What does that mean in practice? It means that my performance depends on my mood and on how I’m feeling. Sometimes he’s a more aggressive Phantom and sometimes more melancholic—and sometimes I cry like a baby! I have to ask about your fabulous name: it sounds like something out of an adventure movie. [Laughs] It’s real, I can tell you that, and not made up! When I was a kid I hated it because it was so strange and unique and I didn’t want to be unique. No kid does. But now I love it. It’s very theatrical. Would you like to play Broadway? Absolutely, though I am the first to realize that I am a bit limited there and in London because of my accent, so I cannot dream high. I would need to find someone who could ignore the fact that I’m not fully British or American but I hope that happens because I would really love to create a role or do a revival that I start. What about Hal Prince’s time with you was especially helpful? He really helped me understand the Phantom’s movements, which themselves are so iconic. Before I met him, I found myself not being sure why I was doing this or that movement, but of course [Prince] has a reason for everything that’s on that stage—which in turn frees you up as a performer so that you’re not just copying someone or doing something you’ve been asked to do. You now seem pretty settled in London. I am! My wife had a business in Spain, where she is from and where we met doing Jesus Christ Superstar, but now we have fully moved to the U.K. and our son, Gael, was born here. He’s now two. What else did you see on that trip? Oh, all my favorite musicals: Les Miserables and Jekyll and Hyde, which I would love to do, and Miss Saigon, Rent, Contact, the original Aida with Heather Headley—that was incredible. They have certain themes in common. They share one topic, which is love. The Phantom of the Opera is, of course, a love story about a person who’s rejected and how Christine makes him who he is, and Les Miserables is all about love and redemption. Love is what makes Jean Valjean change his life. You’ve only been resident in London a few years and already you have played two of the defining roles in musical theater. It still amazes me when I look at the journey I have been through. I came here to do Les Miz and ideally they wanted me to stay another year as Jean Valjean, but I was interested in auditioning for the Phantom. Thank God they gave me the chance. I’ve got the best job in the world! Jean Valjean is a far larger role, though, in terms of actual stage time. Valjean is just incredible and you need to be completely trained and prepared; the role challenges you in every way. But with the Phantom, I feel as though I never stop even though I may not be on stage. Waiting for my appearance or getting ready to go on is a lot of work and you need to be in the zone, so it’s not like you can be backstage hiding or reading the newspaper [laughs]. The last half hour of the Phantom is like doing three of Jean Valjean’s “Soliloquy.” It’s exhausting and demands all your attention. Do the two r make similar demands on you as a performer, or do they feel quite different? They’re completely different. I can speak mainly about my characters but the challenges are completely opposite: Valjean reflects more of my own personality, even as far as the vocal range and how it’s written, whereas the Phantom is a total challenge because I’m playing a murderer, so I’ve got to go to that place every night. There seem to be quite a few prime musical opportunities for Latino performers from whatever their background—one thinks of Nine and Kiss of the Spider Woman, just for starters. Yes, I could do those. And the funny thing is that I visited New York before I ever came to London. My first and only trip to New York was in 2000 when I was 21 or 22 and it was there that I first saw the legendary Phantom of the Opera, though I couldn’t imagine myself playing the Phantom at that point—just maybe Raoul. View Comments Geronimo Rauch not only has one of the best names on the West End, but the Argentinian actor has also had two of the best jobs. He first played Jean Valjean in Les Miserables at the Queen’s Theatre before shifting British mega-musicals to take on the equally iconic part of the lovesick anti-hero of the title in The Phantom of the Opera at Her Majesty’s Theatre, where he is signed through August 2015. Broadway.com caught up with the charming recruit to the ranks of London leading men to talk musical mainstays, wearing a mask and his dream of originating a major role one day. When you exit the stage door at Phantom, do people sometimes not recognize you without your mask? Yes, that happens many times! I say to them, “Hello, I was the Phantom; did you enjoy the show?” In fact, it feels like a complete freedom for me to play a part where you don’t see yourself reflected back at you because it means you can do anything you want. Is it frustrating coming into long-running shows and perhaps not encountering the original creative team? Except that I have! I had the privilege on Les Miz to work with [co-director] John Caird, and we had [Phantom director] Hal Prince over for the tech run, which was just amazing.
To access this article REGISTER NOWWould you like print copies, app and digital replica access too? SUBSCRIBE for as little as £5 per week. Would you like to read more?Register for free to finish this article.Sign up now for the following benefits:Four FREE articles of your choice per monthBreaking news, comment and analysis from industry experts as it happensChoose from our portfolio of email newsletters
Preliminary data from Drewry’s Container Trades Statistics (CTS) indicates that world container traffic surged by 10% year-on-year in the first quarter of 2017, fuelled mainly by spikes in imports and exports from China.The CTS numbers point to intra-regional trade as the primary driver of growth with volumes up by 17%, versus 7% for deep-sea traffic.Nearly half of the extra 2.6 million TEU volumes handled in the first three months of 2017 came from trade with its neighbouring Intra-Asia partners, while domestic cabotage and trade with North America each contributed another two-tenths of the additional volumes.The CTS data also confirms the large tilt towards Chinese imports, with traffic from Drewry’s sample of trading regions increasing by staggering 28%. Exports to the same regions increased by 11%. While the rebound in container volumes appears to be broad-based it is clear from its well above-average growth that China is very much at the epicentre, Drewry said.The small sample of carrier liftings information that has been published alongside first-quarter financial statements goes some way to corroborating CTS’ big-growth story.The average volume growth for the six carriers in 1Q17 was 10%, with a wide spread between the slowest growing company Zim (4%) to the fastest growing line MOL (17%). Between them, the six lines operate about 30% of the world’s containership fleet.It’s fair to say that the few, if any, saw this extreme growth coming, Drewry said. If confirmed, a quarterly rate of 10% for loaded container traffic would far exceed anything seen since 2010 – when demand rebounded sharply following the crash of 2009. Over the past two years 2015-16 the average quarterly rate was a mere 2.3% despite some uplift from 2Q16 onwards.Looking at the remainder of the year, Drewry says it is still to early to make any projections seeing that the container trade has seen its share of growth spurts that have fizzled out and regressed back to the downwards trend soon enough, although admittedly none in recent years have been close to the same magnitude as the latest trade lane numbers suggest.The first quarter is traditionally the slowest quarter in the year as things quieten down after the rush to get goods in stores for the Western hemisphere holidays. Since the start of this century the first quarter on average accounts for 23.4% of the annual tally in world container traffic.However, that ratio has been very consistent in recent years so there really is no identifiable trend shift to support the theory that some shipments were brought forward, although Drewry is not discounting that possibility. Some shippers may have wanted to move goods ahead of new and higher contract terms and anticipated spot rate increases, the consultancy said.Drewry says that there is still some cross-checking to be done, but it does seem that demand growth was much stronger in 1Q17 than previously anticipated and will necessitate an upgrade in the consultancy’s full-year forecast.
Sorry Liverpool fans! You can choose to believe Jurgen Klopp’s appointment is the be all and end all to your club’s problems ..But if you are thinking along these lines ,check this! .The reason why Liverpool keep finishing just outside the top four is because there are better-players (Head to head )in clubs ahead of them. That is the state of affairs at present. Klopp is and will be stronger in many areas than Rodgers, but he’s unlikely to persuade the Fenway Sports group to spend the sort of money that their competitors spend on recruiting talent.So there is more to Klopp succeeding at Liverpool than just his charisma.Click Link to watch pundits delve deeper into the Klopp- Liverpool love story on George Addo’s fast paced online video podcast-Touchline-.E Chat segment was graced by Celebrity musician Desmond Black (D-Black)..