Right.
Christmas brain. That's why this is a day late.
In the past few weeks I've been working a few different things. Mostly an original little piece based around the legend of Orpheus and Eurydice.
I used a few characters of my own, and incorporated music into it. (Hmmm....I might post links to the actual songs as we go along.....or not.)
So - here you have it. It's a little Greek Mythology, a little Broadway, and a lot of me.
(Note: Not a self-insert.)
The Story Draft One:
10 Years.
That was a large number to think about. She'd been in the ghost realm that long - her body in a coma, more death like than sleeping. The Hat-Box Ghost had left her there, with a darkness deeper than him. Through the years they has successfully broken her memory - erasing all those she once knew and loved.
Erin moved out of the spotlight position of his company. Losing her had been unacceptable. He spent 10 years trying to find a way to bring her back. Some of the dwarves had made her a glass casket; holes near the bottom and sides to keep out the elements. Part of this curse was that she wouldn't age while asleep. For her time had all but ceased moving. He would visit her every week. The place on the mountain offered a stunning view of the land still untouched by the hands of industry.
"Erin, this idea is mad." The voice behind him was one of reason, one of her older, well younger brothers. "Even if you succeed, what's to say she'll be the same?"
He had a plan now. He knew how to save her. The answer had been staring him in the face. It was as much of history as He, but it had worked. It would work again.
"Jack's right, Erin, don't think -"
"I have thought, I've been thinking of nothing else for the past ten years," his own voice, mangled. "It's the only thing I haven't tried yet. It has to work!"
Erin straightened. Placing the flowers on the top of the glass he watched her. If you paid close attention you could see her slight intake of breath every few minutes. If you weren't looking for it you'd miss the sign of life altogether.
"Think of the risks man."
"Jack, I appreciate the concern, but this is my fault. I'm going to do it."
He stepped around the two. After the years of research he'd done, all the planning, everything was set. If Orpheus could do it to save Eurydice, surely he could do it to save Mira.
"Do you know what you're going to sing to lure her back," provided this half-brained dream works, the third man thought, yet didn't say.
Erin glanced back at the century (well older) old musician. They were on the campus now.
"Yes, Erik. I have a playlist all set," he strode into the apartment complex. As per usual the elevator was on the rocks again. "I put it together last week."
On the eighth floor he went down to the last door on the left. He could have afforded a nice house in any part of the world: instead he'd contended himself to this old building. It was close to where she was. He could have stayed at her house out in the woods, but it felt hollow.
"Right, so we're doing this. What can I do to help?"
Erik shook his head, "I've got everything I need. Just keep an eye on the entrance while I'm down there."
A few weeks ago one of the archaeology students had uncovered, well discovered by sheer accident a tunnel in the mountain. A spirit had emerged with it, claiming it was a portal to the ghost realm. After cooler heads had come and a few Demigods confirmed, it was confirmed as a route down to where the spirits were kept. The idea to go down and bring her back had slowly stemmed from that. He would do whatever it takes.
A half hour later he came to the cave entrance. Only Jack had come with him. No one else believed it would work. It was odd to think of this youth as an adult now. Ten years had gentled aged him well.
As they approached the Gate Keeper slowly looked up. It was a dark cloth over the frame of a corpse. There was no smell to it, no scent. It was a thing that always stood, patiently waiting for someone to come and pass through.
"What is your purpose?"
"I'm here to bring back the soul of Mira Penumbra."
For a moment the ravaged visage seemed to grin. Then it stepped back, waving its arm toward the opening of the cave in a showmen's gesture. From the depth a set of stone steps appeared. There was only one direction to go: down.
"You know the rules Jason of the Argonauts. Break them and she is lost for eternity."
"I understand."
Erik took a breath and stepped inside.
He'd read, studied, been told the tale, yet finally going down seemed surreal. There was no echo of his step on the stores, no lingering echo to fade into the encroaching black. The light was dim, coming from sources he could not place. As he made his way down and further down still he began to see the signs of a vast dwelling. He knew that was where her soul, her spirit would be. Leveling out on the ground he looked behind him - there was no trace of the entrance. High above him the world lay, full of light. He was in the pit of night.
"What is your purpose here, mortal?"
Turning back to the path leading to the underground castle he saw a guard.
"I've come to free the soul of Mira Penumbra."
He didn't know if he imagined it, but the guard seemed to grin.
"Right this way."
Through a door of black granite was an outdoor throne room. Upon a throne of pure obsidian sat a figure framed in shadows. Erin couldn't make out any details about the form. Around him in the courtyard were the souls of those who had dearly departed their mortal coil. These spirits were grey, hazy as though they might vanish forever. When he looked near a broken and barren willow tree he saw a spirit that appeared brighter than the rest. He knew it was her.
"What is your purpose here, demigod?"
He faced the throne, stepping before it.
"I am Jason, leader of the Argonauts. I have come here to return the soul and spirit of Mira Penumbra, who is not fully deceased. I am here to bring her back."
The mass of shadows moved, swirling and slithering like snakes.
"Come forward."
Erin watched as a spirit, brighter than the others, stepped up next to the throne. He withheld a gasp as he recognized her. She hadn't aged a day in ten years, still wearing the dress she'd been in. Everything about her was the same, except the gleam in her eye was gone. Instead she appeared lost.
"You know the rules Argonaut: you will walk forward, she will follow. If you look back once, she remains here. Forever." There was a grin in the shadows voice, "You are free to persuade her however you choose."
Tune in next week - when I'll finally be back on track!
Wednesday, December 27, 2017
Tuesday, December 19, 2017
Tuesday, December 12, 2017
You know what "Love Never Dies" is a Lie - SPOLIER review of Act Two
Right, so last week I began my review of the touring version of the 100000+ revision of the unwanted sequel to the best Broadway musical.
Yes - there are some things that I like about it.
No - I will not pay good money for something that rips apart my favorite show/book.
So - here are MY THOUGHTS, on the second act.
These are mine alone. You don't have to like them, you don't even have to read them. Come back next week when we get back on the regular schedule.
That being said I will reiterate the headline
OR
"Stupid men"
Yes - there are some things that I like about it.
No - I will not pay good money for something that rips apart my favorite show/book.
So - here are MY THOUGHTS, on the second act.
These are mine alone. You don't have to like them, you don't even have to read them. Come back next week when we get back on the regular schedule.
That being said I will reiterate the headline
SPOILERS
Because, duh.
Let's plug ahead into this .....
We begin Act Two with a song that I find myself loving. I wish it ended differently as this is a rather moving song.
"Why Does She Love Me"
We see Raoul in the bar. Drinking.
(Apparently he's more comfortable as a drunk than anything else, which is a sad commentary.)
He's singing about the pitfalls of love and everything else. While he's questioning his existance in this musical, er, I mean in New York at the caranival Meg comes in fresh from swimming off the shores of New York.
Frankly, that's a rather crazy idea. But FORESHADOWING.
After she tells him to leave, partly because of what she's seen and since she knows who the real puppet master in the works is, we see Raoul become defensive about his prowess against the phantom.
I have far more sympathy for Raoul in this than anyone else. .... Well, maybe Meg in a close second.
I have far more sympathy for Raoul in this than anyone else. .... Well, maybe Meg in a close second.
Now, the entire time this scene is taking place I'm watching the bartender like a hawk. There is a switch of men on duty, then after Meg leaves the bartender completely vanishes and is replaces with -
- the Phantom.
"Devil Take the Hindmost"
OR
"How to be complete Scum to the woman you married/fawn over"
OR
"Stupid men"
Seriously? They treat her like a piece of meat.
A prize to be won at an auction.
Personally, Christine should have see this coming and done this.
Right. Now that we have Raoul finally genuinely concerned about losing Christine forever, since the Phantom's being an idiot once more, he runs off to try and rescue her after bartering her off.
Note: I did love how the phantom left at the end. Then you sorta hear the last line linger in the empty air.
Also: Raoul keeping his hand at the level of his eyes the entire time. Sheer love.
Then we get everyone on and off stage, singing about the upcoming performance. It brings back all of our beloved melodies from the amazing production, lending an "Notes" feel to this.
With everyone in place we hit the next song that not only made me cringe, but wonder why in the Underground I'd bothered to sit through this.
"Bathing Beauty"
Nope. It's not gone folks, it's still in. Complete with strip tease all the way to a small umbrella covering, making me pray the girl playing Meg has some nude colored clothes on.
Seriously, I felt embarrassed for her.
As for the music, it's vaudeville. It's not bad, it's just.... misplaced in a Phantom related musical. It's more crass and ill suited, yet still applicable to this.
"Mother Did You Watch"
Sighhhhhh.............. Oh Madame Giry.
How far have you been thrown from the apple tree.
Right. I have tons of beef with this. First: M. Giry telling her daughter they're going to be cast aside; Second: telling her that her best friend is the reason she's stuck doing crappy roles; Third: yelling at her for her enthusiasm about her own performance.
Basically, Madame Giry sets her daughter off on the path to Crazy Town.
So - yeah - WHAT THE HECK?
We know she knows about the kid, about all the moolah going to him, but really?
Right, moving right along.
"Before the Performance"
Where have I heard that befo- Well screw you too, crappy sequel.
We get to see Christine's dressing room, where her son is helping her prep for the upcoming performance. We get a cute little reprise of their song together and see how much of a doting, loving mother she is.
Then Raoul comes in and they send the kid out, cus you know. Sending a 10-year old to play backstage is totally safe and fine.
He convinces her to leave, which doesn't take much, as she's wanted to be gone since the creepy music box.
Well, we all know how that works out.
The moment Raoul's out the door its locked magically from the outside. And we get
MIND GAMES!
"Leave and let's have a wonderful, happy life!"
"Sing for me one more time and then you'll still be mine cause I duped your husband whom you still love!"
And we get a "Twisted Every Way". Literally.
As the scene changes everyone comes on and off stage, singing the Quartet of "Devil Take the Hindmost" (which isn't a bad song. I rather love it).
And then -
"Our Kind of Love"!
Oops sorry, wrong song.
"The Heart Is Slow To Learn"!
Sorry, wrong song.
"Love Never Dies"
You can see the problem, right?
Personally - I kept singing the first two, sort of a mashup.
There just something about plagiarizing your own music three different times that confuses the mind and soul. Ah, to be a composer with nothing new.
Wonderful costume, and an excellent vocal performance by Meghan Picerno.
Sadly, Raoul leaves.
Stupid Phantom.
Really? The fact that I'm actively rooting for Raoul to win because he's being beaten to a crisp is just - sad.
Right.
"Ah, Christine"
Woo - you sang my song and everything is fine! By the way, Raoul's gone, so you can stay with me now and forever. Whee!
She doesn't bat an eye at the fact that her childhood friend, lover, and husband is gone. Doesn't seem to mind that he was concerned about her before the performance, then suddenly ups and leaves during it. At least she had the courtesy to stutter when she saw him leave, but she didn't even question why he was gone, or what (rather whom) had caused him to go.
Oh, Christine.
Now we get to the "Fun" part.
Raoul did leave a note behind for her, and it's read as the Phantoms' notes were.
This bugs me, but I can see why: her only concern after her husband leaving is for her son.
Screw the husband, where's the kid?
Angry phantom, upset Christine - cue Backstage Panic!
But wait - the trio saw Raoul leave alone....
...but the mirror in Meg's dressing room has been smashed.
"Streets of Coney Island"
Meg has Gustave and is leading him along the streets, while everyone and their moms (see what I did there?) are out running around looking for them.
To her credit, Madame Giry is finally concerned about the welfare of her daughter. Of course, the Phantom's threatened to kill her, but hey Motherly Love is back!
So - they reach the end of a pier where Meg is half pulling/pushing Gustave towards the end and the water.
Phantom, Christine, and Madame Giry come up, but are held back when they realize Meg has a gun.
While they try talking her down she tells them about her "Little Trip to Coney Island". How she had to leave Paris with her mother to save the Phantom, who didn't care. How she and her mother had danced together for a while; then how she was literally whored out so the Phantom could have the money he needed for his little "Fantasma".
Question: How did he not know about any of this? Was he really that blinded by his supposed love for Christine the entire freking time?
So - now that everyone's told her it was for nothing, she gets nothing, there she loses!
She's finally flipped.
She does lets Gustave go, and he runs to his mother.
As she's putting the gun to her head, the others try to talk her down. The Phantom wins the loudest mouth contest and starts slowly walking up to her. He's finally got his brain geared to a woman ready to murder everyone around her - like he did back in the good version. He's doing a fantastic job, until -
"We can't all be like Christine."
First: When someone is on the verge of suicide, you do NOT compare them to the person they've been compared to and told they weren't anything like by everyone around them.
Second: Phantom, you airhead. Didn't you learn your lesson the first time around? If Christine had said something like that you would've killed Raoul.
Naturally, this response doesn't go well with Meg either, while trying to hold on to the rest of her sanity, the gun goes off. She accidentally shoots Christine.
Because of the nature of this shot, and the fact it sounded real, people in the audience shouted and a few voiced loud concerns. It made me jump as well.
As Christine falls, Meg rushes to her mom and they both get away as fast as they can.
Gustave is concerned about his mother, who decided to tell him that the Phantom's his father, not Raoul. To which the child screams -
Also: So, I guess Love really DOES die.
With everyone in place we hit the next song that not only made me cringe, but wonder why in the Underground I'd bothered to sit through this.
"Bathing Beauty"
Nope. It's not gone folks, it's still in. Complete with strip tease all the way to a small umbrella covering, making me pray the girl playing Meg has some nude colored clothes on.
Seriously, I felt embarrassed for her.
As for the music, it's vaudeville. It's not bad, it's just.... misplaced in a Phantom related musical. It's more crass and ill suited, yet still applicable to this.
"Mother Did You Watch"
Sighhhhhh.............. Oh Madame Giry.
How far have you been thrown from the apple tree.
Right. I have tons of beef with this. First: M. Giry telling her daughter they're going to be cast aside; Second: telling her that her best friend is the reason she's stuck doing crappy roles; Third: yelling at her for her enthusiasm about her own performance.
Basically, Madame Giry sets her daughter off on the path to Crazy Town.
So - yeah - WHAT THE HECK?
We know she knows about the kid, about all the moolah going to him, but really?
Right, moving right along.
"Before the Performance"
Where have I heard that befo- Well screw you too, crappy sequel.
We get to see Christine's dressing room, where her son is helping her prep for the upcoming performance. We get a cute little reprise of their song together and see how much of a doting, loving mother she is.
Then Raoul comes in and they send the kid out, cus you know. Sending a 10-year old to play backstage is totally safe and fine.
He convinces her to leave, which doesn't take much, as she's wanted to be gone since the creepy music box.
Well, we all know how that works out.
The moment Raoul's out the door its locked magically from the outside. And we get
MIND GAMES!
"Leave and let's have a wonderful, happy life!"
"Sing for me one more time and then you'll still be mine cause I duped your husband whom you still love!"
And we get a "Twisted Every Way". Literally.
As the scene changes everyone comes on and off stage, singing the Quartet of "Devil Take the Hindmost" (which isn't a bad song. I rather love it).
And then -
"Our Kind of Love"!
Oops sorry, wrong song.
"The Heart Is Slow To Learn"!
"Love Never Dies"
You can see the problem, right?
Personally - I kept singing the first two, sort of a mashup.
There just something about plagiarizing your own music three different times that confuses the mind and soul. Ah, to be a composer with nothing new.
Wonderful costume, and an excellent vocal performance by Meghan Picerno.
Sadly, Raoul leaves.
Stupid Phantom.
Really? The fact that I'm actively rooting for Raoul to win because he's being beaten to a crisp is just - sad.
Right.
"Ah, Christine"
Woo - you sang my song and everything is fine! By the way, Raoul's gone, so you can stay with me now and forever. Whee!
She doesn't bat an eye at the fact that her childhood friend, lover, and husband is gone. Doesn't seem to mind that he was concerned about her before the performance, then suddenly ups and leaves during it. At least she had the courtesy to stutter when she saw him leave, but she didn't even question why he was gone, or what (rather whom) had caused him to go.
Oh, Christine.
Now we get to the "Fun" part.
Raoul did leave a note behind for her, and it's read as the Phantoms' notes were.
This bugs me, but I can see why: her only concern after her husband leaving is for her son.
Screw the husband, where's the kid?
Angry phantom, upset Christine - cue Backstage Panic!
But wait - the trio saw Raoul leave alone....
...but the mirror in Meg's dressing room has been smashed.
"Streets of Coney Island"
Meg has Gustave and is leading him along the streets, while everyone and their moms (see what I did there?) are out running around looking for them.
To her credit, Madame Giry is finally concerned about the welfare of her daughter. Of course, the Phantom's threatened to kill her, but hey Motherly Love is back!
So - they reach the end of a pier where Meg is half pulling/pushing Gustave towards the end and the water.
Phantom, Christine, and Madame Giry come up, but are held back when they realize Meg has a gun.
While they try talking her down she tells them about her "Little Trip to Coney Island". How she had to leave Paris with her mother to save the Phantom, who didn't care. How she and her mother had danced together for a while; then how she was literally whored out so the Phantom could have the money he needed for his little "Fantasma".
Question: How did he not know about any of this? Was he really that blinded by his supposed love for Christine the entire freking time?
So - now that everyone's told her it was for nothing, she gets nothing, there she loses!
She's finally flipped.
She does lets Gustave go, and he runs to his mother.
As she's putting the gun to her head, the others try to talk her down. The Phantom wins the loudest mouth contest and starts slowly walking up to her. He's finally got his brain geared to a woman ready to murder everyone around her - like he did back in the good version. He's doing a fantastic job, until -
"We can't all be like Christine."
First: When someone is on the verge of suicide, you do NOT compare them to the person they've been compared to and told they weren't anything like by everyone around them.
Second: Phantom, you airhead. Didn't you learn your lesson the first time around? If Christine had said something like that you would've killed Raoul.
Naturally, this response doesn't go well with Meg either, while trying to hold on to the rest of her sanity, the gun goes off. She accidentally shoots Christine.
Because of the nature of this shot, and the fact it sounded real, people in the audience shouted and a few voiced loud concerns. It made me jump as well.
As Christine falls, Meg rushes to her mom and they both get away as fast as they can.
Gustave is concerned about his mother, who decided to tell him that the Phantom's his father, not Raoul. To which the child screams -
As he runs for his life, the Phantom and Christine get a few last minutes together. Although she was shot in the stomach at such a place to indicate she only has moments, this seems to stretch out forever.
They rehash nearly the entire show saying how much the love each other and then - much like Eopnine and Marius - she dies while singing in his arms.
Gustave comes back with Raoul, the father he's known and feel safe around (because Stranger Danger kids!). At which point I feel more sympathy for Raoul once more. He was going to take his wife away from this and instead she gets murdered. By her best friend. Because of something her former teacher did.
The Phantom shares a few title song lyrics to the kid, who decided that he has to be okay with his real dad and takes off the mask, somehow leaving the wig perfectly in place.
And we end the show there.
Good. Godot.
At the end of all this tripe I have far more sympathy for Meg and Raoul than the other chuckle heads.
They got the short, short, frayed end of the rope on everything in this.
And there you have it.
My thoughts on the "Sequel".
The actors were amazing, and the singing was phenomenal. But the context was horrid!
You could make a far better show with these songs rather than tagging it as a Phantom sequel!
What about the redemption the Phantom got at the end?
What about Christine moving on from her sorrow and pain?
What about Raoul helping save her one true love?
Also: So, I guess Love really DOES die.
Alright, well. I'm done.
Credit for the videos and pictures go to their respective owners. Come back next week for sanity.
Tuesday, December 5, 2017
WIP Week - Musical Review - Part One
Love Never Dies
Okay - if you are a phan or know anything about musical theatre, you've likely heard of a show called "The Phantom of the Opera". It's an awesome show that was based off a novel written back in the early 1900's, by Gaston Leroux. The show has many memorable songs that will get stuck in your head: "Think of Me", "The Music of the Night", "All I Ask Of You", "Wishing You Were Somehow Here Again".
Well - back in 2010 the composer of this wonderful musical thought it needed a sequel. And we got this:
Since it first came out there have been nearly a HUNDRED different re-writes.
Why, you may ask?
Because it was horrible.
Alright, I'm getting on my soap box here. Sorry.
The next adaptation of this we got was this, which was filmed in Australia:
And then it was announced that the US would be getting a tour.
So, here's my review based on this latest version - the newest re-write.
Since most people already know how much I rather loathe this whole thing I tried to go into it with an open mind. I mean, they'd already redone most of the plot, changed some things up. And - to be fair - I do love one or two of the songs (when taken EXTREMELY out of the context of this show).
I came into this newest Adaptation pretty blindly. I had seen many videos of the previous versions online, and the movie of course. I did not go looking up any material on this - including the cast - wanting a 'fresh' take.
Going in and chatting with some of my fellow Ushers, who had previously helped on the show, I did not hear many positive things about it. The few good remarks had more to do with the costumes or one or two of the set pieces.
Not a good beginning to my open-minded evening.
So before the performance began I went to check out the souvenir stand, because I love swag as much as the next theatre lover. One hoodie was $70 with only the logo, tee shirts were between $40-$60 (which is kinda standard, but still for just a small little logo). Nothing that could be considered 'affordable' - so, unless you'd want a $10 lapel pin you're out of luck. Even the magnets were $20.
Also - we were supposed to be outside the curtain for the first 8 minutes, including the one song that I actually wanted to hear! I mean, there are screens out in the mezzanine, but that's not the same.
Ahem, here is my review of the Saturday December 2, 2017 tour version of "Love Never Dies".
We begin with the first song that was premiered, and the one that actually caught me in the heart. I love this song. I will unashamedly admit to loving this song. And the man who portrayed the phantom that night, Gardar Thor Cortes, was AMAZING!
I finally looked through the playbill and realized he was an opera singer as well. HE SANG OPERA PROFESSIONALLY! HE SANG OPERA!!!
(Running to YouTube, be back in a moment.....)
Yeah - This. This is the reason I like this song....
Okay - so, now that I've raved about his singing voice (which is absolutely amazing the entire time), let me talk a little about the set. I did have a little notebook with me while I was there and jotted down notes as I could (being an usher I had to wait for times when I wasn't 'working').
Okay - Notes on the 100X Revamped Paint Never .....Er Love Never Dies -
Alright - so the set piece for the first scene looks just like the base of one of my music boxes, well globes, but ya know potatoes, right?
So, that set space was tiny to be on, it had a free standing organ, a bench, and maybe room to stand. Also (this is taken directly from my notes, so no judging) How Da Freak does he get up there! I just saw one of the stage crew use a freaking ladder to get up and down to set it in place - so HOW!
(And if any of you say 'Magic', Imma sick real Phan girls on you)
Also - random 'Monster Mash' growls during the sound test....heeheehee.....
As I've already said, the Phantom singer was more than great - he was stupendous! Absolutely amazing!
Now to the plot: It was a nice change of pace. Meg was not as murdery as in the previous versions. They toned her back to the girl who was eager to see her friend again. A girl who was really just trying to enjoy her live and move on. I personally blame the rest of the characters for mucking with her and driving her over the brink of crazy psycho.
I found myself enjoying the show. A lot.
So we go from 'Till I Hear You Sing', which is still AMAZING! to -
"The Coney Island Waltz"
Right, so I actually enjoyed this song too. It was bright, colorful. Just the sort of thing you'd expect from a carnival. It was rather spot on in being catchy.
Then we realize that Madame Giry is no longer a loving, caring mother. She's somehow turned into a constantly ticked off woman who's only out for herself. She even smacks down Meg's enthusiasm after her performance. It's hard to watch her character be so - so - abused.
Next we get the reporters on the docks, waiting for the famous Christine Daae who hasn't sung in ten years. To which I say, if she hasn't sung in ten years - how the heck does everyone seem to know her name? I mean.....how?
There's some name dropping of famous figures, and then Hammerstein is the one who invited her over to begin with. Until 'Mr. Y' buys out her contract.
Right - so the mode of transportation from the docks to the hotel is awesome! It's like a car that looks like a hearse, but it's two stories high. I loved this.
So, Raoul.
Dear, poor, sweet, Raoul.
They've toned his character in this back too - thank goodness. Sure, he's upset that he lost his money, and the Americans were being jerks to him on the docks (hey, it's a kinda trademark over here), and he's - well - in this he's a typical dad. He's concerned about money. Upset that his wife is the one who's making it instead of him (which was HUGE deal back in the early 1900's). But he does play with his son.
The music contraption that he has is....I don't even know. From where I was it looked like a triangle something with a handle.
Surprise - it played the intro notes of "Past the Point of No Return".
I'm gonna pause right here and say:
They blatantly use lines, lyrics, and music from the original show almost as often as they refer to music. I think it's all done in poor taste.
So - Christine recognizes it and starts to freak out. When she tries to get Raoul's attention, he gets a message and leaves.
"Look With Your Heart"
This is kinda cute. This is one of the other few songs I actually find enjoyable. It's rather sweet. And it shows how much Christine loves her son. It's adorable. Then she puts him to bed and as she's trying to figure out the strange music box -
BAM!
I literally jumped in my seat.
Er, stair.
The back windows open and the phantom comes in. Christine passes out and he's all "Crap. I did it again."
So - then we hit this roadblock.
I was enjoying this show until this song. I absolutely hate this song. It's so demeaning to the characters. It tears apart the entire show and tosses the end redemption and moving on at the end down the toilet and then adds bleach.
I can honestly say I've read fanfiction better than this.
Sigh...
"Beneath a Moonless Sky"
AKA - even though we both moved on, apparently we didn't and have to have a one night stand with strange results.
So - they both loved each other. Christine was going to leave Raoul and go back to the rather abusive relationship between her and the phantom.
Nope sorry - this one's completely biased. I hate what they did to the characters.
Then they sing "Once Upon Another Time"
AKA - we would have been together, but you left in the dark and left me to think you were dead
So Gustave comes out claiming he had a nightmare about someone drowning him (remember this). The Phantom proceeds to stand him up on the railing, which of course freaks out his mother since they're possibly four stories up. He agrees to show the kid around Coney Island the following day.
They go back inside and Christine sends him off to bed after which we get this.
The phantom threatening to kidnap her son the following day, as 'things happen at a carnival'.
He threatens her son.
.....
She has to sing the stupid song in order to keep her son safe (1st twisted mind game).
When we hit "Dear Old Friends" I couldn't help but love this new version.
Meg and Christine reuniting is everything you'd want in a friendship. They are genuinely happy to see each other. Of course, when realizing they're singing on the same night, Meg's just thrilled to be on the same billing as Christine. It's adorable.
Then Raoul and Madame Giry - it's rather interesting.
The whole song just makes you rather happy with the whole process.
So Christine finally realizes her son is missing. To which I had to ask: what kind of mother of a ten year old.....okay I see it now, but still. If the phantom had already threatened to kidnap him, wouldn't you keep closer tabs on him?)
When Gustave is taken down to the phantom for his tour by our three chorus, he starts playing his little song. Then he starts playing the title song of Phantom - which then get the phantom to make him sing the end "Ahhhh's" from the original title song. .... Somehow I found this funny, because I laughed, and sad all at once.
"The Beauty Underneath"
This has undergone drastic changes as well. It's not as cringe worthy as before. Until you realize the kid is quite literally thrust into a mosh pit and is being grabbed by a bunch of people. It's disturbing visuals with a catchy tune.
After this - when the phantom decides to de-mask and de-wig in front of the kid, who runs off screaming. Christine and Meg come on and the phantom rounds on her about the age of the kid. She asks Meg to take him back to the hotel.
And then she confesses that hey - remember that one night stand? After which you left me? Well, you left me with a kid. Ta-da.
Then, more out of pity about it, she offers to sing his song the next night. He tells her to never tell their son about him at all, they agree and she runs off.
Then we get a phantom who's suddenly back to try being redemptive. He's going to turn over a new leaf, he's going to give everything to Gustave. Yay!
Then Mamade Giry steps out of one of the random triangle pieces that were part of the previous song. She's heard everything and is ticked that after whoring her daughter, er I mean, after she and her daughter saved him and gave him all their money, they both are going to be left with nothing. So - angry Giry.
Some good things:
The costumes. I mean: wow!
The sets were divine!
So - most of it is this kinda twisted half mask - but on stage left there's this eye. Just one eye. And it changes colors throughout the show. Once it was blue, then it turned completely red. It was Awesome! I loved it.
Through the entire show I kept singing the lyrics to "Our Kind of Love, and "The Heart Is Slow to Learn" in my head, ever time the melody was played. (I will post links of these songs in the next post.
I kept thinking I'd much rather have a cast album of this tour than the previous ones. It's a rather nice change to the first adaptation which made me want to jump head first into a 5ft pool.
With the lyric changes and fixes it wasn't as bad as the first or even the 50th version.
Meg is more interested in Christine as a friend, not a rival
But suddenly Madame Giry is the villian???
Whew.
Stay tuned for Act Two!
Okay - if you are a phan or know anything about musical theatre, you've likely heard of a show called "The Phantom of the Opera". It's an awesome show that was based off a novel written back in the early 1900's, by Gaston Leroux. The show has many memorable songs that will get stuck in your head: "Think of Me", "The Music of the Night", "All I Ask Of You", "Wishing You Were Somehow Here Again".
Well - back in 2010 the composer of this wonderful musical thought it needed a sequel. And we got this:
Since it first came out there have been nearly a HUNDRED different re-writes.
Why, you may ask?
Because it was horrible.
Alright, I'm getting on my soap box here. Sorry.
The next adaptation of this we got was this, which was filmed in Australia:
So, here's my review based on this latest version - the newest re-write.
Since most people already know how much I rather loathe this whole thing I tried to go into it with an open mind. I mean, they'd already redone most of the plot, changed some things up. And - to be fair - I do love one or two of the songs (when taken EXTREMELY out of the context of this show).
I came into this newest Adaptation pretty blindly. I had seen many videos of the previous versions online, and the movie of course. I did not go looking up any material on this - including the cast - wanting a 'fresh' take.
Going in and chatting with some of my fellow Ushers, who had previously helped on the show, I did not hear many positive things about it. The few good remarks had more to do with the costumes or one or two of the set pieces.
Not a good beginning to my open-minded evening.
So before the performance began I went to check out the souvenir stand, because I love swag as much as the next theatre lover. One hoodie was $70 with only the logo, tee shirts were between $40-$60 (which is kinda standard, but still for just a small little logo). Nothing that could be considered 'affordable' - so, unless you'd want a $10 lapel pin you're out of luck. Even the magnets were $20.
Also - we were supposed to be outside the curtain for the first 8 minutes, including the one song that I actually wanted to hear! I mean, there are screens out in the mezzanine, but that's not the same.
Ahem, here is my review of the Saturday December 2, 2017 tour version of "Love Never Dies".
We begin with the first song that was premiered, and the one that actually caught me in the heart. I love this song. I will unashamedly admit to loving this song. And the man who portrayed the phantom that night, Gardar Thor Cortes, was AMAZING!
I finally looked through the playbill and realized he was an opera singer as well. HE SANG OPERA PROFESSIONALLY! HE SANG OPERA!!!
(Running to YouTube, be back in a moment.....)
Yeah - This. This is the reason I like this song....
Okay - so, now that I've raved about his singing voice (which is absolutely amazing the entire time), let me talk a little about the set. I did have a little notebook with me while I was there and jotted down notes as I could (being an usher I had to wait for times when I wasn't 'working').
Okay - Notes on the 100X Revamped Paint Never .....Er Love Never Dies -
Alright - so the set piece for the first scene looks just like the base of one of my music boxes, well globes, but ya know potatoes, right?
So, that set space was tiny to be on, it had a free standing organ, a bench, and maybe room to stand. Also (this is taken directly from my notes, so no judging) How Da Freak does he get up there! I just saw one of the stage crew use a freaking ladder to get up and down to set it in place - so HOW!
(And if any of you say 'Magic', Imma sick real Phan girls on you)
Also - random 'Monster Mash' growls during the sound test....heeheehee.....
As I've already said, the Phantom singer was more than great - he was stupendous! Absolutely amazing!
Now to the plot: It was a nice change of pace. Meg was not as murdery as in the previous versions. They toned her back to the girl who was eager to see her friend again. A girl who was really just trying to enjoy her live and move on. I personally blame the rest of the characters for mucking with her and driving her over the brink of crazy psycho.
I found myself enjoying the show. A lot.
So we go from 'Till I Hear You Sing', which is still AMAZING! to -
"The Coney Island Waltz"
Right, so I actually enjoyed this song too. It was bright, colorful. Just the sort of thing you'd expect from a carnival. It was rather spot on in being catchy.
Then we realize that Madame Giry is no longer a loving, caring mother. She's somehow turned into a constantly ticked off woman who's only out for herself. She even smacks down Meg's enthusiasm after her performance. It's hard to watch her character be so - so - abused.
Next we get the reporters on the docks, waiting for the famous Christine Daae who hasn't sung in ten years. To which I say, if she hasn't sung in ten years - how the heck does everyone seem to know her name? I mean.....how?
There's some name dropping of famous figures, and then Hammerstein is the one who invited her over to begin with. Until 'Mr. Y' buys out her contract.
Right - so the mode of transportation from the docks to the hotel is awesome! It's like a car that looks like a hearse, but it's two stories high. I loved this.
So, Raoul.
Dear, poor, sweet, Raoul.
They've toned his character in this back too - thank goodness. Sure, he's upset that he lost his money, and the Americans were being jerks to him on the docks (hey, it's a kinda trademark over here), and he's - well - in this he's a typical dad. He's concerned about money. Upset that his wife is the one who's making it instead of him (which was HUGE deal back in the early 1900's). But he does play with his son.
The music contraption that he has is....I don't even know. From where I was it looked like a triangle something with a handle.
Surprise - it played the intro notes of "Past the Point of No Return".
I'm gonna pause right here and say:
They blatantly use lines, lyrics, and music from the original show almost as often as they refer to music. I think it's all done in poor taste.
So - Christine recognizes it and starts to freak out. When she tries to get Raoul's attention, he gets a message and leaves.
"Look With Your Heart"
This is kinda cute. This is one of the other few songs I actually find enjoyable. It's rather sweet. And it shows how much Christine loves her son. It's adorable. Then she puts him to bed and as she's trying to figure out the strange music box -
BAM!
I literally jumped in my seat.
Er, stair.
The back windows open and the phantom comes in. Christine passes out and he's all "Crap. I did it again."
So - then we hit this roadblock.
I was enjoying this show until this song. I absolutely hate this song. It's so demeaning to the characters. It tears apart the entire show and tosses the end redemption and moving on at the end down the toilet and then adds bleach.
I can honestly say I've read fanfiction better than this.
Sigh...
"Beneath a Moonless Sky"
AKA - even though we both moved on, apparently we didn't and have to have a one night stand with strange results.
So - they both loved each other. Christine was going to leave Raoul and go back to the rather abusive relationship between her and the phantom.
Nope sorry - this one's completely biased. I hate what they did to the characters.
Then they sing "Once Upon Another Time"
AKA - we would have been together, but you left in the dark and left me to think you were dead
So Gustave comes out claiming he had a nightmare about someone drowning him (remember this). The Phantom proceeds to stand him up on the railing, which of course freaks out his mother since they're possibly four stories up. He agrees to show the kid around Coney Island the following day.
They go back inside and Christine sends him off to bed after which we get this.
The phantom threatening to kidnap her son the following day, as 'things happen at a carnival'.
He threatens her son.
.....
She has to sing the stupid song in order to keep her son safe (1st twisted mind game).
When we hit "Dear Old Friends" I couldn't help but love this new version.
Meg and Christine reuniting is everything you'd want in a friendship. They are genuinely happy to see each other. Of course, when realizing they're singing on the same night, Meg's just thrilled to be on the same billing as Christine. It's adorable.
Then Raoul and Madame Giry - it's rather interesting.
The whole song just makes you rather happy with the whole process.
So Christine finally realizes her son is missing. To which I had to ask: what kind of mother of a ten year old.....okay I see it now, but still. If the phantom had already threatened to kidnap him, wouldn't you keep closer tabs on him?)
When Gustave is taken down to the phantom for his tour by our three chorus, he starts playing his little song. Then he starts playing the title song of Phantom - which then get the phantom to make him sing the end "Ahhhh's" from the original title song. .... Somehow I found this funny, because I laughed, and sad all at once.
"The Beauty Underneath"
This has undergone drastic changes as well. It's not as cringe worthy as before. Until you realize the kid is quite literally thrust into a mosh pit and is being grabbed by a bunch of people. It's disturbing visuals with a catchy tune.
After this - when the phantom decides to de-mask and de-wig in front of the kid, who runs off screaming. Christine and Meg come on and the phantom rounds on her about the age of the kid. She asks Meg to take him back to the hotel.
And then she confesses that hey - remember that one night stand? After which you left me? Well, you left me with a kid. Ta-da.
Then, more out of pity about it, she offers to sing his song the next night. He tells her to never tell their son about him at all, they agree and she runs off.
Then we get a phantom who's suddenly back to try being redemptive. He's going to turn over a new leaf, he's going to give everything to Gustave. Yay!
Then Mamade Giry steps out of one of the random triangle pieces that were part of the previous song. She's heard everything and is ticked that after whoring her daughter, er I mean, after she and her daughter saved him and gave him all their money, they both are going to be left with nothing. So - angry Giry.
Some good things:
The costumes. I mean: wow!
The sets were divine!
So - most of it is this kinda twisted half mask - but on stage left there's this eye. Just one eye. And it changes colors throughout the show. Once it was blue, then it turned completely red. It was Awesome! I loved it.
Through the entire show I kept singing the lyrics to "Our Kind of Love, and "The Heart Is Slow to Learn" in my head, ever time the melody was played. (I will post links of these songs in the next post.
I kept thinking I'd much rather have a cast album of this tour than the previous ones. It's a rather nice change to the first adaptation which made me want to jump head first into a 5ft pool.
With the lyric changes and fixes it wasn't as bad as the first or even the 50th version.
Meg is more interested in Christine as a friend, not a rival
But suddenly Madame Giry is the villian???
Whew.
Stay tuned for Act Two!
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