Operafantomet: phantoming

Do you mean the bow Christine takes after TOM, with the turned perspective? Sure! Here's some favourites.

Emilie Kouatchou, Broadway:

Samantha Hill, Broadway:

Sierra Boggess, Broadway:

Trista Moldovan, Broadway or US Tour:

Harriet Jones, West End:

Lina Mendes, Sao Paulo:

Sarah Brightman, original West End:

Valerie Link, Hamburg:

Holly-Anne Hull, UK Tour revival:

If you with "deshabillé" mean the dressing gown, the peignoir... I think my main photos is Rosemary Ashe in West End, who can be seen in stays/corset/bodice and petticoat in some photos:

But she also wore the dressing gown - probably the regular look:

Of other photos there is the one of Vera Borisova in Hamburg, in the process of changing from the b/w Managers dress and into the Il Muto costume:

And there's Anne Runolfsson outside The Majestic in a draped version of the Countess skirt, sneakers and polo:

And the Countess costume backstage in Copenhagen 2000:

He usually goes by the name of "footman" in official sources, but "flunky" is also used. I think there is a slight difference in this in the UK vs the US, but when the Restaged Tour did costume displays it did say "footman" under the designs. However, Maria Bjørnson herself referred to these costumes/characters as "livré" and/or "liveries", which:

In Masquerade I have also seen them referred to as "waiters". But that goes for that particular scene, as they serve the guests glasses of champagne. In the Think of Me gala scene they bring Christine flowers after her triumphant performance.

You will probably find as many variations as there are costume makers... One thing is that the skirts has gotten bigger over the years, another thing is that they have different sizes depending on the height and overall physical appearance of the Christine. A very petite Christine may get a smaller skirt, if they do have different sizes in stock in the production.

That said, to get a believable bustle or crinoline shape you would need at least three meters, and likely more. The exact length will depend on your overall size, how full a skirt you want, and if you want it big and flowing or more structured. For example, the current Japanese costumes are fairly flowing and light, and will flare out when spinning. They also don't do the pleated hem, which underlines the lighter look. Here's Haru Kasumatsu and Sae Yamamoto:

It looks to me like they have used two lengths of Indian saree or dupatta fabric (see the nice gold decorations on the side? That's usually where they cut the lengths, so you have a nicely framed piece of fabric). I wanna say such a length is typically 2-2,5 meters a frame, which suggests to me these skirts are 4-5 meters in width. But this is assuming rather than knowing.

I used around the same quantity (and also the same type of Indian fabric, in red) for my own replica some 15 years ago. Photos of the finished costume VS the costume in making shows that there is quite a bit of yardage in it. I think 5,5 meters in total. But my tulle hoop skirt underneath the finished skirt is not particularly big, hence the slimmer silhouette:

(also, if you want to do a pleated hem have in mind that it is a LOOOOT of pleating for each little piece of length you add to the skirt's width... I've never done more pleatings in my life)

A similar tendency can be seen in the US skirts. They look full enough when worn, but really flares out when spinning. It should however be added that the split down the back means they flare out more than the width of the skirt; meanwhile the split is covered by the backdrape. Here's Emilie Kouatchou on Broadway:

But there are also skirts which are considerably narrower in look, both when worn and when spinning. The original Australian / World Tour skirts are good examples of that. Unlike some of the others they don't have deep folds or extra fabric, they are more tubular or triangular in construction. The underskirt rather lifts the hip and back, making them more bustle-like in shape. Alas I couldn't find any good spinning photos, but here's one of Emilie Lynn and her skirt backstage (as it appeared in Stockholm):

I dare not say what amount of yardage has gotten into this skirt, but it is definitely one of the narrower types out there.

So a bit unclear answer, but also to show there is not one right answer. The stage-worn skirts vary consideraby, and the exact yardage is both a matter of what style you want to make, and what size/formate that is a good fit for you. Whatever you choose will probably have a stage equivalent.

THE FOOTMAN / FLUNKY IN THE RESTAGED TOUR

That costume has been kept pretty much "as is" in the Restaged Tour, plu/minus a gold mask, so I don't know if a photoset would bring particularly unique details previous photosets has not shown. But sure! Coming up :)

Ah yes, I saw this post: https://www.tumblr.com/andrewlloydwebber/747598384057171968/the-phantom-of-the-opera-ugandan-premiere

But is it confirmed it is a replica production? Things still seems a bit unclear? Either how, I'm very much looking forward to see and hear more! Photos from here.

I wanna say Ramin Karimloo wore two different masks during his run in Italy and Monaco? One appeared more in the vein of the West End masks, with smooth forehead:

...and one with the clunkier eyebrow/forehead design, as also seen in Madrid:

I guess a combination of wanting the mask to differ more from the replica version + maybe make it more characteristic on stage made them boost the eyebrow/forehead design. Ramin's mask is pretty similar to what's seen on Gerónimo Rauch in Madrid:

But in the promo photos of Gerónimo Rauch and alt. Manu Pilas it looks like they use a smoother West End mask which was physically or digitally airbrushed with eyebrow/forehead lines. I mean, look at the shape of the forehead - it's completely different from the mask above.

So yeah, sorry, not a definite answer, but some theories.

Marina Brisa, u/s Meg Giry in Madrid. She also understudy Christine.

Judith Tobella (alternate Christine) and Manu Pilas (alternate Phantom) in Madrid. And yes, also a real-life couple!

From her Instagram

Manu Pilas in the chandelier crash in Madrid ( from his Instagram )

That is a good question. On one hand I do like the ones with original ideas. But at the same time it sometimes feels like non-replica productions does a different mask just to be different - if that makes sense? Like, of course the mask is on the opposite side or of another colour... But it doesn't truly feel unique.

In that aspect I did appreciate the revamped mask in Kristianstad, Sweden a lot. Partly because it was a beautiful sculpt, and partly because it DID feel original. Depicted is principal Phantom John Martin Bengtsson.

In the opposite end of the scale, I do appreciate the fairly classical sculpt and look of the Czech masks, as worn by Radim Schwab and Marian Vojtko:

As for Red Death masks there has been a LOT of creativity in non-replica productions. I think the same applies as above - I like both those with a sense of originality, and those reflecting on a well-estrablished concept. Favourites include the Hungarian one - the whole costume is awesome, with masses of red surrounding "festering" ribs and a solid death skull with visible eyes:

And again a compliment to the Czech design, doing a skulls head with empty eye sockets and a solid grin, over a red uniform with long red cloak:

And albeit you did not ask... Some of my least favourite masks. That would include the Finnish/Swedish golden "steampunk" mask. It is way too alternate universe for me. The golden tone also blends in too much from a distance, which does not make it a particularly visible detail of the Phantom's costume - as I feel it should be. Here's Fred Johanson in Gothenburg:

The masks used in the Mediterranean productions (Italy, Monaco, Spain) is also not my favourite. The exaggerated eyebrow/forehead sculpt, the shading, and the slightly large shape never really looked flattering on any of the Phantoms. This was less visible live, but at times the mask looked awfully big from a distance too. Here's Gerónimo Rauch in Madrid:

Also not a big fan of the mask type used in Norway, Greece, Middle East etc. A bit clunky sculpt aside, even if some of them are beautifully fitted they always seem to drop a bit below where they are supposed to sit, making the face and the eye look a bit too droopy. This was not always the case live, but often enough for it to be annoying. It might be due to how they are typically attached, with magnets placed inside the deformity makeup. Might shift a bit when worn? Anyhow, here's Ben Forster in Greece:

And that was today's non-replica mask nerding!

Different incarnations of the Elissa skirt in Andrew Riley's design

Dougie Carter, Georgia Wilkinson and Nadim Naaman as the Andrew Riley production AKA Middle East Tour returns to Europe - this time Sofia in Bulgaria

( from here and here )