www.broadwayworld.com: The Phantom of the Opera celebrated its unprecedented 30th Anniversary in New York City on January 26, 2018. To mark the occasion, 30 designers were tasked to transform the look of the iconic Phantom mask -originally designed by Maria Björnson and realized by milliner Rodney Gordon - in their own aesthetic vision for a one-of-a-kind mask.
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Phantom of the Opera is an iconic production, and the Phantom’s mask is likewise an iconic representation of it. I love that they called in thirty designers to celebrate thirty years of performances on Broadway. This project is a wonderful way to appreciate the longevity of Phantom’s success, and to commemorate one of the most important props/costume pieces in the show. It’s also an excellent way for these designers to express their individual styles. Every mask is completely different, and they all look exquisite. My personal favorite is the mask titled “Consumed,” where artist Stephen Dweck used bugs (I believe they’re beetles) to create the image of a face being overtaken by a swarm. I also particularly admire the masks with intricate beadwork or lace. Tiny details like these undoubtedly took a long time to bring to fruition, and when they are made to exist together en mass are really fantastic to look at.
I remember reading the original article, that prepped readers for the release of these new, reimagined interpretations of the symbolic Phantom mask. It's remarkable that the show has been around for thirty years, and it seems like it has no intention of slowing down. The masks displayed are all very different. Even if they have similar color schemes, the textures, and messages of each of the masks is very unique. Some of the masks are just beautiful, some more conceptual, and some just fun. Two of my favorite masks are 'The Golden Daae' and 'City of Angels.' I think they represent the spectrum of how different all of these designs were. I love 'City of Angels' because, first of all I was trying to imagine the Phantom trying to sing his big song to Christine, but her having to look at a bright colored mask, with what looks like airbrushed detailing on it. There's no way she would forget who she was looking at. Also just the name of the mask left me thinking of the movie City of Angels, and I think that helps represent the Phantom story in an unique way. On the more technically, aesthetically appealing side of things, I really enjoyed 'The Golden Daae.' I loved looking at the gold and black, and how both colors exist simultaneously, but also the different textures created by the different fabrics and materials. I could imagine this mask fitting right into the world of the existing Phantom quite easily.
I remember reading the original article about two weeks ago and being so excited to see what the finished pieces looked like. All of the masks are incredibly unique and vary a lot between one another. I really enjoy seeing all of the different types of mediums and styles that the artists went for in their masks too. One of my favorites in the collection is “All I Mask Of You” by Eugenia Kim. I really enjoy the feathered look and how it makes me think of a raven or a crow, and it reminds me a lot of Howl from Howl’s Moving Castle. Also I love the play on words. Another one that I liked was “Golden Shadow” by Pamella Roland because of how elegant the flowing beadwork is. “Moon Flowers” by Chloe Gosselin is incredibly delicate looking and reminds me a lot of the Chinese lacquer artworks. The time and thought put into these masks is impressive, and I’m amazed by pretty much all of the ones I saw here. The rest of the article was really fun to look through just to see the intricate costumes from the musical.
Seeing what has been done to a single mask that is so recognizable in the theatre world and by so many outside of the direct theatre community is inspiring. Every single one of these masks keeps the original shape of the original mask but each of the artists has changed it in such a way that there is new meaning and feeling attached with the same mask. Some of my favorite masks are the ones where the colors and textures are changed completely from the original mask. My favorite one is Fracture Brilliance by Kendra Scott. And I believe I like this one so much because it is still recognizable as the phantom mask because of its shape, but nothing else about it is the same. The colors chosen are very playful and fun and yet the shards of the color are sharp and broken. I love the contrast that this mask provides within itself. Something I love about these masks is how every single one of them is recognizable as the phantom mask, and yet if one was to put any of these on stage instead of the original it would be a very different show and the audience would get very different interpretations and reactions to the Phantom.
Everytime I think of the Icon that is the show The Phantom of The Opera, I think of a part of it that is just as iconic on it’s own, the Phantom’s mask. In most of the iterations of this classic musical, they keep that mask the same. So when I saw the article by Genevieve Rafter Keddy, “Photo Coverage: 30 Designers Show Off PHANTOM OF THE OPERA Masks” , featuring designers own versions of the masks, diverging away from the iconic original. I loved seeing these 30 totally different interpetations of the same idea, different asthetic and materials. I enjoyed how Genevive also featured pictures of the artists and some full costumes for the musical. I wish the article had a bit more information on why this event took place and maybe more information from the artists on their pieces. I loved the masks: Tragedy/redemption, Phantom Punk, Fracture Brilliance. I equally loved, and am interested in the artists’ backstory of these peieces: Mask 4 Mask and The Archive 1993 Mask.
I found this article to be very interesting; I thought it was really cool to see all the different takes on the classic Phantom of the Opera mask. I find it to be intimidating to take on something that is so classic, as this mask is, because it is already so recognizable and seems to be “perfect” the way it is. When you have something that is so established, it seems impossible to create something that could change it or make it into something that gave it an entirely different meaning. That is, however, exactly what all these designers did. They took something that was “classic” and iconic and each one of them turned it into something new and interesting. They all pretty much kept the shape of the mask but they completely changed the look. On top of this, each mask is completely different; no two of them look alike in any way and I thought this really demonstrated how versatile one small item can be and how creative thirty different people could be. Each one has a very specific look and each one says something different. I loved looking at the masks because I thought together they demonstrated the power of art and creativity.
I am fascinated by how many of these designs are similar in different ways. Many masks incorporate lace, jewels, or feathers. This is not exactly what I would expect given the content of Phantom and how terrifying it is. I sort of understand due to the fact that Phantom is a very flowery and extravagant show for its time, what with the chandelier and the enormous ensemble and the opera-esque design. However, the Phantom's mask is extremely iconic, and the terrifying nature of the character of the Phantom is also very iconic. I think this is a beautiful project overall, but it seems to me like a lot of the designers drew upon the same aspect of Phantom of the Opera, which is its extravagance and beauty. That is very fascinating to me, personally, since that is not immediately where my mind goes when I think of Phantom, but I also just commented on an article about the scariest characters on Broadway, so maybe that's just where my head is right now.
I am truly interested at Broadway Cares and Equity fights AIDS, this article made me want to investigate more about these movements. I want to find out more about what they do and how they work. I would like to know how much money gets collected from the auction and the patrons responses to different masks. I love this initiative. I love how so many designers came together and donated their art for a greater cause. All the masks are so varied in styles and interpretations. It is amazing to see how this show is still going after 30 years, and it is still loved by the theatre fans all around the world. This is a great way to put our art to a better use. Not only by creating a wonderful piece of art, and getting a living out of it, but beneficiating and impacting affected sectors in our society.
Phantom of the Opera was the definitely a show that anchored me into the “Yep. This is what I’m going to help create for the rest of my life.” At the age of 14, I was on a school trip to New York City and we got the opportunity to see Phantom of the Opera on Broadway. I was completely and totally mesmerized by the show, I even bought one of the plastic masks after the show. After reading this article and other comments, it truly shows how this production can affect everyone in the same way. It is a true theater icon and touches the heart of theatre-lovers everywhere. The different designs of each mask shows the different interpretation of the meaning “behind it all” from each designer. Each design was intricate in its own way and makes the audience see the show in a completely different light. Such an iconic piece of the show that can recognized anywhere done in 30 different ways is fascinating and roots Phantom even deeper into my love for theatre.
I do think that this is a wonderful story. I especially like the fact that Phantom of the Opera, a show that enjoyed years of success on broadway, is finding a way to both celebrate that success in a unique way, and to give back to the community it comes from. The fact that the "one-of-a-kind creations will be up for bids during a special online auction from October 30 to November 30, [and that] proceeds from the auction will benefit Broadway Cares/Equity Fights AIDS," is something that is really important besides the celebration of the show's legacy and these artists creations. Yes, these creations are wonderful and should be celebrated for their design, but the creation for the auction and attribution to the Broadway Cares/Equity Fights AIDS is to me a lynchpin part of this celebration. Phantom of the Opera is a show many of us grew up with--I for one grew up to my parents listening to the sound track and watching the filmed versions, and it makes me happy that they are continuing to work to support the community instead of just resting on their success, no matter how well deserved.
This is such a nice way to commemorate Phantom’s 30th anniversary. Being such an iconic show, it’s nice to ask artists to take something so well-known and transform it into their own creation. All of the masks were beautiful but so different, some even seeming to have no connection the meaning of the original.
The Phantom of the Opera is on of those shows that really got me to fall in love with theater. I had gotten my mom and I tickets to the tour in Tampa for Christmas on year, and I remember being utterly amazed by the scenic elements of the show. To call it a “set” doesn’t seem to do it justice. The colossal moving parts and the stairs that came out of the side of the building seamlessly made me look at my mom and say, “I want to make stuff like that.” Given how close the show is to my heart, it’s nice to see how much time and effort and love was put into honoring this anniversary.
I thought the concept of allowing thirty well-known designers to re-create a symbolic staple of the theater world was extremely bold at first. Would it feel competitive, and would any be able to compete with the original? After seeing all of the photos, though, I was surprised by the range in the masks that resulted. As someone who tries to follow the fashion industry and is familiar with many of the designers included, I was slightly disappointed to see that enough of them took the same base mask and personalized it with motifs and embellishments representative of their brand aesthetic. On the other hand, many of them took the original design of the mask and just made it more dramatic and elaborate. This wasn’t a publicity opportunity, but a truly creative one that transcended art forms, and I wished more of the designers took that more seriously. The masks that actually stood out to me came from Paul Marlow and Christian Roth, who to me transformed the mask in a way that surely changes the narrative and character of the show.
I absolutely love this idea. It reminds me a lot of Guess Who's Coming to Dinner, and I think that using the mask especially, because it has such a strong story already attached, it a great exercise in the transformative powers of colour, texture, and shape. The one that resonates most with me is the on that almost makes the mask into a purse or bag. To me, that transformation is so drastic and changes the meaning of the mask more than any other, in my opinion. I also thought that the masks that maintained the shape and texture of the original, but played with transparency, colour, and pattern could all have been from parallel phantom universes, in which the character has a different personality according the each mask. I love explorations like this because it allows us to see what just a little or a lot of changes can do to our perception of both character and story.
I’m so glad that they posted photos of these masks. I remember reading the original article that announced the event and I was so sad that I wouldn’t be able to see the masks up close. Anyway, I love all of the masks and what they represent. These designers and artist took an iconic piece of Broadway history that represents 30 years of Broadway and brought in their own ideas and styles. It’s the perfect combination of the 1980s and 2010s. And while Phantom of the Opera is not necessarily struggling, this exhibit is helping keep Phantom relevant and up to date by reminding us of what Phantom means to us. My favorite mask of the ones in the article is “Golden Shadow” by Pamella Roland and Pamella Devos. I love the darkness with a little bit of light. It makes me think of the little bit of lightness that creeps into the Phantom’s heart and the goodness that he has towards Christine.
I truly cannot believe that Phantom has now been on Broadway for over thirty years. It's such a huge staple of the theatre world that at this point for many people it's the first thing they think of when people mention musical theatre (though maybe Hamilton has taken that title over the past three years). The Phantom's mask acts as both a plot device in the show and an iconic representation of the show itself, so I think that this project is a really interesting way to celebrate the show. I really loved the masks that brought color into their designs, as that's something that is in direct contrast with the actual mask of the Phantom. Particularly I really liked Rebecca Minkoff's "For the Love of the Night". Whether or not you like the actual show you do have to acknowledge that it has left a lasting mark on the theatre industry, and this project reflects that very well.
One thing I LOVE about costume design is the ability to take iconic works of art, like the Phantom of the Opera, and interpreting them in different ways. When a piece of art becomes iconic enough, you can pretty much interpret it in any way you want to portray different messages about the text and the world around us. I love doing this with Shakespeare's work, in particular, because it's all still so relevant. I love this display of the different Phantom masks because it's pretty much a display of a bunch of examples of my favorite part of the theatre. I think it’s great that they brought all of these masks together to show society how important it is too look at art in as many different ways as they can think of. Theatrical productions come with so many different layers of meaning that you literally HAVE to keep looking deeper and deeper into them to really get any sort of “full” experience – and I think that’s beautiful.
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