I’m always in a mood after seeing an Andrew Lloyd Webber show, and it’s not the same mood that the throngs of red-jacketed old ladies around me are in, swooning about the romance and music. Instead, I’m usually perplexed and how work so flawed can attract so many intelligent people.
I just saw a preview of the Australian production of Love Never Dies, the long-awaited sequel to Phantom of the Opera. I’m not exactly sure that anyone cares that much about the sanctity of the original, although the Really Useful Group would love you to believe that there are rabid fans out to sabotage this production (I’m yet to see one of the posters they mentioned).
This production, which features new design and direction than the London production, blows the original out of the water in most aspects. Gabriela Tylesova’s set design is twisted, grotesque and freakish in the most wonderful way. The nightmarish displays actually seem far better than the bland Phantom could ever conjour. LND’s Phantom is no-longer the malevolent figure stalking the wings and flys of a theatre. He’s now seemingly a respectful businessman who fled for a quieter life on the farm carnival. So while his theme park seems dangerous (the still excessively out of place heavy-rock number “The Beauty Underneath” will attest to that), the Phantom no longer seems dangerous. At the end of Act One, it seems that Madame Giry might be poised to become the latest troublemaker, but even that never eventuates.
The new opening, developed after things turned sour in London, exposes the audience to the Phantom instantly, breaking one of the classic rules of horror writing: Don’t Show The Monster To The Audience Till He’s Dangerous. The original opening – which was visually stunning with projection and a tricky illusion in the set – was an epilogue showing the damage he was about to wreak. Instead, opening with a grand ballad from the Phantom seems like a cheap move.
The cast is great, paying their dues with the usual melodramatic (read: clenched fist to the balcony) type acting that’s inevitably required. It seemed to be a complex show technically, with many moving bits filling up the stage at any given moment, and just navigating that stuff on stage is hard enough work. I’m sure soon into the run, those clunky set changes and uncomfortable shuffles behind set pieces will be sorted out. The orchestra were also terrific, playing the score with great fervour (even the far too many reprises of “Bathing Beauties”*). Special mention to the backing track which didn’t miss a beat during “The Beauty Underneath”.
In short, this was an excellent production of the latest work of a composer who seems to need to use three songs that sound vaguely familiar (or less vague… “Beneath a Moonless Sky” = “Cell Block Tango”, and there’s this) when one song would do due to some bizarre fear of including an emotional arc within a single song.
Even though I am always confused and mystified about ALW’s style, I’m grateful for the production and hope it runs a long, long time. At the end of the day, I’d rather be sitting there watching a new work than a revival of Phantom.
* I’ve voted “Bathing Beauties” amongst the worst musical theatre songs, right alongside “Paris Makes Me Horny” from Victor/Victoria.
I thoroughly enjoyed the “freaks”. The chorus is quite a strong bunch; fantastic vocals and phenomenal acrobatic dancers. It kinda reminded of Side Show, in a good way.
Love Never Dies is spectacular, Andrew Lloyd Webber is a genius. The score is beautiful. Anna has a great voice
Well, I have just returned from Melbourne on a special trip to see LND. I loved it. It was everything I expected – the sets were amazing, the cast fabulous. I also didn’t mind the Aust directors version. I also saw POA in Melbourne and I knew that this story would be different in setting, style , music etc. Long may it continue.
Like the author – I wasn’t sure what to expect. LSD had spread a prolific amount of nonsense and negative reviews which horrified me. Not the reviews but that people could be so harsh and use the net to launch a campaign against a piece of creative work.
I also attended a preview and loved it. Loved it so much I created the fansite web page in its honour and joined in with a wonderful bunch of creative caring fans of the show on the accompanying facebook group to share our positive views and enjoy each others company without being drowned out by fanatics.
The preview was the first of many viewings of this magical production – and each time I go I see something new. There is soooo much detail that it takes time to take in all of the spectacular sets and costumes – and then more to weave in all the nuances and innuendo that you miss with only a couple of viewings. What an incredible visual feast – and no its not PotO – but we already have that— so this stands on its own merits but adds another chapter for those who truly love PotO
I watched the show in London. And I loved the story and the cast. And..that score is ALW at his best. And AU version seems even better! Can’t wait for the DVD
I loved both the London and Melbourne versions, I do think the Melbourne one story line flows better. All the case are amazing and agree with Kym it stands on its own merits and adds another chapter.
Coming to Oz to see it next month and thoroughly looking forward to it.