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Christine Daae Acting 
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The acting is very important for that role not only the singing, its both. Thats what I think.
Many can sing, but not act.


Sun Feb 21, 2010 9:00 am
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santtu wrote:
Quique wrote:
I've seen the show 33 times and every single Chrstine I've seen has acted the role almost the same, with little to no variation.

I don't think it has so much to do with lack of acting ability. I think the actors just aren't allowed that much artistic freedom in those types of shows due to Cammacks insistence that the show should be carbon-copied around the world in every way.

---

The same applies with every single Raoul, Carlotta, Mme. Giry, Meg, Piangi I've seen. All basically the same interpretation; Meg with her horrific, out of tune singing voice and wooden acting, Christine as a deer caught in headlights, Raoul with British accent and very stiff, Mme. Giry as creepy and stoic, and Piangi and Carlotta are always waaay over the top and obnoxious.

The only character who's interpretation has varied in my experience is that of the Phantom.


Exactly.

Phantom and Carlotta (to some extent) are the only characters in the show where the actor is allowed to do things differently from the original production. All the others must remain the same. I read an interview about an actress/singer who played Christine in Canada/tour (don't remember which one it was) and she said she wanted to do a small change in delivering one of Christine's lines and she wasn't allowed to because "that wasn't how it was done originally".




As for the Phantom being allowed to do his own thing. That's not exactly true. He still has to copy Michael Crawford's performance by contract requirement.

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Sun Feb 21, 2010 10:52 am
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I just think that the role of Christine is always a very delicate tightrope act to walk because she is innocent and naive.

And it's a very fine line between playing a convincingly naive character and coming across as an airhead. So what happens is either they put so much emphasis on Christine's naivete that she comes across as stupid or they don't put enough emphasis on it and Christine comes across as being much more grown up than she should be.

With regards to Emmy Rossum, I didn't have that much of a problem with her voice (Christine is a singer in training and even The Phantom says that she has "much still to learn" within the context of the musical itself) my problem was that she seemed to alternate randomly between speaking in a British accent and speaking in an American accent
(which is odd, since her character was born in Sweden and raised in France - why the hell is it that Miranda Richardson was the only actor who could be bothered doing a French accent????).
So yeah, Rossum is one of those Christines who comes across as being a bit dopey a lot of the time.

The only Christine I've seen on stage is Julie Goodwin, the secondary Christine to Ana Marina on the most recent Australian tour.... Goodwin put a lot of emotion and unusual inflections into her delivery, and she played Christine as a much stronger willed character... but as a consequence of this, the innocence and naivete didn't really come across. Her Christine seemed like a much more grown-up and sure-of-herself version than I think the character should be.


Wed Mar 17, 2010 5:02 pm
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Richardson seems to have hard-on for accents. In Prince and Me she was the Queen of Denark, and while every single other royal family member-and to think of it, every other character FROM Denmark-spoke with highclass English accents, she wen all the way and spoke in something vaguely eastern European. She was the ONLY ONE doing it. Dunno why she does that. Authenticity perhaps?

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Wed Mar 17, 2010 7:36 pm
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I think Christine is (as with most young ingenues in musicals) what you make of it.

Yes- you can go all "pretty-barbie-doll-soprano" about it - but I have never really pictured Christine like that. There are lots of great acting moments, especially in the second Act. Christine is confused, scared and yet enchanted by this Phantom. Is he her father or angel? A man?. She feel she owes him something for giving her voice freedom to soare, and yet he is destroyng her mentally step by step. There are many ways to play it.
The same goes for her relationship with her father - "wishing.." can be acted very strong and not sappy at all. She is a bit angry at him- why did he had to leave her? Why won't he let go of her? And at the same time she is not sure if the voice behind the mirror really was him.
And her love for raoul is a whole different story - her career- carlotta-childhood.. there is so much to play from that I can't believe people can call her one-sided.

It really depends on the performer portraying her. I will actually go as far to say that if you have a great actress, Christine is one of the strongest female characters in musical theatre.
I saw Gina Beck in March, and I was caught completely off-guard by her amazing acting! She acted the role with every fiber of her body, never a dull and "pretty-soprano"-moment. Suddenly Christine was the one in focus rather than the phantom- which I enjoyed a lot. She was not a dum girl being corrupted by an older man - she made som decissions too herself. Gina made me burst into tears several times doing the second Act - it's honestly one of the greatest performances I have ever seen! Just prooves what you can make of a role if you have the acting abilities to do it.

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Mon May 24, 2010 2:05 am
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Yakko wrote:
He still has to copy Michael Crawford's performance by contract requirement.


That's ridonkulous. Just out of curiosity, are there any other roles in the musical theatre canon that have a similar requirement in their contracts? :|

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Tue May 25, 2010 1:41 pm
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SomeoneLikeYou wrote:
Yakko wrote:
He still has to copy Michael Crawford's performance by contract requirement.


That's ridonkulous. Just out of curiosity, are there any other roles in the musical theatre canon that have a similar requirement in their contracts? :|


I have never heard about copying the original actor before.. I think it's more about blocking and original instruction really- I guess that's the same for allmost every blockbuster-show.
However the current London cast seems different from what Sarah and Michael did originally- Gina Beck has put a lot of new things into the role, small things that I have never seen anyone else do.
Are you sure that it says in the contract that you have to copy MC or SB? that doesn't seem realistic.

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Fri Jun 04, 2010 6:54 am
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Ahh... What a delightfully contentious issue.
Whilst it seems most are agreed that the acting of Christine's role is generally side-lined in favour of singing, I would move to say that this is almost always the case in all music theatre. Which is tragic indeed, as there are such great characters to be played which are inevitably portrayed as cliche, melodramatic shells of their potential, as it seems many erroneously believe that a "good actor" is one who can wave their arms around and produce meaningless crocodile-tears on cue.
If someone could show me a character in a musical played earnestly I would be eternally grateful. As it stands, musicals are full of great singers who think they can act as well, which is a shame, because all it would take was a little less focus on the music and a little more on the emotion to make them truly great. Genuine emotion.

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Sat Jun 12, 2010 7:24 pm
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