Espen Grjotheim) continues down the neck, and very visible too. It was however not featured in official press photos, so I wonder if they held back a bit there? Or maybe it was just the light. Whatever the case, it’s a great lil’ detail.
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I've been reblogging those Phantom of the Opera makeup test gifs for like three years, and it only just occurred to me to look up the source. Anyway here's the video!!
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Hi! I was wondering why they choose to stop using the blue/glass eye look? And why they decided to have Jonathan Roxmouth bring back? Is it the actor's own decision?
“Mask to look like porcelain with a ‘false’ glass eye” (Maria Bjørnson)
Michael Crawford in full lense - on one side a blue/white lense, and on the other side a dark brown one. This to make the ultimate contrast. According to Michael Crawford it was starting to damage his eye. That, as well as making him nearly blind when he really needed to see (walking down the Masquerade stairs in high heels, for example). So he skipped it sometime during his Broadway run in 1988. I know his successor Timothy Nolen was photographed with a contact lense, but I don’t think he actually wore it on stage. Ditto for the West End successor Dave Willetts.
The first “return of the contact lense” seems to have been a much personal choice, and not directly in the original design: David Shannon sometimes wore a yellowish/green one in West End. More feline, in a way. But it only appears in a few photos, and it’s far from the “blinded porcelain eye” Crawford did:
The lense detail then started appearing in various non-replica versions and “Love Never Dies”. You can see a photoset here: https://operafantomet.tumblr.com/post/185170000667/phantom-wearing-damaged-eye-contact-lense
But Jonathan Roxmouth seems to be the first replica Phantom to pick up the idea and do it 100%. He’s said in interviews it was his choice, and that it also was a homage to Michael Crawford. Which I love him for.
(not that I didn’t already love him)
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Hey! Have you got any close up or clear images of the makeup for the phantom's non-deformed half of his face?? Thank you!
The makeup tends to change from production to production, and from era to era. but here’s a random selection hopefully giving you an idea of some of the variations :)
Michael Crawford, West End 1986:
John Owen-Jones, West End ca. 2004:
Hugh Panaro, Broadway ca. 2011:
Flemming Enevold, Copenhagen 2009:
You can also have a look at this photoset:
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IN THE MAKEUP CHAIR: Deformity and wigs
- Peter Karrie, Toronto (with baby Ramin Karimooo watching!)
- Jonathan Roxmouth, World Tour
- John Martin Bengtsson, Copenhagen
- Michael Crawford, West End
- Michael Crawford, West End
- Peter Jöback, Stockholm
- Tomas Ambt Kofod, Copenhagen
- Tomas Ambt Kofod, Copenhagen
- Hugh Panaro, Broadway
- Hugh Panaro, Broadway
- Flemming Enevold, Copenhagen
- Flemming Enevold, Copenhagen
- Flemming Enevold, Copenhagen
- Flemming Enevold, Copenhagen
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More cosplay photos from the shoot, this time by the fire! I got to try out prosthetics for the first time and it was insanely messy but so much fun.
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The Phantoms Prosthetic (Last Version)
Ben Crawford getting into his make up.
The Broadway production of the hit show ‘ the phantom of the opera’
Went through several changes in their prosthetics appliance. (A little more than the west end changes in prosthetic design)
Some looked great some looked dreadful.
But they got there in the end.
To celebrate the anniversary of the show if it still was on Broadway. I share this video as a tribute.
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The Phantom’s mouth deformity
1. Norm Lewis | 2. Hugh Panaro | 3. Ramin Karimloo | 4. Peter Jöback | 5. Davis Gaines | 6. Marcus Lovett | 7. Howard McGillin | 8. Michael Crawford
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The big reveal of my newly upgraded 2023 Phantom of the Opera Cosplay! With my upcoming 20th anniversary as Phantom on a Budget, I decided to not only continue my cosplay career, but also double down by improving both my makeup and costume. For the first time in my career, I applied the bald cap to myself for the Final Lair look, complete with "alopecia" wig.
Makeup supplies include Mel Products vinyl/plastic bald cap blendedwith acetone, slip latex prosthetics by Studio D FX, Telesis 8 silicone adhesive, Skin Illustrator flesh tone pallette, Kryolan rubber mask grease paint, Kryolan TV Paintstick (3W), Make Up For Ever contour, Ben Nye translucent powder, and Kryolan finishing spray.
The brand new, custom Phantom tailsuit was completed by AJ Machete and its design is closely inspired by the early Broadway production.
Phantom Cosplayer: @phantomonabudget
Phantom Prosthetics: Studio D FX
Phantom Costume: Denver Bespoke/AJ Machete & Sons
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i owe my life to whoever was responsible for all of this thank u truly
jennyfair7 reblogged
IN THE MAKEUP CHAIR: Deformity and wigs
- Peter Karrie, Toronto (with baby Ramin Karimooo watching!)
- Jonathan Roxmouth, World Tour
- John Martin Bengtsson, Copenhagen
- Michael Crawford, West End
- Michael Crawford, West End
- Peter Jöback, Stockholm
- Tomas Ambt Kofod, Copenhagen
- Tomas Ambt Kofod, Copenhagen
- Hugh Panaro, Broadway
- Hugh Panaro, Broadway
- Flemming Enevold, Copenhagen
- Flemming Enevold, Copenhagen
- Flemming Enevold, Copenhagen
- Flemming Enevold, Copenhagen
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Ethan Freeman shared these amazing never seen before Phantom backstage pictures.
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Here’s some “old Raoul” makeup looks I really like.
Originally I wanted to do just stage photos, as that’s what the makeup is made for. It will very often look exaggerated backstage. But then I realized so many stage photos shows old Raoul in profile, and doesn’t show the makeup at all. So here’s a mix of backstage and stage photos.
- Steve Barton, West End
- John Martin Bengtsson, Copenhagen
- Sean MacLaughlin, Broadway
- Stephen Trafton, US Tour
- John Riddle, Broadway
- Michael Ball, West End
- Anton Zetterholm, Stockholm
- Andrew Ragone, Las Vegas
- Brennan Holder, Cape Town
- Tomas Ambt Kofod, Copenhagen