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ok y’all it’s time. here begins my Love Never Dies live tweeting. Disclaimer: I have already seen this musical (more on that below). If anyone wants to pay me to review of this musical, I am very eager to do so.
As a prequel: Phantom of the Opera was very important to me as a little queer child. It’s part of the reason I love theatre, that I became a pianist, that I became an actor—and later a costume designer and a dramaturg and an adapter and a critic.
When I heard about Love Never Dies in London I begged my mom to take me (obviously she did not). Later, when they filmed the Australia production and put it in movie theatres for one night I made my mom drive me there to watch it. I was ENTHRALLED.
I sat in an almost empty movie theatre, a shockingly excited queer high schooler, getting to see a SEQUEL to one of my favorite musicals. It was nothing like what I expected but also everything I wanted? I didn’t know what exactly to make of it but I knew felt strongly.
For years I have been a passionate supporter (and mocker) of Love Never Dies. I bring it up a shocking amount. @fleetwoodmacole once said to me “stop mentioning it, no one but you has seen it.” I’m so happy that more of you get to see it now, for all it’s messy glory.
I love Phantom of the Opera, and to a much lesser extent I also love Love Never Dies. Neither is perfect but I love them for what they are.
So let us begin. First, to address some glaringly bizzare dramaturgical loopholes. LND takes place in Coney Island (why? No clue) in 1907, supposedly ten years after Phantom—but Phantom takes place in 1881. Also it’s unclear how the events of LND work with the prologue of Phantom
Everyone in LND inexplicably speaks English, don’t question it. That’s generally good rule for this bizarre musical. It mostly doesn’t make sense, but you just have to go with it. It’s a carnival (masquerade 2.0) after all, it doesn’t have to be logical, right?
Even within the first notes, ALW loves to musically tease us with micro-motifs or chord progressions from Phantom. But don’t be fooled: this is just musical edging. He never gives us the true Phantom reprises we crave.
to address the electric guitar in the orchestrations: the synthesizers and in Phantom actually work quite well, and somehow fit in the world, likely because of their “electric organ” feel. That is 100% not the case here. The electric guitar is jarring and just Does Not Work!
ALW starting with Till I Hear You Sing is such a flex. Sweeping score, “romantic” (read: rapey incel) lyrics, and high belts. Also such a non-traditional dramaturgical move for him, starting with an I Want instead of / before the standard group opening number.
the Phantom as a person is Not Okay! He is a kidnapper, a murderer, and a sexual predator. But like yes I just teared up a bit during the musical swell in Till I Hear You Sing. Damn Webber, save that great score for less creepy problematic characters!!
Real talk where did Phantom get this giant painting of Christine!! Did HE paint it? Somehow that’s even creepier.
As we get introduced to the Coney Island freaks during this terrifying waltz (if the goals was to give nightmares, A+ for you, Andy), just want to say that freak shows are a big part of American history but are SUPER ableist, and depicting them onstage uncritically isn’t cute.
The Monkey! Don’t worry the Easter Eggs in LND are not subtle at all! You won’t miss any!
The set design is brilliant. The interior rotating proscenium solves many of the scenic difficulties of Phantom.
The fact that Meg is a lead in this musical made me SO happy, and her first song “Only For You” is all I ever wanted, and more importantly, the stage time she always deserved!! Justice for Meg Giry and her 8 whole lines in Phantom!
apologies for delay, I am starting it over so my bf—a musical theatre composer who hates Webber and is a devoted Sondheim disciple—can watch
Danny during Coney Island Waltz: “is this Country Olaf’s theatre troupe?”
“Unfurled” and “world”? ground breaking
love Oscar Hammerstein getting a lil shoutout
Christine’s entrance is all I ever wanted. Like THAT is how a diva enters the stage. Entrance applause built in. and that gown? glorious.
I’m never a big fan of child actors in musicals but like wow I forgot how roughhhhh Gustave is
literally he started singing and Danny just gave me a look like “why are you making me sit through this”
Love that Christine has a costume change within her first 3 minutes of stage time
I know Phantom coming out of the mirror *again* is so expecting but I love the call back
I forgot Look With Your Heart existed, and like honestly maybe we all should?
when in doubt, FAINT
Phantom loves carrying unconscious women
“Beneath a moonless Sky” like girl it was cloudy, that’s not that special
Beneath a Moonless Sky gives you the lushness of Rodgers and Hammerstein but with a heavy dose of creepiness and Stockholm syndrome
Danny: “I guess gorgeous orchestrations and high notes can cover up awful lyrics”
the blocking for this scene is like that acting game where you are forced to counter cross and mirror whoever your partner moves
We should call this Love Never Dies: RetCon, the Musical!
Was the mirror always just a door to the balcony?
