For my second blog entry I will be conducting a comparitive study between the costumes of the lead character, ‘Christine Daae’ within the musical, The Phantom of the Opera as costume designing is a potential career I would lie to explore. As well as, I feel that as this play is notorious within the world of theatre, audiences may share a love of the production with me. I will be contrasting the garments from the ‘Think of Me’ scene in both the 2004, Joel Shumaker film adaptation and the present theatre production within Her Majesty’s Theatre, London. I will be focusing upon how certain outfits are adapted for both versions of the performance and closely examining how elements differ due to the limitations of each production, for instance: movement, budget, mise en scene, directors approach and audience interaction. General Overview of the ‘Phantom of the Opera Those of you who may have heard of The Phantom of the Opera, may be familiar with the relationship between the two lead characters, Christine Daae and ‘The Phantom’. In which, the two share a bond through their musical abilities, combining spiritual music teacher with long lost lover. The pair go upon a journey of both originally being outcasts within the ethos of the storyline, to becoming the domineering roles that are united together through, as previously mentioned, their musical abilities and the mutual feeling of not belonging within the world of opera. The fear of the Phantom, enables him to establish a hierarchy of his own within the theatre and enable his love for Christine to develop by enticing her into his dark, twisted imagination that allows them to both feel accepted when together. Jealousy and superstition cause a rebellion within the work place, leading to other main characters disrupting Christine and the Phantoms relationship, later forcing the Phantom to disappear from Paris and leave Christine behind as the show comes to an end. As the pair are the lead roles within every adaptation of the show, their costumes are largely focused upon amongst the cast’s outfits. In particular, Christine Daae’s costume often changes a lot to show the development of her success as an opera singer throughout the storyline of the production. Therefore, her costumes have to be specifically eye-catching and meaningful for both audiences either within theatre or on screen. ‘Think of Me’ Within both productions, the scene that evolves around the song ‘Think of Me’ is the most symbolic at establishing Christine Daae’s character and the rising of her status within the storyline. The scene starts with Collota playing the lead within the current show that the cast are producing, however the Phantom requests for Daae to play the lead. Therefore, her costume transforms from one of the background ballet dancers to a more dramatic statement piece. As you can see in the image above, within the theatre performance, Daae’s costume is formed of a vibrant corset/leotard that is embellished with jewels and tassels, evoking exotic royalty and also creating movement as she dances. The vibrant colours of the costume correspond to the mise en scene within the theatre, as the lighting is dimmer in areas with spotlights shone onto the performer, therefore enabling Daae to stand out within the performance as she transforms into the lead. This is a decision the director would have chosen to do, as it would enable him to showcase the character to her best potential within the performance. The small size of the garment allows room for adjustment within the scene as she transforms into the lead singer. The transition is done by simply adding a fuller skirt around the waist, in which the corset then flows in to, as though it was one garment all along. The reasoning behind this multi-functioning garment design for the scene is due to the need to show narrative within the scene, as well as enabling adjustments to the garment on to be made on stage. For instance, as the transition needs to be shown while the actress is on stage in front of an audience, it restricts her ability to do a quick change back stage, therefore, fellow cast members interact with her costume, adding the skirt while the setting behind her changes. Furthermore, enabling her to also concentrate on her voice without interruption, as she projects the song ‘Think of me’. On the other hand, within the film production of the scene, Christine has two completely different outfits to show the transition of background ballet dancer to lead role. In the Image to above, you can see she wears a two piece of a crop top and loose organza skirt, fastened with a belt. This outfit is perfect to conduct the image of a ballet dancer and therefore also uses the appropriate style of garment to allow movement, as well as, using a bland colour scheme to enable the character to fade into the background. Whereas, her second costume as seen above, is a white ball gown that compliments the elegant and eerie setting of the scene, portraying the idea of the ‘ugly duckling transforming into a beautiful swan’. This is ironic, as this alludes to various other ballets, like The Swan Lake for instance.
Furthermore, this choice of garment again is chosen due to director’s choice and to engage with the mise en scene within the film. As a placing a large white dress against a dim background with spotlighting, gives the impression of a glowing, angelic like figure. Within this film version of the production, various garments can be used within one scene to showcase the progression of her character, as the scene can be shot in numerous takes, in contrast to the theatre performance where it is not possible as it has to be done on stage. Due to this reason, in the film production, the second garment does not have to be as flexible for movement, as she only stands in one spot, therefore, a tighter fitted corset can be seen, as well as a larger amount of fabric to construct the bottom of the garment has been used. Also as the budget would have been bigger for this film to be made, as a ‘wedding dress’ like garment would be more accessible and affordable to produce for this scene. To conclude, both productions are successful at producing costumes that portray the same character and storyline. However due to the restrictions of each setting and the inability to change outfits on stage in comparison to on screen, means that design elements are incorporated to suite each production. Phantom of the Opera References Etsy.com (undated) Gerard Butler, Emmy Rossum, Joel Schumacher and Patrick Wilson on-set of The Phantom of the Opera (2004) [image]. Available from https://uk.pinterest.com/pin/526639750162256201/ [accessed 1st April 2017]. againstatroubledsky.tumblr.com (undated) Sierra Boggess as Christine Daae from 25th anniversary of Phantom of the Opera, UK [image]. Available from https://uk.pinterest.com/pin/526639750162258508/ [accessed 1st April 2017]. operafantomet.tumblr.com (undated) Operafantomet: phantoming, Sierra Boggess’ Christine wardrobe, Royal Albert... [image]. Available from https://uk.pinterest.com/pin/AQ9WLvPzMfHO03kJ_tRUfvkAQvm9XWtZKluQtXAmAK1J-w7ozfr9rwo/ [accessed 1st April 2017]. Broadwayworld (undated) And though it's clear, though it was always clear that this was never meant to be... [image]. Available from https://uk.pinterest.com/pin/526639750162256878/ [accessed 1st April 2017]. Polyvore.com (undated) Emmy Rossum in Phantom of the Opera [image]. Available from https://uk.pinterest.com/pin/526639750162259538/ [accessed 1st April 2017]. 1lifeinspired.tumblr.com (undated) Phantom of the Opera wedding dress- think of me scene [image]. Available form https://uk.pinterest.com/pin/526639750162256862/ [accessed 1st April 2017].
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