Phantom of the opera music

Would Shakespeare have allowed this? Yes.


  • Once upon a time, I didn't understand the Twin Threesome Fantasy appeal. Then I saw Cirque du Soleil's Varekai, with the very yummy Kevin and Andrew Atherton and their aerial strap act, and...guh. (While on the subject, Dralion's pas de deux is probably the most erotic thing I've ever seen.)
    • Still on the subject of the Cirque, the Trickster from Kooza has been known to set off at least one or two squees every time he appears on stage. It probably has something to do with the incredibly fluid way he moves about.
  • Although she's pretty sure it didn't start there, listening to Michael Crawford singing "Music of the Night" from The Phantom Of The Opera was definitely instrumental in establishing my submission/mind control fetish. A silky tenor voice gently but irresistibly urging you to surrender? Yes please...
    • Am I right in assuming that "Point of No Return" probably just cemented it? Cause that song is just... * sigh*
      • Actually, it was three words: "Sing for me." * gulp* Sure, whatever you say, any other requests?
    • Let's give the nice guy his due—Raoul has a lot going for him, specifically his military-inspired masquerade costume◊ and being all wet, disheveled, and helpless during the final scene.
    • Although Raoul's voice was actually better than the Phantom's in the stage version I saw, there's no denying that during every Villain Love Song, I wished I could be in Christine's place.
  • Home Free! by Lanford Wilson is a one act play about Lawrence and Joanna Brown, an incestuous brother-sister couple. Joanna is pregnant (at one point in the play they discuss her giving birth to kittens). They have two imaginary friends they boss around, and there's reference to "playing in bed" and Lawrence being a "bunny." Fetish fun for everyone! (I was completely obsessed with the show in high school, to the point of checking out a copy of it from the library and copying the whole script over by hand.)
  • Tanz Der Vampire. Full stop. Even without the extremely tight leather pants (actually, one pair of Herbert's appear to be... what's that ridiculously shiny, tight material so many fetish corsets are made out of?) and ruffly poet shirts and sexy older men and Gag Boobs and, well, vampires, the show would turn on somebody. Sarah in the bath, perhaps? Also, the extremely sexually charged Dream Ballet in Carpe Noctem. I know it's coming, but watching certain clips of that scene gets squiggly feelings all up and down at not!Alfred getting bit.
    • Herbert. Just— him, please. Fetish fuel incarnate. Gahhh.
      • And then you add in the infamous (to me, anyway) interpretation on Tim Reichwein's part of Herbert as being bisexual- yes, ladies, you too can have a piece of that!
      • Now, I'm not a fan of the American production, BUT, Asa Somers as Herbert had just about the most incredible voice ever heard on a stage. Take a sexy voice combined with a sexy character, guess what you have?
  • On a quasi-related note, Elisabeth. You have a deliberately sexy incarnation of Death, lots of gorgeous period dress (including the uniforms), and a whole sequence ("Nur Kein Genieren" if I recall) of a brothel keeper showing off her "collection". In one Takarazuka production, all the brothel girls are extremely fetish fuel-errific, including one who's dressed as a mermaid lounging prettily in a bathtub. Also in the Takarazuka productions, all the roles are played by women. Really good looking women, in some cases. Oodles of Ho Yay and the Kiss Of Death used rather straightforwardly. (And for Rudolf, der Tod is dressed as his female lover at the time...)
    • Hell, the Takarazuka Revue in general. A lot of those ladies make for very hot men (said the mostly straight female troper). Stupid sexy otokoyaku.
  • Speaking of Shakespeare, the sheer amount of crossdressing that goes on in his oeuvre. Yes, it's supposed to be comic (and was originally done by boys playing girls in the first place) but...
    • That's not all. Just go to the theatre pages for Ho Yay and Foe Yay - they don't even begin to cover what a smorgasbord Shakespeare is for a Yaoi Fangirl.
      • And consider the fact that at least one half of the Ho Yay is usually a Woobie— Mercutio, Hamlet, both Antonios... * melts*
  • Petruchio in The Taming of the Shrew. The suave carelessness, the Deadpan Snarker personality, and the way he wants to break Kate are just delicious.
  • I enjoy Joseph And The Amazing Technicolor Dreamcoat for its fun and goofiness but realllly enjoys the song "Potiphar" when the wife is just trying her darndest to seduce this handsome, half naked slave who tries to resist because he's "pure". And of course, Joseph spends what, half the play without his shirt? I really, reallly likes seeing aggressive women practically molest a younger, innocent guy;)
    • I am right there with you. I also just watched the 1999 film again for the first time in about 8 years, and oh, in fact, God. Were there always that many crotch shots, girls in latex, men in leather, and questionable subtext between the characters of Joseph, the Narrator, Pharoah, and Benjamin?
  • "Big, Blonde, and Beautiful" from Hairspray is basically an anthem for BBW (and the people who love them).
  • Damn you, Glimmerglass Opera. Bad enough that you had to cast the very delicious Brad Little as Fred/Petruchio in your 2008 production of Kiss Me, Kate—did you have to put him in leather pants◊ too? My poor libido can only take so much!
    • Brad Little called me sweetie once when I was fourteen. I was stagedooring after a performance of The Phantom Of The Opera, and I wanted a picture with him, but was too shy to lean in properly. He smiled and said "come here, sweetie" (in a warm, fatherly and completely appropriate way, but still). For a long time, I considered that the highlight of my life.
      • Speaking of Brad Little and Phantom, his tenure in the title role certainly caused a spike in hand fetishism among that musical's female fandom due to his elegant, sensual gestures. "The Point of No Return," during which the Phantom's hands are the only part of him not concealed by a long, dark cloak, was a particular highlight.
  • Thrill Me. Good heavens, Thrill Me. First off, yes, there are Leopold and Loeb fangirls out there who don't bother with leather pants. Second of all, you've got the Korean productions to deal with as well, where both are borderline—bishonen. And since obviously a major element of the entire show is their struggle for dominance, physical and mental, there's a lot of moments that straddle the line between almost-sweet intimacy and aggression. (Like in A Written Contract, where they're both singing that their deal will keep the other one in line. And from Superior, at least from the Drama Desk Awards performance, the way Nathan shoves Dickie away with "You're scaring me!")
  • "Snuff that Girl" from Urinetown is one of the hottest songs This Troper has ever heard, especially when Hot Blades Harry is played by a girl.
  • Um, RENT, anyone? Tons of Ho Yay and Les Yay (canon and otherwise)? Mimi's occupation as an exotic dancer? Maureen's bisexuality, bordering on Anything That Moves? Mark's adorable geek glasses and scarf? How has none of this been mentioned yet?
  • Lady Macbeth. Just Lady Macbeth.
  • Shakespeare's Twelfth Night has got all the fetish fuel you could need. Viola and Sebastian are twins on route to Illyria, but their ship is wrecked before they reach their destination. Viola, believing her brother to be dead, decides to dress in a man's clothing so as to live without fear of those nasty medieval things like rape and what-not. She enters the service of Duke Orsino, and falls in love with him... but to him she's just a boy. She also manages to capture the heart of Countess Olivia, who does not know she's in a lesbian romance. Eventually Sebastian shows up very much alive, and Olivia basically throws herself at him (there are no complaints on Sebastian's end). When Olivia finally sees Viola and Sebastian in the same place at the same time she immediately thinks that there are two of them. Her reaction? "Most wonderful!"
    • And it must be said there is a gay pirate in love with Sebastian. A gay pirate.
  • From A Midsummer Night's Dream makes me think Helena may be into pet-play:
I am your spaniel; and, Demetrius / The more you beat me, I will fawn on you! / Use me but as your spaniel, spurn me, strike me / Neglect me, lose me; only give me leave / Unworthy as I am, to follow you! / What worser place can I beg in your love / —And yet a place of high respect with me,— / Than to be used as you use your dog?Edit
  • As long as we're discussing S&M, there's also the Don Giovanni aria "Batti, batti o bel Masetto," ("Beat me, beat me, oh dear Masetto") in which the flirtatious Zerlina encourages her fiance to, ahem, punish her for her transgressions.
  • The shivaree scene in the 1999 recording of Oklahoma!, which has Hugh Jackman as Curly stripped to the waist (but still wearing his suspenders) and eventually getting into fisticuffs with Jud Fry. Thank you, Trevor Nunn.
  • I was in a school performance of Alice In Wonderland where every Wonderland character wore a unitard with a variable amount of costume over it. The lucky ones got pants. For everyone else, there was getting the chance to see the members of the opposite sex in form-fitting spandex that let you see every curve and.....bulge. Did I mention that we have one of the better-looking thespian troupes in Florida?
  • Why has no one mentioned Gypsy yet? The story of a girl who is essentially corrupted by her mother into stripping...and then enjoys it. That has got to turn someone on.
    • It does, don't worry. This troper always loses it when Louise goes through her stripping medley.
  • Well, in the BBC 2010 version of Hamlet, David Tennant went barefoot, and he has this habit of curling his toes a little and this made this troper feel very... squiggly. Also, there was this other scene where his shirt was a little bit too tight, and he was leaning forward.... * runs to bunk*
  • Les Misérables. Javert has a deliciously deep voice to begin with, but at one particular performance this troper was sat very close to the stage, and Javert was stripped down to his open shirt and tied to a chair right in front of her. I will admit that it took a minute to catch up with the plot again after he left.
    • You are one lucky devil. That sounds lovely.
    • This troper has a weakness for the ponytail and 'chops of justice' look. And that uniform. Mm...
    • Javert. Ah, Javert. I personally find him incredibly appealing. He's a anti-villain, he has a stunning voice, he has both submissive and dominant personality traits, he commits suicide after having his world destroyed (a perfect opportunity for romantic comforting), he wears a uniform that makes him look very attractive, he's both dignified and badass, and don't tell me that his coldness wouldn't make warming him up a worthwhile challenge. Purrrrr.
    • This troper has a weakness for the character of Enjolras. Passionate man in a smart looking red vest? Yes please. Especially when played by either David Thaxton or Ramin Karimloo.
  • Legally Blonde: The Musical features Christian Borle portraying as the Adorkable Emmett Forrest. During the number "Take It Like A Man", Borle changes onstage from a ratty corduroy suit into a designer one. When the actress playing Elle Woods sings about how she loves watching men "change right before her eyes", Borle sticks his head up from the dressing stall that has been brought onstage and replies "Don't watch me change." The shy way he says it, combined with the fact he is saying this line as he is stripping on stage in front of hundreds of people and how you can see his rather shapely legs gives this troper...cravings. I don't care that you're 15 years older than me! I'm a consenting adult!
  • I'm actually not surprised no one's mentioned Into the Woods yet. Most people don't get to see a lot of the way the Witch looked before she was cursed with age and ugliness, since many interpretations prefer to chop off the second act to make the show more family-friendly. But if you've ever seen the original Broadway recording, DAMN. That witch Was Quite A Looker.
  • Chicago. All of it. But especially the two leads. Which is even more mouth-watering once you've seen Bebe Neuwirth play Velma.
  • How can nobody have mentioned Cats? The form-fitting spandex costumes, Rum Tum Tugger's package...
    • The original production had a moment where Rum Tum Tugger grinded with an audience member. The "volunteer" reactions varied greatly, but you know some of them had to have enjoyed it...
  • Recently, I have seen two productions of King Lear. In both, Edgar was played by the most attractive actor of the cast, and he's the sweet, heroic one in a play filled with nastiness and death. So suffice to say that I did not object when he decides to disguise himself as "Poor Tom." Especially considering the text specifies that he is completely naked but for a crude loincloth. In the second production, the actor had a perfect body, lean and astonishingly well-muscled, and as much as I wanted to listen to Lear's heartbreaking rambling, the gorgeous, nearly-naked, pretending-to-be-insane Edgar was terribly distracting.
  • Katisha from The Mikado. (Never thought I'd be saying this, but a recent production changed my mind.) An older, powerful woman aggressively pursuing a younger man is bad enough, but then there's her scenes with Ko-Ko. Namely, the bits where Ko-Ko gets down on his knees and begs for his life, and it takes her a good long while (well, in musical-time) to decide to grant him mercy. Plus, Katisha rather comes off as a dominatrix bemoaning the loss of a sub in this bit of dialogue:
    • Katisha: He did not love me, but he would have loved me in time. I am an acquired taste - only the educated palate can appreciate me. I was educating his palate when he left me. Well, he is dead, and where shall I find another? It takes years to train a man to love me! Am I to go through the weary round again, and, at the same time, implore mercy for you who robbed me of my prey - I mean my pupil - just as his education was on the point of completion?!
  • Iago in "Othello," anybody? He's so brilliant and complex and...evil, I guess. There's definitely something. Kenneth Branagh didn't help. Sigh.
  • Benedick in "Much Ado About Nothing". Oh Shakespeare, why did you have to create such a lovably infuriating snarker?
  • Henri from "An American In Paris" is a very desirable young man as it is, but his big song, "Stairway To Paradise," is amazingly titilating. He's in a perfectly tailored tuxedo, strutting while singing (and he does have a beautiful voice), and then there's that French accent... I needed a cold shower after "Stairway To Paradise" finished.

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