A totally surprise review of Love Never Dies!
First of all, two things. 1, I haven't actually seen it, or rather, heard it live on stage yet. I appear to be working from the concept-album released prior to the show's London opening. And 2, to all my fellow old-school stage-version Phans, please don't Punjab-lasso me! I swear I intend no blasphemy! I truly didn't expect to like it as much as I ended up doing! In fact, I've had the sound-track for months, and only now finally got up my nerve to actually listen to it thanks to the review of the show on the All Things Phantom podcast. But what they said about it reassured me a great deal, and even, dare I say it, got me really excited about it! So I figured I'd go ahead, take the plunge, and give it a listen. And I'm actually in awe, at least of certain parts of it! No, I don't love it unconditionally, and it's not of the same calibre as the original. But by the Gods, old Sir Andrew still has the gift after all! Which reassures my heart greatly, as I'd begun to fear that arrogance over his success and his title had caused him to loose it.
So first off, let me say that what I'm in awe of are most definitely certain parts of the show. As the All Things Phantom reviewers said, it's uneven. Some parts of it are mere filler - necessary to move the plot along, but not of any particular musical or lyrical brilliance. But then there are the moments, four of them in particular, which are truly 5-star! They're musically breath-taking, lyrically great, and emotionally heart-wrenching. And by the way, the leads, Ramin Karimloo and Sierra Boggess (I believe), are fabulous! I can't wait to hear them in the original in the 25th anniversary concert if it's broadcast, which now I hope even more that it will be! Not only do they both have beautiful voices, but can we say emotional? Woah! And that's only on the soundtrack! I'd love to hear them do it live! And I should say that I haven't really even listened to the full soundtrack all the way through yet - I just kind of skimmed once I had the sense of a song or scene unless something really leapt out at me. So there may be more of those 5-star moments waiting to be heard!
And while I'm at it, I have to say that one of the highlights of the show for me was hearing that ALW finally made use of that gorgeous "Journey to the Semetary" music that he added to the 2004 movie. Honestly, that little piece was one of my favourite moments in the movie, and I was really sorry he didn't develop it into a full song then. So I'm really glad he has in LND! He's altered it slightly, and I'm not sure I quite like the way the rhythm flows as much. But it's recognizably the same theme, and it's a really gorgeous song! One of those afore-mentioned true 5-star moments! I alsoreally loved how Sir Andrew continues, in LND, to use leitmotifs to the same kind of brilliant effect to bring out references and subtexts that he does in the original. There are lots of subtle musical allusions to the original, and they work really beautifully, both to tie sequel to source and to evoke subtext possibilities. He's also done an impressive job of hybridizing musical styles. Much of the show is straight-forward, Puccini opera-derived high music-theatre, with lush strings and legit-voice singing, although there seem to be some rag-time references as well as much use of a more traditional music-theatre style. But ALW also brings in elements of rock, especially in some of the Phantom's songs, and yet the styles compliment each other instead of clashing. They serve to sort of bring the story into the present, instead of having it be a total museum-piece, and they also add an edge to it that fits well with the Phantom's life-hardened yet passionate personality.
There were only three things which, I thought, held LND back from being as powerful as the original. First of all, too much skippable filler, at least from what I've heard thus far. There is no such thing in the original. The two "notes" scenes and the Don Juan Triumphant rehearsal scene, while mainly plot-movers too, are nevertheless still musically rich and lyrically interesting. Plus, they're appealing because they provide badly needed moments of levity amidst all the high emotion, something from which LND could take a hint! So maybe that's four things that hold the show back? Because it could definitely do with a better balance between heavy and light emotional moments! Yikes! Especially in act 2 as Meg starts to flip out from jealousy of Christine. And I must say that I disagree with the All Things Phantom reviewer's assessment that Meg looks to the Phantom as a surrogate Father. Even from what I've heard so far, I think the implication is very clear that she's in love, or at least obsessively infatuated with him, and I can't say as I blame her! Which adds an interesting twist, as, while he's trying for a reunion with Christine, who is the only one for whom he has eyes or a thought, Meg is increasingly desperate to make him see her, paralleling his own obsession with Christine in the original.
The second, or rather now third, thing, then, that made LND short of perfect was that the story, beautiful and moving as it was, wasn't what I would have wanted in a sequel to POTO. I would have rather had one which explores, as the original does, the moral and spiritual challenge of finding the courage to love across differences and arbitrary devides, not more of Christine's indecisiveness. And in LND, the courage issue felt almost like a secondary focus or sub-plot to the reunion and the love-triangle with Meg. The Phantom's deformity and the rejection it caused him made the story more poignant, but the same story could have been told without it and remained in tact, and that was a problem in my view.
And lastly, I thought that the lyrics held the show back, reflecting, I think, Charles Hart's lesser involvement in this one as compared to the original, and proving, in my opinion, that Hart doesn't get nearly enough credit for the success of the original Phantom. For, while the lyrics in LND are great, they are not absolutely inspired like those of the original show. And by that I mean that, in the original, especially at the most powerful moments, the lyrics can, imho, be read without music, as straight poetry or play, without loosing any of their power and emotional impact. Likewise, although a medeocre actor in the original is frustrating because they don't do the material justice, they can't actually lessen the impact of lyrics like the incredible "pitiful creature of darkness" line in the final Lair Wishing You Were Somehow Here Again or Music of the Night. But in LND, much of the power of the 5-star moments comes from the setting of the lyrics to Sir Andrew's masterful score, and to the actors' amazing deliveries. I don't think you could read the lyrics, even at such moments as those, straight, unaccompanied, and have them retain their full impact. And, as the All Things Phantom reviewers pointed out, a lesser cast could seriously weaken their punch as well. the writing is just too music-theatre-song-ish, if you know what I mean, for it to stand on its own. I've read that Charles Heart was brought in to "adjust the cadences of the original clunky lines" (by original lyricist Glenn Slater), and I think I can hear his influence in those 5-star moments; though I'm not sure, as, from what I've read, he may have been brought in after the concept-album was recorded. So I'll be interested to hear later versions to see if there's a difference! But Sir Andrew should have brought him in as a full collaborating lyricist in the first place like he did in the original, as Glenn Slater just doesn't have Hart's genius. Hell, I've yet to hear another lyricist who does! So I really pray that, if/when the show comes to my home city, it has as good a cast! Same with its appearance on Broadway! Because a bad cast could really endanger its chances.
Anyway, as I said, I'm glad I finally got up the confidence to give LND a listen! After the 2004 film, I was honestly quite scared to as I couldn't bare another watering down of the story like that! But I have to say that, while it doesn't have quite the fire from heaven of the original, I ended up being really impressed! It's definitely Phanfiction, not cannon. But as Phanfictions go, it gets, if not the A++ of the original or the A+s of some of the best Phics out there, then at least a solid A thus far! I can't wait to hear the show live and see if that holds, though I actually suspect to my surprise that it will! And of course, I'll definitely post further reviews when and if that happens.
So first off, let me say that what I'm in awe of are most definitely certain parts of the show. As the All Things Phantom reviewers said, it's uneven. Some parts of it are mere filler - necessary to move the plot along, but not of any particular musical or lyrical brilliance. But then there are the moments, four of them in particular, which are truly 5-star! They're musically breath-taking, lyrically great, and emotionally heart-wrenching. And by the way, the leads, Ramin Karimloo and Sierra Boggess (I believe), are fabulous! I can't wait to hear them in the original in the 25th anniversary concert if it's broadcast, which now I hope even more that it will be! Not only do they both have beautiful voices, but can we say emotional? Woah! And that's only on the soundtrack! I'd love to hear them do it live! And I should say that I haven't really even listened to the full soundtrack all the way through yet - I just kind of skimmed once I had the sense of a song or scene unless something really leapt out at me. So there may be more of those 5-star moments waiting to be heard!
And while I'm at it, I have to say that one of the highlights of the show for me was hearing that ALW finally made use of that gorgeous "Journey to the Semetary" music that he added to the 2004 movie. Honestly, that little piece was one of my favourite moments in the movie, and I was really sorry he didn't develop it into a full song then. So I'm really glad he has in LND! He's altered it slightly, and I'm not sure I quite like the way the rhythm flows as much. But it's recognizably the same theme, and it's a really gorgeous song! One of those afore-mentioned true 5-star moments! I alsoreally loved how Sir Andrew continues, in LND, to use leitmotifs to the same kind of brilliant effect to bring out references and subtexts that he does in the original. There are lots of subtle musical allusions to the original, and they work really beautifully, both to tie sequel to source and to evoke subtext possibilities. He's also done an impressive job of hybridizing musical styles. Much of the show is straight-forward, Puccini opera-derived high music-theatre, with lush strings and legit-voice singing, although there seem to be some rag-time references as well as much use of a more traditional music-theatre style. But ALW also brings in elements of rock, especially in some of the Phantom's songs, and yet the styles compliment each other instead of clashing. They serve to sort of bring the story into the present, instead of having it be a total museum-piece, and they also add an edge to it that fits well with the Phantom's life-hardened yet passionate personality.
There were only three things which, I thought, held LND back from being as powerful as the original. First of all, too much skippable filler, at least from what I've heard thus far. There is no such thing in the original. The two "notes" scenes and the Don Juan Triumphant rehearsal scene, while mainly plot-movers too, are nevertheless still musically rich and lyrically interesting. Plus, they're appealing because they provide badly needed moments of levity amidst all the high emotion, something from which LND could take a hint! So maybe that's four things that hold the show back? Because it could definitely do with a better balance between heavy and light emotional moments! Yikes! Especially in act 2 as Meg starts to flip out from jealousy of Christine. And I must say that I disagree with the All Things Phantom reviewer's assessment that Meg looks to the Phantom as a surrogate Father. Even from what I've heard so far, I think the implication is very clear that she's in love, or at least obsessively infatuated with him, and I can't say as I blame her! Which adds an interesting twist, as, while he's trying for a reunion with Christine, who is the only one for whom he has eyes or a thought, Meg is increasingly desperate to make him see her, paralleling his own obsession with Christine in the original.
The second, or rather now third, thing, then, that made LND short of perfect was that the story, beautiful and moving as it was, wasn't what I would have wanted in a sequel to POTO. I would have rather had one which explores, as the original does, the moral and spiritual challenge of finding the courage to love across differences and arbitrary devides, not more of Christine's indecisiveness. And in LND, the courage issue felt almost like a secondary focus or sub-plot to the reunion and the love-triangle with Meg. The Phantom's deformity and the rejection it caused him made the story more poignant, but the same story could have been told without it and remained in tact, and that was a problem in my view.
And lastly, I thought that the lyrics held the show back, reflecting, I think, Charles Hart's lesser involvement in this one as compared to the original, and proving, in my opinion, that Hart doesn't get nearly enough credit for the success of the original Phantom. For, while the lyrics in LND are great, they are not absolutely inspired like those of the original show. And by that I mean that, in the original, especially at the most powerful moments, the lyrics can, imho, be read without music, as straight poetry or play, without loosing any of their power and emotional impact. Likewise, although a medeocre actor in the original is frustrating because they don't do the material justice, they can't actually lessen the impact of lyrics like the incredible "pitiful creature of darkness" line in the final Lair Wishing You Were Somehow Here Again or Music of the Night. But in LND, much of the power of the 5-star moments comes from the setting of the lyrics to Sir Andrew's masterful score, and to the actors' amazing deliveries. I don't think you could read the lyrics, even at such moments as those, straight, unaccompanied, and have them retain their full impact. And, as the All Things Phantom reviewers pointed out, a lesser cast could seriously weaken their punch as well. the writing is just too music-theatre-song-ish, if you know what I mean, for it to stand on its own. I've read that Charles Heart was brought in to "adjust the cadences of the original clunky lines" (by original lyricist Glenn Slater), and I think I can hear his influence in those 5-star moments; though I'm not sure, as, from what I've read, he may have been brought in after the concept-album was recorded. So I'll be interested to hear later versions to see if there's a difference! But Sir Andrew should have brought him in as a full collaborating lyricist in the first place like he did in the original, as Glenn Slater just doesn't have Hart's genius. Hell, I've yet to hear another lyricist who does! So I really pray that, if/when the show comes to my home city, it has as good a cast! Same with its appearance on Broadway! Because a bad cast could really endanger its chances.
Anyway, as I said, I'm glad I finally got up the confidence to give LND a listen! After the 2004 film, I was honestly quite scared to as I couldn't bare another watering down of the story like that! But I have to say that, while it doesn't have quite the fire from heaven of the original, I ended up being really impressed! It's definitely Phanfiction, not cannon. But as Phanfictions go, it gets, if not the A++ of the original or the A+s of some of the best Phics out there, then at least a solid A thus far! I can't wait to hear the show live and see if that holds, though I actually suspect to my surprise that it will! And of course, I'll definitely post further reviews when and if that happens.