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!

The Phantom of the Opera - The New US Tour

This past weekend I had the fantastic opportunity to usher at one of my favorite theatres for my all-time favorite show, well musical. (There is a difference between a show and a musical.) Friday night I worked in the second dress, giving me a decent view of the entire show (although I did have limited view because of the new staging and sets, more to come later). Saturday night I worked first dress, about twenty feet from the edge of the balcony. I was able to see expressions better, and notice quite a few light cues that were magnificent and gorgeous to behold.

Without further ado, here are my thoughts and notes on Andrew Lloyd Webber’s re-staged, re-costumed, re-imagined, re-whytheheckwouldyoudoallthiscrapwhenitwassellingoutalready, tour of:

The Phantom of the Opera

I will take it scene by scene, so bear with me on our Journey to the Lair across the Lake. I will say off the bat though, that some of the dialogue from the original (and subsequent productions) has been changed. This happens throughout the entire performance. I will add a few examples at particular scenes later on.

Now, shall we begin?

The Prologue.

This scene takes place ten-fifteen years after the events of the phantom. The new set up shows you the main stage of the opera house, now covered with boxes, costumes, posters, and anything that wasn’t nailed down that can be sold. Yes, there is an auction going on. We get introduced to old Raoul, now without his flying nun nurse, and no longer confined to a wheelchair. He buys a poster, then the infamous monkey box.

The Monkey Box – before it was a cute little box with a monkey sitting atop with a triangular head. This new one takes the film into consideration in the form of the monkey. It also looks like a triangular contraption which, when you wind it up, opens like a flower and the monkey sits up and chimes. It was an interesting new prop for the new production.

The chandelier is no long on stage beneath a tarp. Instead it hangs above the orchestra pit with a “dust” covered cloth hiding its former splendor. There is no rising during the following scene either. This was disappointing. It is also smaller than the original, without the traditional lyres adorning the sides.

The Overture

As stated before, there is no dramatic rising of the chandelier. Instead we are left watching old Raoul standing on the stage as the auction is taken away and we are taken into the past. Madame Giry comes onstage, Carlotta stands on the edge of Stage Left in her Hannibal gown with the severed head, and a few ballerinas slowly dance by him. It gives a great illusion that we are being taken into the past events of what transpired. The top of the proscenium no longer has the exquisite statues, instead opting for a drape that can be removed for the other set pieces.

Hannibal

Carlotta. She has so much more diva attitude in this version that it’s impossible not to love her. The new tour gives her some of the best moments, far outshining the rest of the cast more often than the original. Her sass has no end.

While she is singing to the severed head, a male ballet dancer dances on with a casket for the head, which after kissing it, Carlotta drops inside.

The ballerinas have a longer “slave girl” dance. The added minutes give you time to appreciate the hard work the men and women go through. And it’s lovely to watch.

The elephant is now a cardboard cutout, rather than a larger set piece. I did not notice whether or not there were men drinking when they took it off (if anyone else has seen it, did you notice this?).

Think of Me – Carlotta

I think this is where I fully fell in love with Carlotta. As she’s preparing to sing M. Reyer gives her a few notes, which she freaks out about. She goes full blown Italian diva and yells at him, saying it’s the wrong key and to start again. I wasn’t prepared for this, but it gave her more character depth. When she prepares to sing, she flicks her skirt out, smacking a few unsuspecting ballerinas in the process. The fact that she doesn’t care, and glares at the girl who was “in her way”, is priceless.

Think of Me – Christine

The entire staging from this has been changed. She spends the first half of the song dancing around the stage. About halfway through two ballerinas sorta dance out carrying it; then they drape it over her shoulders. There’s a slight, not really “tug-of-war”, in which Christine gently pulls it away. Raoul’s part seems . . . less. The lines are still there, but it just seems to go by rather quickly. Though instead of being seated with the managers he gets his own box, which is neat.

There are some amazing lighting choices done with this scene as well.

Backstage

After the final note, it transitions to behind the stage. All the ballerinas flock around Christine, this time wearing either shawls or dressing robes. When Giry Senior tells them to go and change for more rehearsal some of the girls actually start crying.

This transitions into –

Angel of Music

Christine and Meg’s lines take part in front of at least twelve other people. Instead of having her own dressing room, Christine shares it will all the ballerinas. Which begs the question, if OG was giving her private lessons in that room, how come no one else heard him? And does this mean he was spying on all the other ballerinas too? That’s some super stalker syndrome, if you ask me.

I digress.

As the ballerinas are changing back into their tutus, they do a few “pause” moments, depicting Degas paintings. It’s a wonderful nod to the painter. (Though seriously, how does Christine manage those one-on-one lessons when there’s the possibility of twelve or so ballet rats bursting in on her? HOW?!)

Madame Giry’s lines have changed, and after she gives Christine the letter she stands right outside the door listening in. Ever heard of space woman?

Also, after Raoul tells the managers that he wants to meet Christine alone, as they go off one of them snarks, “You – you are a naught boy!”

Little Lotte

So Raoul bursts in, startling Christine who was adjusting her clothes in front of the mirror (which I have to wonder now if OG was watching her). She’s startled, which I get. So after the initial shock of “There’s a Man in My Dressing Room!”, she’s more responsive. They have their childhood chat, and Raoul acts more ‘adult’.

I’m still not sold on the locket she wears, but knowing that it carries a picture of her father, eh, I can let it pass.

Angel of Music Reprise – Through the Mirror

When the phantom comes on his voice is literally in the entire theatre, all the speakers. You are surrounded by his voice. On “I am there inside”, it switches to directly behind the mirror. As the song goes along you get a beautiful silhouette of Christine on one of the walls. When the mirror opens she’s far too eager to get through, there’s no hesitation or caution, and just full out “I’m coming!” The mirror quickly closes behind them.

Raoul comes back in and spends a few minutes looking around, inspecting the walls. He finds the one rose he gave Christine on the floor (movie nod). The set rotates around him as he continues playing detective. He calls her name once, or twice, but there is no reference to the angel.

The Phantom of the Opera

As much as I loathe the set for having extreme limited viewing on the sides, I do love this set. (Begrudgingly.) They start at the top of the set piece, then the phantom opens a door and stairs emerge from the sides. It makes me nervous each time I see anyone walking down them, because the only support is from the wall. There are a few stops where they make poses reminiscent of the 1925 film, which are awesome! The boat is only on for one verse, quick, brief, and gone. The use of real flames is awesome.

At the end instead of yelling, “Sing!” a bajllion times, he changes it up with other things, like “Breathe!” This is a fantastic nod to the teacher/student aspect.

Also I have a little beef with the fact they don’t use the fedora. It’s used in the shadow scenes, but never when you see him. What. The. Heck.

The Music of the Night

Derrick Davis as the phantom has a unique and wonderful tone to his voice. I thoroughly enjoyed his version of this song. Throughout it he’s trying to show off his music, and acts like a love-sick kid. 

The giddy way he sort of runs around is adorable.

I do not enjoy the blindfold. I get that it’s a way to force Christine to listen to the music and not focus on the sights around her, but I still think it’s dumb. At some parts during the song it’s this awkward, “look at all the wonderful things!” And she seems distracted by the music he sets out that I don’t think she’s fully listening to him sing – she’s reading the music.

The back of the lair looks like a tree, with the lights coming down like vines. The first night I saw it, I thought there was a skewered teddy bear as part of the set – though the second night I figured it was something else.

Instead of using the boat to sleep in, there is an actual bed now with various blankets and pillows. 

The organ is smaller too. And instead of waiting until the end, Christine passes out right after “Floating . . .”….. Okay, she doesn’t “pass out” more as, gently leaps into the phantom’s arms and falls asleep. This is weird. He puts her on the bed, she nestles in, and he tucks her in.

Another fun aspect of the lair is that there is a little nook to stage left where he keeps his Punjab lasso. (Which I thought was a fun, cute nod.)

Stranger Than You Dreamt It

SERIOUSLY! LOUD FREKIN ORGAN DOESN’T WAKE YOU UP BUT THE SMALL MUSIC BOX ON THE OTHER SIDE OF THE LAIR DOES!

AND WHAT THE EFF HAPPENED TO THE ORIENTAL JACKET AND HAT?!!? WHY DID 

YOU HAVE TO ABANDON THIS PART OF THE COSTUME? IT WAS AWESOME!!!

Excuse me.

So, instead he just takes off his jacket and tosses it.

So the phantom takes the mask off, leaves it on the table. At first I thought this was odd, but after the second time I saw the point – he takes up a cloth to wipe the disfigured side of his face. So – I see the point now. Christie wakes up, sees the mask and picks it up. She literally turns him around to see and he flips out. (Although in all honesty, it was his fault for leaving it right there and not somewhere Christine proof.) Pitiful expression of sadness.

I do love the line when he’s mocking, “Think of me”, he gives this little head shake, full of snark. 

Then he falls to the floor like a boss and sort of crawls towards her. The only way she’ll look at him is after she hands the mask back.

Notes I

LIMITED FREKIN VIEW!

I have to have it out, but I had multiple people complain to me about it, including a woman from 

London who was extremely ticked.

I digress again.

The two men portraying the managers made the lines more comical than I’ve seen previously. When Raoul comes in he behaves more like an aristocrat, waiting for one of the managers to take his coat off (if this has been done in previous versions I have never noticed). When Carlotta and Piangi come in, their bickering and accusations don’t seem to faze him. Madame Giry makes more problems when she enters, eliciting an audience wide laugh.

It was rather nice when the phantom came onstage during the reading of the final note. He sort of hangs out at the top, being his usual snarky and mocking self. He walks off, then comes back to lean over the banister and snark, “Ideal”. I swear someone took notes on the Charles Dance snark – and added some of Panaro’s.

Prima Donna

Why bother with having the Giry’s and Raoul onstage when you can’t really hear what they’re saying anyway? They seem to be pushed to the background. More central focus on Carlotta, complete with changing into her Il Muto costume while onstage.

Ill Muto

The Baritone is full of win. It sort of feel like this part goes by quickly. Meg does not make an appearance with her, “He’s here the Phantom of the Opera!”

Instead Christine says it then her normal line. I guess this works . . . meh.

After the toad incident Carlotta makes one of the fastest get-always I’ve ever seen. I missed her exit both nights being distracted by the other happenings on stage.

The managers split up, and the one on stage does the best “the ballet . . .” And when the ballerinas come they run into him on accident, his response is “watch it!”

Ill Muto – the Ballet

For this they do a split scene. Half is the ballet, which is a little bit changed. The costumes are no longer cheap sackcloth’s, but pretty ballet-esq nymph deals, light green. Instead of the shepherds there are two fawns, which is pretty cool. This is all happening on stage right.

Stage left is ‘backstage’. We see Joseph Buquet looking at all the girls, doing his leering impression. Then the phantom comes dressed as a stage hand and kills him. As the body rises the ballerinas look over; he does a quick look and runs backstage. If you aren’t looking in the right area, then you’ll miss it entirely.

Why Have You Brought Me Here

No “No, to the roof, we’ll be safe there!”. Instead the set rotates and Christine is suddenly ‘on’ the roof. And if you’re house left don’t get your hopes up for seeing this particular scene.

Christine is walking back and forth while waiting for Raoul to show up. They have this fighting spat, in which Christine yells at Raoul for not believing her. Once the Phantom calls her name she just sort of looks at Raoul and sarcastically asks, “What was that.” She says it in such a deadpan manner that it’s almost a mock of Raoul. As in – you idiot, I told you he was real, if he’s not, who spoke? It’s as though she’s daring him to disagree with her. She goes down to the edge of the stage, looks over and there’s serious contemplation of her jumping. When Raoul realizes this you can see the genuine concern he has for her. He calls her name, and then slowly walks toward the edge of the stage.

All I Ask Of You

Christine crumples to the floor. Raoul is careful as he approaches her. He gets on the floor across from her, then sort of crawls over to her. At the end of the song they kiss twice, but nothing else. She leaves him on the roof while she runs back down for the performance. He follows about two minutes after.

An awesome lighting cue is how the moonlight comes out and shines through Apollo’s Lyre, casting a beautiful golden glow on the stage.

All I Ask Of You (Reprise)

The Phantom climbs up onto the statue. When Christine and Raoul sing their bit he goes to cover his ears. After singing his bit he disappears from the set and it changes back to the front of the ‘stage’. 

 He reappears in Box Five with his cane. After shooting fire and yelling, “GO!” the chandelier flickers, then goes down. No arch towards the stage, nothing else.

There are my thoughts on the first act of the restaged tour. Stay tuned for act two.

(NOTE: I do not own the pictures. They were taken from the 2014 souvenir program. No copyright intended.)