of the opera
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Anonymous asked: Headcanon that Christine just randomly gets Erik a gift and says "Happy birthday!" Just 'cause and no one really knows when his birthday is and he doesn't know how to react because on one hand Christine and presents but on the other hand childhood issues
I WAS NOT PREPARED FOR THIS.
There’s to be an organ concert in Stavanger, Norway this Sunday.
They made it possible for the audience to vote online for the music they would want to hear. “Someone” requested the Overture from “Phantom of the Opera”, and “someone” made sure it got to the top of the list.
As part of my English Literature coursework I am studying the damsel in distress archetype of two novelisations of musicals; Les Miserables and The Phantom of the Opera.
My question for the coursework is; ““The archetype of the damsel in distress had a healing power to the egos of male writers.”
In light of this view, discuss how the authors portray the archetype of the damsel in distress in the three texts.”
However, I am finding it difficult to find points of criticism for me to discuss and compare in regards to the characters of Fantine, Cosette, Eponine and Christine Daae. So, can people reblog this or answer this post within the next few days (by Thursday 13th February GMT) with their opinions and criticisms about the characters and the idea of them being a typical “damsel in distress” or them moving away from that role, that would be very helpful.
Since Christine’s subversion of the “damsel in distress” archetype has already been discussed beautifully, I’ll offer my two cents about the three Les Mis ladies. Read the rest under the cut: it gets very long.
Bodices: World Tour, original West End, Las Vegas.
Backs: Las Vegas, Copenhagen.
Full shots: Johannesburg, Hamburg.
Skirts: Broadway, Copenhagen, World Tour.
What did you say?
Greatest idea ever?
What a truly fascinating concept
that has never been done before
No one ever listens to Leroux
Especially not the ALW musical.
But seriously… a huge part of me wants blonde Christine to be standard in the musical. It makes the metaphors about light and darkness so much more visually present. Think about the traditional costuming, but with her as a blonde… the white dressing gown and white wedding gown… it would be lovely…
Although, granted, the brunette Christine opens the part to a wider range of actresses (skin tones). Which is excellent for musical theater and open casting.
I’ve heard that they actually chose not to use blonde wigs because they clashed with Maria Bjornson’s color palette. Specifically, they went for a dark blonde wig for Patti Cohenour and might even had plans to do different wigs for each actress, but saw that it didn’t work. Like, even for the white dressing gown and wedding dress - I can see blonde working for it, but I also think the contrast between the whiteness and dark brown hair works, maybe even better than blonde.
I feel that having Christine as a brunette does have its own pros. It exemplifies her state of mourning over her father in stark contrast to Meg, who doesn’t really struggle with anything emotionally throughout the play. HOWEVER, I do agree with the other people above. It does make the “Angel of Music” image much more complete, in a way.