Source: http://www.playhousesquare.org/buzzextra/phantom/talking.html

Buzz Extra spoke with David Hansen, the Advance Stage Manager for THE PHANTOM OF THE OPERA National Tour. He has been with PHANTOM since the first national touring company in 1989. Mr. Hansen has also worked on large shows in New York, Toronto, Los Angeles and Chicago. He has traveled with the National Tours of Wicked, Joseph and the Amazing Technicolor Dreamcoat, Miss Saigon, Les Misérables, Singin’ in the Rain, 42nd Street, Fiddler on the Roof, and Hello, Dolly!

Cast members of the Broadway National tour of Phantom of the Opera will perform "Songs for the Cure" on August 16 at 7pm at the Hanna Theater in Playhouse Square. Proceeds will go to the Susan G. Komen Race for the Cure for breast cancer. Cleveland's own Kevin Joseph Kelly emcees. Tickets are $15 in advance, $20 at the door. Information is listed on the Playhouse Square website.

Arrive early for a silent auction that will include one-of-a-kind Phantom memorabilia.

Music for this evening is chosen by the cast and may contain mild language and content.

"http://www.playhousesquare.org/default.asp?playhousesquare=58&objId=973""

Source

The music of the night will begin playing again in Atlanta soon, for what could be the last time at the Fabulous Fox. The Phantom of the Opera, the smash hit, mega-musical that has become a worldwide phenomenon and a piece of musical theatre history will make its last stop at Atlanta’s Fox Theatre June 30 – July 18 before closing this November. I had the pleasure to talk about the tour and this beautiful show straight from the mouth of the Phantom himself, Tim Martin Gleason.

Tim, thanks so much for taking the time to talk with me today. I am excited to hear about the show and I know our readers will be too. We are really looking forward to Phantom’s return to Atlanta!

My pleasure.

Tell us about yourself. I understand you have a very interesting story of how you got into the business?

Well, I never thought in a million years of doing this for a living, so I never went down that path as I grew up. I went to school for psychology in college, only because I found it interesting. I didn’t quite know what I wanted to do with my life so I got my psych degree. I went off into business because that is what you did. I had been singing the whole time, in church choir and doing plays in high school and college, but always just for fun. A couple years out of school I was sitting in a dead end job, miserable and I decided I needed to do some theatre again. I figured that was what was missing in my life. So I started auditioning for community theatre, got a few roles and the bug bit me there. It was in New Jersey, so it was connected enough to New York where some people knew some people and they were like, “Hey! you should go.” So I started sticking my foot in New York a little bit. I was singing in a piano bar late one night and there was an agent there and that’s how it all started.

And this is the “farewell” tour of Phantom or sorts, right? How much longer does this tour have left?

The tour itself has been going seventeen years non-stop and they just decided a couple months ago that it was time to close. I think what they may want to do is shelve it for some time, and maybe redesign it to make it a little smaller. It is so expensive to move, with twenty year technology and it takes nineteen trucks to travel the show. With the economy and such, it just doesn’t sell like it used to, so they looked around and said maybe now is a good time to do this. So yeah, the tour is coming to a close in November and its kind of historic.

Does that weigh on you and the rest of the cast knowing you are bringing this phenomenon to a close (at least on the road?)

Yeah, I think it’s a little bittersweet. They told us about four months ago, which is nice. We had a nine month notice, which is more than you could ever ask for, so that was really great so we could process it and enjoy it. I am sure it will get sad at the end, but at the moment it’s business as usual.

And you have a very personal connection to the show, being the actor who has played Raoul the most, correct?

I believe it’s the most in American history, it could be the world. I don’t think they did the research outside the U.S.. But, yes in America I have done the most Raouls.

Let’s talk about that for a moment. How hard is that playing a role, like Raoul day in day out for so long and suddenly switching to another (Phantom). Was it more challenging or less than starting in a role completely fresh with no connection to the show?

Well the whole time I was Raoul I was a Phantom understudy, so for seven years I had been rehearsing the role of The Phantom. By the time I took over the role I had probably done it about 150 times. So, when I took over it wasn’t a challenge at all, it was the obvious progression. The challenge came when on a given day if I had to do Phantom in the afternoon and Raoul at night, that could get confusing, but it kept it fun and exciting.

Now we all know the Phantom is a very iconic role in musical theatre, some might even say the most recognizable. What’s it like stepping out on stage each night in such a historical role in theatre history?

It’s quite an honor, it really is. I don’t mean to be cliché, it truly is. It never slips past me the fact that I have been given this gift, to play this role. At first it was a little intimidating, but I got over that pretty quickly and then it turned into respect knowing that you have a job to do. And then, if you are in the right frame of mind and in a good place, that’s a good thing and something you look forward to. It’s very validating as a performer to be able to play this role and to be able to sink my teeth into such deep complicated emotions.

How do you make a role like that your own? How do you add your own personal stamp?

Well, the big-wigs, the people that teach you the role, the bosses in NY who keep the show in the shape it is in, all the way up to Hal Prince who originally directed it, they are always very encouraging of you making it your own. You don’t sit there and rehearse and they give you an outline and say you have to follow it. Certainly you have to stay within the parameters of the story, but the role is a character role and there is so much you can do with it. They let you take it wherever you feel the need to take it and they push you back in bounds if you go out. I just follow what seems honest. That’s really the way I make it my own. Everyone has had different experiences in life so their honesty to the role is going to be different. That’s kind of how you make it your own, you don’t try to follow what you have seen before, you just try and follow the truth and for each person that’s different.

Right, and even though people know they are dealing with a character who is a man, sometimes they forget the potential for characterization and personalization that would be with any character.

Sure. Especially with a role like this where they come to expect certain things. Most people don’t go to the theatre like they do with Phantom, where it’s like comfort food. They know what they want so they better get what they want or they are going to be disappointed, whereas if you go and see a new show and you have no expectations, you go in with an open mind. With Phantom as much as you make it your own, if you’re not honest and you’re not sincere the audience will sniff that out in a second.

So, I have to ask about the makeup. I know in the original, Michael Crawford spent something like 2 – 3 hours in makeup before the show. Do you go through that routine as well?

They have streamlined it a little more. It takes about an hour now. They do a lot of painting prior to me sitting in the chair. They will paint the pieces, whereas with Michael they would put them on him and then paint. So, it takes about an hour, but it’s a good hour, because you have to sit in a chair and just kind of relax. It gives you a chance to focus and just start your breathing and get ready for the show. It is like a built in meditation to get ready for the piece which is a really good thing.

So, Phantom has been your life for so long, will it be hard to say goodbye?

Yeah, there will be a couple different emotions. One, I have been gainfully employed for almost nine years with this show, so going back to New York and hitting the pavement again auditioning will be difficult. But, also emotionally it will be a little difficult to not be identified with it. It will be good to move on, to find yourself above and beyond what you are doing on the stage. Sometimes that gets a little confusing, so it will be good to flush that out and find myself again. So, yeah, it is exciting and I am looking forward to new things, but it will definitely be difficult.

So, The Phantom is probably a dream role for many actors. Was it something you dreamed of when you were starting out as well?

No, not Phantom. The shows I always wanted to be in were Les Miserables and Miss Saigon, I never thought in a million years I would play Raoul let alone the Phantom. Chris in Saigon, I have been in for it so many times, and Marius and Enjolras, all those roles. Those never quite panned out, but I got close a couple times. No, I never thought in a million years that Phantom would be on the radar.

What’s the best part of playing the role? What do you look forward to the most each night?

Well its kind of like a fast moving train. You get on stage and you have to grab onto the train and hold on. All you have to do is just stay on it. As exahusting of a role that it is, it’s kind of easy to just give in to the truth of the emotion. So I look forward to getting out on stage, holding on and seeing where it takes me. It’s kind of a freeing feeling to know you don’t have to work that hard to find the emotion. That’s a shout out to the writers because it’s pretty easy to tap into those emotions.

Having been a part of the show in a number of settings (New York, Las Vegas, On Tour), I am curious if there are differences between New York audiences, Las Vegas audiences and audiences on tour?

I think it is a regional thing, to be honest. In some cities people are so respectful of theatre, they are so quiet that you don’t think anybody is out there, and then at the end of the show they go nuts. Some they are laughing and clapping the whole way, like it’s a rock concert. It’s all very regional. Las Vegas, you never knew what you were going to get. You never knew how much alcohol was involved, with the audience that is. New York is Broadway, so that’s a very, very boisterous audience, being in New York. It’s always different, every city is different and takes a little time to get used to, but it’s regional. Just like different accents and different personalities, it comes out in how the audience reacts.

So what’s next for you? What’s in store for you once the show is over?

A bottle of vodka, some orange juice and maybe a trip to Hawaii, because I will be on the west coast. I say that tongue in cheek, but I am sure I will take a bit of a break. But it’s hard, you can’t really plan your next gig on the road, so I will have to go back to New York, but who knows maybe I will stay in LA and give that a shot. Most likely, I will go back to New York and I will start from scratch, but with this role on my resume, which hopefully, will open some doors.

Is there a dream role that you would one day like to play?

I want to start originating roles. When I was in New York before Phantom, I originated a couple roles in some workshops, and that’s what I want to get back to doing. So, the dream roles haven’t been created yet. I would like to do original work. Collaborating with writers and composers is a great experience so I want to get back to that kind of thing.

And have you ever been to Atlanta, or will this be your first visit here?

I have been to Atlanta, but I have never played Atlanta. I have a good friend from Greenville, SC, and we have come down to Atlanta a couple times. So yeah, I have been there a couple times.

Tim, I really appreciate you taking the time to talk with me today.

Thanks!

In an extraordinary move, Andrew Lloyd Webber's Really Useful Group launched a public attack on the Phantom of the Opera fandom, as the sequel Love Never Dies continues to do as badly as fans predicted.

An article in the Daily Telegraph claims that fan opposition to the sequel is "an orchestrated hate campaign run by a handful of obsessive Phantom fans". It then goes on to specifically name Jeff and Rebecca Timmons as the "architects" of this campaign, although neither started the campaign themselves.

The Timmons and the Love Should Die team have posted their own statement, which reveals, amongst other things, that the Telegraph's journalist misquoted Jeff in its attempt to portray phans as deranged obsessives. And of course, anyone who's been in the fandom for any length of time knows that the anti-sequel views have been strongly held by many fans from before Forsyth's Phantom of Manhattan was even released.

Additionally, the official Love Never Dies facebook page posted a link to this article, prompting huge numbers of comments from fans outraged by the article and defending the Timmons, as well as fans making personal attacks on them. All comments in defense of the Timmons or against the sequel are, of course, being deleted.

This all suits the RUG rather well - the show flops, blame the evil obsessive fans, not the fact that it's shite. All I can say to this nonsense is CONGRATULATIONS, LOVE SHOULD DIE team. PHANTOM SALUTES YOU!

I would also like to note that Gaston Leroux's estate has itself expressed its opposition to the sequel. It's not just us fans, oh journalists. The family of the person who created the story and characters - a story ALW now bashes at every opportunity, in spite of the millions it's earned him - also think the sequel is an abomination.

Do follow Love Should Die on Facebook and Twitter, and check out their awesome merchandise too.

With the arrival of Andrew Lloyd Webber's Love Never Dies in London's West End, we catch up with some of the ladies who have graced the stage in the classic original, The Phantom of the Opera, and find out a bit about the women behind the man behind the mask.

And what a line-up we have! Our ladies from the past are Rebecca Caine, who took over the role of the heroine Christine from Sarah Brightman in London and went on to become the original Christine in the Canadian production, and Margaret Preece, who played the role of Carlotta in the West End in 2000, and went on to provide the voice of the opera Diva in Joel Schumacher's 2004 film adaptation. Our quartet of incredible talent is completed by Gina Beck (Christine) and Rebecca Lock (Carlotta), who are currently wowing audiences on a nightly basis at Her Majesty's Theatre.

When did you first see Phantom and how did it make you feel?

GB: I first saw Phantom in Edinburgh in 2000; my then-boyfriend bought us tickets as he was at university there. They were in the nosebleed seats and sadly I had forgotten my glasses, so I couldn't see much! I loved the music though, and the way the Phantom and Christine walked along the ramps on their way to the lair, very exciting!

RL: I saw Phantom for the first time in 1997, I think; I was in Martin Guerre at the time. All I really remember was that I wanted to wear the frocks and have Christine’s hairdo!

MP: I saw it in the early 90s with my parents at a midweek matinee - I was singing with English National Opera that night at The Coliseum and thought it would be great fun to play The Diva, so was thrilled when I eventually did!

RC: I saw a matinee right after the show opened and thought, ‘That’s for me!’ Legit soprano roles don’t come around often!

Three words to describe your character and the way you choose/chose to portray her...

RC: Back at the beginning of the show we were very much made to play her only one way. I found it releasing to do the show in the Canadian production after I had been in the London show, and make a fresh start with Hal, Gillian and the rest of team. I was given more freedom than I had the first time I did it, and was allowed to play it more passionately than had been the norm up till then, which I think comes across on the Canadian cast album. Now as you can see from Gina's performance, it's not a problem to play her with a thought process and a wider range of emotion.

GB: Impressionable, passionate, exuberant.

RL: My Carlotta is…selfish, luscious and vicious!

MP: Real, passionate, vulnerable.

Oooh, quite a mixture there…that’s what I love about theatre! What is/was your favourite song to perform from the show and why?

MP: ‘Prima Donna’. Fab piece of writing by Andrew Lloyd Webber! Exhilarating to sing, and it encapsulates her operatic nature and her commitment to her.

RL: I’m with Maggie on this one. ‘Prima Donna’…it’s so diverse vocally, I think I go through every emotion possible whilst performing it. It’s difficult to sing but it’s exhilarating....a mini play all in itself!

GB: Wishing You Were Somehow Here Again. It's great to sing because it builds and builds to a big crescendo, then pulls back at the end into silence, and Christine;s left to make her desperate plea to her Father… "Help me say goodbye".

RC: I really can't remember. I think as I played the role for such a long time, nearly a year in London and two and a half in Canada, it was more to do with what felt vocally comfortable. The role, rather like the role in the sequel, sits low for a soprano. It's almost a mezzo role but then one has to fly up to notes like the top D if you do the alternate cadenza. I loved floating the word ‘soar’, which may be an A? Angel of Music too for the same reasons. I found it hard to keep the role in my voice as an alternate, was easier six times a week. I was a very high soprano back then.

If you could play any other role in Phantom, male or female, what would it be and why?

RC: Can’t see that happening!

RL: Mmmm that’s a toughie…I’d have to say the Phantom. He’s complex, and I like complex. Not sure about the makeup though...my Carlotta eyebrows are annoying enough to endure!! Although, I’d like the tux!

MP: The Phantom, of course! He's so malevolent and hypnotic! I should love to be in that harness above the stage venting my spleen! What fun!!

GB: Definitely Carlotta. After having a little taste singing Carlotta's part in Prima Donna at a concert recently, I experienced how thrilling it is, and what beautiful melodic lines that song has. Also it would be great to play some of the comic moments Carlotta has.

Phantom: Murderous or Misunderstood?!

RC: Both.

RL: Agreed, I like to think of the Phantom as a mixture of both. Yes, he's had a hideous life and you do feel for him on lots of levels. However, he is a manipulative, driven, psycho killer!! Which, let’s face it, is MUCH more exciting in a story!!

GB: Yes, I agree with both Beckys…Is it nature or nurture? Is he murderous because of the way he's been treated and how he's been misunderstood? Or would he still have been a psycho without the facial disfigurement? I guess we'll never know!

MP: I think he was misunderstood in the past but he is now so bitter and twisted that he is murderous. He is so full of bile and hatred towards his fellow man that he has only glimmers of compassion and kindness left in him, even towards those who could care for him like Giry and, of course, Christine.

So then, ladies…Team Raoul or Team Phantom?!

GB: But of course Christine is both! Personally, though, I would choose Team Raoul, as I'm more of a glass of champagne type of girl than a shot of absinthe!

MP: Difficult one! Raoul becomes the gallant hero and has to save Christine from The Phantom's cruel and vengeful clutches, which makes him a hero - but you can't help feeling sorry at the end for the unhappy and lonely Phantom.

RL: Team Raoul! Better hair!

RC: Team Meg.

Team Meg, eh?! Well, that might explain some of the tension between Christine and Meg in the sequel…Speaking of which, Carlotta isn’t in Love Never Dies; what do you think she’s up to these days?!

RL: Carlotta will be married to an obscenely rich and powerful man, spending her days lounging on cushions with her poodles eating chocs.

MP: I hope she is still singing her heart out on the operatic stage! I saw her as a fighter with guts, who cared deeply as a performer and was too proud and determined to just give up, in my eyes!

What’s your favourite Phantom mishap to date?

MP: Gosh! I had loads of personal mishaps, mostly involving falling over or having trouble with my costumes! On one occasion I entered the stage for Prima Donna with such energy and speed that I slipped on the wet floor and shot to the front of the stage on my rear end still singing my heart out! Quite an entrance! I also once did virtually the whole of Hannibal with Piangi;s foot caught in one of the hoops of my very heavy skirt, so we had to perform like Siamese twins for most of the scene! We were both trying not to cry with laughter, and he was a real giggler!

RC: Usual stuff. Prime Minister’s security walkie-talkies making the boat go on a rampage. Flashing a high member of Thatcher’s cabinet outside the VIP room during the quick change during Masquerade. Punjab lasso not working in the final lair scene, and Raoul miming an imaginary force field. Finding a pair of Degas’ girl knickers on the floor in the final lair scene. Colm (Wilkinson) picking up a dress shield in the curtain call and shortsightedly presenting me with it like a flower. I never had the famous ‘Think Of Me’ skirt malfunction, however!

Gosh! Gina, have you ever flashed anyone?!

GB: Hmm, I flash the rest of the cast regularly backstage during my multiple quick changes, it;s just something you have to get used to in this business! Luckily I've never had any serious onstage wardrobe malfunctions…unlike some!

RL: Oooo there have been LOTS of mishaps! Most things for me go wrong in Il Muto (the opera scene): Wobbly wigs, tripping up…my skirt came undone the other day! I had to hold it up for the whole scene…and it’s HEAVY! Gina Beck often treads on my toes in her over-eager spinning-out-of-skirt moment...always a joy!

GB: Err... Often, Becky? Often?! Huh! Once or twice maybe…but hey, come on, they're only size 4s! Ha ha!

Source: "http://westend.broadwayworld.com/article/Ladies_of_Phantom_Past_and_Present_20100525""

April Fools'


Dear Phantom members and addicts,

It is time to announce our newest project LoveUnDies.Me. Soon all of the content from this site will be moved there. Expect lots of new features, goodies and interviews. You will also get a chance to have an unprecedented look behind the scenes of some of the international casts of Love Never Dies that will soon start rehearsing.


In the meantime you can sign our guest book or send us an email.

We are very excited about this new project as we believe we should continuously try to reinvent ourselves to keep you satisfied. And because our Love Never Dies. No matter whether we are stranded on an island or some of our admins have run away from home to join the circus. (Just kidding ) No Matter What.

Please do not forget to follow rule 34 both on our forums and on our guest book.



Ganbarimasu,
Haruka

The show can't go on. Though the sequel to the record-breaking Phantom of the Opera, the £10m production of Love Never Dies, is possibly the most anticipated musical of all time, planned previews suffered a last-minute postponement.<br /><br />Producers admitted last night that if the lavish Andrew Lloyd Webber production was to go ahead it would be with "an exhausted company" and perhaps "a show still not in a technically safe and secure state".<br /><br />The cast has already recorded an album, and a clutch of celebrities have been treated to a taster, but after 18 months of rehearsals a letter sent out to ticket holders admits that the show has been "knocked off course by technical demands".<br /><br />The delay adds to increasing discontent with the number of big shows – past offenders include Cabaret and Billy Elliot – postponing previews due, in what Mark Shenton, a critic for The Stage magazine, describes as a "cavalier disregard for the paying customer... selling tickets to performances they are not ready to deliver".<br /><br />The setback came as Lloyd Webber, 61, spoke of his relief at his all-clear following surgery for prostate cancer.<br /><br />Hollywood-style special effects – such as a huge falling chandelier whizzing over the heads of the audience – helped to make Phantom so popular, but it is thought that the new show may be stumbling over similarly ambitious plans, including the creation of a life-sized automaton of the heroine, Christine Daaé.<br /><br />Backstage at the Adelphi theatre last Wednesday, the narrow corridors were bustling as all the crew strove to pull the show together in time.<br /><br />"We are in technical rehearsals now, so we're working from two until 10, which can get a bit tedious," said Ramin Karimloo, 31, who plays the Phantom in Love Never Dies. Iranian-born Karimloo insists that special effects will not play a big part in the sequel. "The story is the star of the show, not the [effects]," he said.<br /><br />West End musicals don't have much of a tradition of sequels, and their film counterparts are often criticised as pale imitations. Nevertheless fans have spent more than £8m on advance tickets for the new show.<br /><br />"I'd compare it to Godfather II; I'm very optimistic. Of course there is pressure, but with all that scepticism, the tickets are still selling out," Karimloo said.<br /><br />The production, which premieres on 9 March, picks up 10 years after Phantom left off. The scene has shifted from the Paris opera house to New York's Coney Island – home to circuses and freak shows – and the once-shunned musician is celebrated for his success.<br /><br />The original Phantom, which has been running since 1986, is thought to be the highest-grossing production of all time, making £3.7bn worldwide. Love Never Dies could prove a similar money-spinner for Lloyd Webber.<br /><br />But the postponed preview is not the only problem dogging the show. Katherine Jenkins is to release her version of the song "Love Never Dies" a week before the show's star Sierra Boggess's single. Despite this, and the technical difficulties, Boggess, 27, insists she is unperturbed: "I'm not reading anything about it. That's helping my anxiety level."

The POTO Group is the official youtube channel for all phantom fanatics who wish to send videos/be sent phantom videos that members of The POTO Group have created (extremely similar to the JB Group).

This is a video sharing group where members will send their old/new videos to me and I will then send those videos to everyone in the group via youtube. Persons who are sharing their videos will benefit since they will receive more ratings, comments on their videos and other members of the group will benefit as they will be able to view diverse phantom fan videos without having to pry youtube themselves.

Send me your phantom videos if you desire them to be shared with every member of The POTO Group. You can either send me a message, attaching the video in the process, or you can find the video, and send me it by clicking on 'share'.

Here is the link (you will be immediately added as a friend).

http://www.youtube.com/user/ThePOTOGroup

The Pittsburgh Cultural Trust, Pittsburgh Symphony, and Broadway Across America, proudly announce the return of Andrew Lloyd Webber's THE PHANTOM OF THE OPERA, directed by Harold Prince, to the Benedum Center from August 25th through September 19th, 2010, as a 2010-11 Season Special.

Single ticket prices will soon be announced and will go on sale Monday, May 10, at the Box Office at Theater Square (655 Penn Avenue between Sixth and Seventh Streets), online at www.pgharts.org or by calling 412-456-6666. Group orders may be reserved now by calling 412-471-6930.

With some of the most lavish sets, costumes and special effects ever to have been created for the stage, Andrew Lloyd Webber's THE PHANTOM OF THE OPERA directed by Harold Prince traces the tragic love story of a beautiful opera singer and a young composer shamed by his physical appearance into a shadowy existence beneath the majestic Paris Opera House. Adapted from Gaston Leroux's classic novel of mystery and suspense, this award-winning musical has woven its magical spell over standing room audiences in more than 100 cities worldwide and is now longest running show in Broadway history. PHANTOM returns to the Benedum Center to take your breath away.

For more information, visit pgharts.org.

(reported by Broadway World.com)

Tamra Hayden, who played Christine opposite Brad Little, has just released a new CD, I Believe in the Fire. Tamra has performed on Broadway in Les Miserables and Cabaret, and Off-Broadway in Jacques Brel is Alive and Well and Living in Paris. She has also toured throughout the US as Christine in The Phantom of the Opera, Cosette in Les Miserables, and Hodel in Fiddler On The Roof. A versatile singer, Tamra has performed Broadway Pops with The Nashville Symphony, Palm Beach Pops, and Charlotte Symphony to name a few. Tamra has produced two CDs: A Day At The Fair, a singer/songwriter album of original tunes; and I Believe In The Fire, a collaboration with Angus Mohr, with contributions from Art Halperin, Gusty Christensen, Mark Brown, and Xander Nichting.

You can listen to Tamra's music on this page using the embedded player. "Song for an Accident" is one that we particularly recommend to all who love Phantom.


In addition, Tamra regularly performs live in the virtual world of Second Life, with her avatar Tamra Sands. Can't get to the theater to see your favorite shows? You can hear Tamra sing live from the comfort of your home. To find out when she is performing, just search for her profile within Second Life; her upcoming shows are listed there!


SECOND LIFE INFO: Joining Second Life is free and easy, click here to sign up. That link will take you to the new user orientation run by Ayesha, one of the owners of this website. If you need extra help, send Ayesha Lytton an IM within Second Life, let her know you're from PhantomoftheOpera.com and she'll be happy to assist you.