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A Phan's Review of
In October of 1986, "The Phantom of the Opera" opened at Her Majesty's Theatre. Many speculated how Michael Crawford would fare in such a serious and demanding role and whether the production in general would succeed. To the delight of audiences, not only the haunting score and fashionably bizarre sets and costumes, but the story and performances engrained this teasure forever into our thoughts.
But then there is February 2010, a time that for many a phan (yes, "phan"), not only insulted the memory of the original production, but severly harmed it.
The Beginning of the MysteryWhere "The Phantom of the Opera" StartedIn 1910, "Le Fant de l'Op was published, written by the French novelist Gaston Leroux, who only lived to just see the first silent film be released.
The novel crafted such an intense world, filled with characters so distinct. Many of the people met in the original story did make the transfer over to the stage adaption, though changed, of course. Under Gaston's writings, Meg and Christine were not friends.
However, this is not quite the focus I wish to take at the moment in this review. This will factor in later though. Trust me.
The main draw to the musical has always been that passionate, doomed love that is so similarly seen in "Romeo and Juliet". No matter how hard you root for Christine to choose the Phantom, you know deep in your heart that they could never be together as where they come from are two completely different places and generally speaking, our Erik is just not good for Christine.
Erik's desperate cry of sadness in the end of the first production is just so heart wrenching that there should really be no other end. Gaston Leroux penned Erik's death after he allowed Christine to leave with Raoul,van cleef replica alhambra necklace. His love for her and sadness for knowing he could never truly make her happy consumed him and killed him,van cleef fake necklace.
I am sure that many phans, and not just myself,van cleef & arpels knock off necklace, felt Lloyd Webber's Phantom met a very similar fate. Who wants to live on when the one you love can never be yours? It's heart breaking.
But then "Love Never Dies" came along. There is simply no denying that Andrew Lloyd Webber is a wizard at his work. With the exception of one song ("What a Dreadful Town") and the stolen bits from the previous "Phantom", the score to "Love Never Dies" is quite beautiful and catchy.
That's not to say anything for the lyrics. The lyrics are very second rate, a few clever bits here and there, but the majority being just. very awkward and out of place.
As I have not seen the original London LND production, any and all critiques made regarding physical aspect of the show will be based on the Austrialian production (which I saw for my birthday in 2012 and currently own a copy of).
For anyone not familiar with the 1986 production, its basic premise is the obsessive love a deformed composer has for a young dancer who was promised by her father to be visited by the Angel of Music when he died and went to heaven. The Phantom uses her guilibility to his own ends, pretending to be the angel. But suddenly, a childhood sweetheart of Christine's shows up and old flames are ignited. In the end, Mme. Giry helps Raoul to get Christine back from the Phantom, and then Meg, Mme.
And then we have the premise for "Love Never Dies", in which we find all our beloved and cherished characters completely changed and not for the better, replacing the grand opera for an amusement park and sideshow attraction (the location not an entirely bad idea).
But we shall do this is a slightly orderly fashion, treating this like a video movie review, going through from beginning to end with some discussion along the way. This would not be such an issue if the gap of time between the two stories didn't matter so much. "Love Never Dies" (according to the libretto of the Original London Cast) is set around 1907 with only ten years having passed since the events of "Phantom" and the text at the start of the broadcast version (the Australian production) places the final lair scene in 1895. According to the "Phantom" libretto (from the 1986 Original Cast) the time period of the main events is not stated, but it is written that the auction scene at the start of the show is in 1911, or a mere 4 or 6 years after LND and Raoul is written in to be at age 70 or so.
Dang, Raoul. You sure did age fast.
The two openings are vastly different in arrangement, while pretty much keeping the same materials.
In the London opening, we start in a fashion similiar to that of the original opening, in the present which is actually after the main part of the story. Mme. Giry is reminiscing about "the good old days", standing on the boardwalk of Coney Island in New York, when confronted by one of the Phantom's assistants, Miss Fleck. Their little memory song beautifully connects to the opening overture. It's simple and it's sweet. This is one of the few good moments in the show.
The newer opening, starts with the "Music of the Night" rip off song "Till I Hear You Sing" (still a wonderful song when taken out of context of the musical, like most of the songs in it). This song originally came later in the show, right before Christine arrived to Coney. After the Phantom sings on about his misery, we get to the overture but the execution of it is not as good as it could have been. It feels like the design team tried way to hard to balance "weird" with "attractive". The whole overture is like watching a man in a white van attempt to draw in children to the back. This is Phantom! I want to feel sucked in and entranced, not feel cheapened.
In my humble opinion, I find the London opening much more inimate and personal.
To skip a lot of unnecessary non sense, I shall briefly summarize: the Phantom owns a park called Phantasma (although,van cleef clover replica necklace, now he goes by "Mr. Y", not "Mr. Why" like I first thought upon hearing the soundtrack), and he has hired on Mme. Giry and Meg, who both helped to smuggle the Phantom out of France and to America. Giry retains the same basic rank she held at the opera, while Meg has moved onto be the sort of star performer, the "Oh La La Girl", and the one who deals with any "financial" snags that comes along, which is to say she sleeps with business men to help keep Phantasma afloat and out of debt.
When mother and daughter hear that Christine will be traveling to New York to sing for the opening of Hammerstein's new opera house, they both start to recall the events of ten years ago, and it seems that suddenly Mme. Giry has a dislike for Christine because the young girl picked Raoul over the Phantom, despite the fact that Giry as the one who led Raoul to the Phantom to save Christine who ultimately did choose to stay, but our loveable old Phantom decided to let Christine go.
So, long story short: the Phantom is still pining away for Christine and comes up with a plan to lure her to him.
This brings us to the biggest and most disgusting character change of all and that is the change of Raoul de Chagny.
Raoul was never perfect in the original production. His character was flawed from the start and, since "The Phantom of the Opera" was written by Andrew Lloyd Webber for Sarah Brightman, a man who obviously more identified with the Phantom character, it really is no surprise. Seeing Raoul as a drunken and near abusive gambler is just too horrible though. This what has happened to him. He spends most of his time talking or singing about being drunk, getting drunk, being a jerk to Christine and Gustave, their child, or whining about how much he is jerk.
The evening that the de Chagny family arrives, Raoul leaves Christine alone once little 10 year old Gustave (yes, his age is important) is sent to bed.
The Phantom then, after meeting Gustave, who was awoken by a nightmare of being drowned, threatens Christine into singing his song for him instead of singing for Hammerstein. She, of course, agress to his demands.
The next day, Christine and Raoul run into Meg and her mother, revealing to all of them what the Phantom is up to. In the meantime, Gustave has run off to see Mr. Y, who promised to give him a tour of the park.
In October of 1986, "The Phantom of the Opera" opened at Her Majesty's Theatre. Many speculated how Michael Crawford would fare in such a serious and demanding role and whether the production in general would succeed. To the delight of audiences, not only the haunting score and fashionably bizarre sets and costumes, but the story and performances engrained this teasure forever into our thoughts.
But then there is February 2010, a time that for many a phan (yes, "phan"), not only insulted the memory of the original production, but severly harmed it.
The Beginning of the MysteryWhere "The Phantom of the Opera" StartedIn 1910, "Le Fant de l'Op was published, written by the French novelist Gaston Leroux, who only lived to just see the first silent film be released.
The novel crafted such an intense world, filled with characters so distinct. Many of the people met in the original story did make the transfer over to the stage adaption, though changed, of course. Under Gaston's writings, Meg and Christine were not friends.
However, this is not quite the focus I wish to take at the moment in this review. This will factor in later though. Trust me.
The main draw to the musical has always been that passionate, doomed love that is so similarly seen in "Romeo and Juliet". No matter how hard you root for Christine to choose the Phantom, you know deep in your heart that they could never be together as where they come from are two completely different places and generally speaking, our Erik is just not good for Christine.
Erik's desperate cry of sadness in the end of the first production is just so heart wrenching that there should really be no other end. Gaston Leroux penned Erik's death after he allowed Christine to leave with Raoul,van cleef replica alhambra necklace. His love for her and sadness for knowing he could never truly make her happy consumed him and killed him,van cleef fake necklace.
I am sure that many phans, and not just myself,van cleef & arpels knock off necklace, felt Lloyd Webber's Phantom met a very similar fate. Who wants to live on when the one you love can never be yours? It's heart breaking.
But then "Love Never Dies" came along. There is simply no denying that Andrew Lloyd Webber is a wizard at his work. With the exception of one song ("What a Dreadful Town") and the stolen bits from the previous "Phantom", the score to "Love Never Dies" is quite beautiful and catchy.
That's not to say anything for the lyrics. The lyrics are very second rate, a few clever bits here and there, but the majority being just. very awkward and out of place.
As I have not seen the original London LND production, any and all critiques made regarding physical aspect of the show will be based on the Austrialian production (which I saw for my birthday in 2012 and currently own a copy of).
For anyone not familiar with the 1986 production, its basic premise is the obsessive love a deformed composer has for a young dancer who was promised by her father to be visited by the Angel of Music when he died and went to heaven. The Phantom uses her guilibility to his own ends, pretending to be the angel. But suddenly, a childhood sweetheart of Christine's shows up and old flames are ignited. In the end, Mme. Giry helps Raoul to get Christine back from the Phantom, and then Meg, Mme.
And then we have the premise for "Love Never Dies", in which we find all our beloved and cherished characters completely changed and not for the better, replacing the grand opera for an amusement park and sideshow attraction (the location not an entirely bad idea).
But we shall do this is a slightly orderly fashion, treating this like a video movie review, going through from beginning to end with some discussion along the way. This would not be such an issue if the gap of time between the two stories didn't matter so much. "Love Never Dies" (according to the libretto of the Original London Cast) is set around 1907 with only ten years having passed since the events of "Phantom" and the text at the start of the broadcast version (the Australian production) places the final lair scene in 1895. According to the "Phantom" libretto (from the 1986 Original Cast) the time period of the main events is not stated, but it is written that the auction scene at the start of the show is in 1911, or a mere 4 or 6 years after LND and Raoul is written in to be at age 70 or so.
Dang, Raoul. You sure did age fast.
The two openings are vastly different in arrangement, while pretty much keeping the same materials.
In the London opening, we start in a fashion similiar to that of the original opening, in the present which is actually after the main part of the story. Mme. Giry is reminiscing about "the good old days", standing on the boardwalk of Coney Island in New York, when confronted by one of the Phantom's assistants, Miss Fleck. Their little memory song beautifully connects to the opening overture. It's simple and it's sweet. This is one of the few good moments in the show.
The newer opening, starts with the "Music of the Night" rip off song "Till I Hear You Sing" (still a wonderful song when taken out of context of the musical, like most of the songs in it). This song originally came later in the show, right before Christine arrived to Coney. After the Phantom sings on about his misery, we get to the overture but the execution of it is not as good as it could have been. It feels like the design team tried way to hard to balance "weird" with "attractive". The whole overture is like watching a man in a white van attempt to draw in children to the back. This is Phantom! I want to feel sucked in and entranced, not feel cheapened.
In my humble opinion, I find the London opening much more inimate and personal.
To skip a lot of unnecessary non sense, I shall briefly summarize: the Phantom owns a park called Phantasma (although,van cleef clover replica necklace, now he goes by "Mr. Y", not "Mr. Why" like I first thought upon hearing the soundtrack), and he has hired on Mme. Giry and Meg, who both helped to smuggle the Phantom out of France and to America. Giry retains the same basic rank she held at the opera, while Meg has moved onto be the sort of star performer, the "Oh La La Girl", and the one who deals with any "financial" snags that comes along, which is to say she sleeps with business men to help keep Phantasma afloat and out of debt.
When mother and daughter hear that Christine will be traveling to New York to sing for the opening of Hammerstein's new opera house, they both start to recall the events of ten years ago, and it seems that suddenly Mme. Giry has a dislike for Christine because the young girl picked Raoul over the Phantom, despite the fact that Giry as the one who led Raoul to the Phantom to save Christine who ultimately did choose to stay, but our loveable old Phantom decided to let Christine go.
So, long story short: the Phantom is still pining away for Christine and comes up with a plan to lure her to him.
This brings us to the biggest and most disgusting character change of all and that is the change of Raoul de Chagny.
Raoul was never perfect in the original production. His character was flawed from the start and, since "The Phantom of the Opera" was written by Andrew Lloyd Webber for Sarah Brightman, a man who obviously more identified with the Phantom character, it really is no surprise. Seeing Raoul as a drunken and near abusive gambler is just too horrible though. This what has happened to him. He spends most of his time talking or singing about being drunk, getting drunk, being a jerk to Christine and Gustave, their child, or whining about how much he is jerk.
The evening that the de Chagny family arrives, Raoul leaves Christine alone once little 10 year old Gustave (yes, his age is important) is sent to bed.
The Phantom then, after meeting Gustave, who was awoken by a nightmare of being drowned, threatens Christine into singing his song for him instead of singing for Hammerstein. She, of course, agress to his demands.
The next day, Christine and Raoul run into Meg and her mother, revealing to all of them what the Phantom is up to. In the meantime, Gustave has run off to see Mr. Y, who promised to give him a tour of the park.
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