Love Never Dies to Tour United States 2017-18

Yes, you read the title right.  Fresh from Broadway.com today. 

"The sequel to the longest-running show on the Great White Way will finally land in the U.S.!" 

Read the news HERE.

Read more news HERE.

This is going to stir the sleeping bees nest. I remain silent, neutral, non-committal.  

I've already seen it four times in London (both the original and revised version, but not the final revised that was released in Australia on stage - only on DVD).  The picture at the left was taken by me outside the Adelphi Theatre.

The most memorable moment?  Ramin Karimloo's arm around my waist getting my picture taken with him at the stage door.  

The remainder is too controversial to get caught up in that argument again.  I refuse to get drawn into the ruckus.

It's a Celebration - Not a Condemnation

Yesterday at 11 a.m. Pacific Standard Time, I arrived at the Lloyd Center Regal Cinemas to take my seat for the 25th anniversary celebration. Thankfully, I bumped into Bonnie Anne Hudson Pinard aka Paisley Swan Stewart, the author of Chanson de l'Ange. Bonnie and I sat next to each other, along with a friend she brought, and my son and his friend on the other side of me. If it were not for Bonnie carrying an abundant amount of tissues in her purse, I would have been wiping my nose upon my sleeve or running to the ladies room to steal some toilet paper. How could I leave without tissues? Duh!

Whenever I see Phantom, I cry. Some shows I cry more than others, based upon the performance of the Phantom. Others have moved me to tears, but Ramin Karminloo moved me to uncontrolled weeping. Bonnie and I kept grabbing each other during various scenes, because they were so powerful.

I'm sure others have different opinions about the production, and I've read some already (not that the Phantom community ever complains or anything); but I can only reiterate yesterday was a celebration. I encourage the community not to turn it into a condemnation.

Those who were privileged to be in London and see the show live were surely blessed. The energy in the Albert Hall had to be electrifying. However, seeing it on the big screen in a theater was nothing less than mind blowing. The cinematography was fantastic! I thought we'd just be plugged into one camera during performance showing the stage as a whole, as if we were some person plunked in a seat in the auditorium with a cheap ticket. On the contrary, we were given a visual feast of various angles, closeups, and actually saw tears rolling down the faces of Ramin and Sierra.

As far as the staging and sets, it was somewhat different no doubt due to the change in venue. Some of the familiar items such as the dressing room were missing, the elephant for Piangi, and a few other nuances. No doubt that had much to do with the setting of the production, but frankly it did not deter the enjoyment of the show for me. The visuals were wonderful too on the big screen as far as the backdrops that showed such great views like the Phantom penning his notes.

The costumes were to die for! Have you ever been close enough to see the lines of the feathers in the Phantom's fedora or the bead work on his cape? How about Christine's wedding dress and all the intricate detail the eye can behold? The colorful costumes were breathtaking, and a fitting recognition was given to the designer, who passed away some years ago - Maria Bjornson.

The performances, as far as I'm concerned, were nothing close to mediocre. There were frankly brilliant in every possible way. Each Phantom, of course, brings their own interpretation of the role, and each fan has their preferences. However, after looking into Ramin Karimloo's eyes during some of the close-up scenes, I can honestly say the man embodied the Phantom perfectly. This was my first time seeing Karimloo play the original role. I have an extremely high regard for Ramin as a man of character, too, which was clearly demonstrated at the end of the show when he bowed to Crawford and held his hand to show him the respect he deserved.

As far as his overall portrayal and vocals, they were sublime. Frankly, I was a tad worried having heard reports that his voice wasn't up to par on the first performance, and he even tweeted he was aware of the problem. However, Sunday's performance he was at the top of his game. Ramin's portrayal moved me to tears. His hurt, longing, anger, and brokenness were palpable. He just didn't play a role; he became the character. If I could bow to him and kiss his hand, frankly I would. Well done indeed.

What can you say about Sierra Boggess? She is Christine Daae. Her performance was touching, conflicted, and filled with yearning -- frankly, I don't have enough words to express the depth of her portrayal or her wonderful vocals on stage. Her and Ramin were meant to play the part together. Their chemistry had already been forged in their roles in Love Never Dies, and that chemistry was brought to the 25th Anniversary celebration. Great casting choice, though some may disagree in my assessment and the reasons behind those choices.

I had never heard of Hadley Fraser until the 25th Anniversary cast was announced. Wonderful choice for Raoul, the Vicomte de Chagny. He played it with just a tad bit of aristocratic arrogance, which was quite appropriate since he was a patron of the opera house, rich beyond belief, titled, and handsome to boot. I thought his endearment toward Christine quite touching, and his hatred toward his rival quite convincing. His vocals were superb.

As far as the remaining cast who played Meg, Madame Giry, Carlotta, Piangi, and the managers, they are all to be congratulated for their fantastic performances. They all deserve five star ratings, as well as the ensemble and chorus. Loved them all!

The onstage reprisals and celebration after the performance were fantastic. I get such joy seeing Andrew Lloyd Webber. (#1 bucket list for me - meet the guy personally). To top it off, we saw and heard Sarah Brightman, Anthony Warlow (former AU production), John Owen Jones (current Phantom in London), Colm Wilkinson (former Phantom Toronto), and Peter Joback (new Phantom for London effective March 2012). Michael Crawford came out on stage and the audience, of course, gave him the accolades due for being in the original cast. It was a very moving ending indeed.

Yes, it was a celebration of the 25th anniversary. Of course, other reviews contrary to my own are popping up making it more of a condemnation instead. And, yes, you are entitled to your opinions. I can only add that the joy of Phantom is a universal gift that has been bestowed upon us by Andrew Lloyd Webber and the many others responsible for the creation of this wonderful production. As for me, I will not and cannot condemn and nitpick to death the beauty of yesterday's production. Why? Because it's not about me, folks, nor shockingly is it about you. It's about the continued existence of this wonderful show and story and the success of 25 years rolled into a program of celebration.

In conclusion, all I can say is that it will be forever etched in my mind as a fantastic presentation of the story I so dearly love. I hope to own it on DVD one day and play it until I have to buy another copy because I've worn it out.

If you haven't had the opportunity to see it yet, it's replaying encore performances at selected theaters this week. CLICK HERE for information and tickets. Go! Go and enjoy it and glory in the celebration of The Phantom of the Opera.

The Phantom's Student aka Vicki

P.S. Read a great article of accolades BROADWAY WORLD

The Lair - Phantom 25 Years Later

As October 2, 2011 nears to the 25th anniversary celebration of The Phantom of the Opera, a lot has been stirring in my opinionated soul. Usually, when I post an opinion, I pay for it in many ways.

The lair, in case you didn't know, isn't exactly the safest place to be these days as a fan of The Phantom of the Opera. After being hounded down by a few - met with hatred by a few, just because I saw, liked, and supported Love Never Dies, I've often considered throwing the towel into the lake under the opera house and never returning.

I've been defriended on social mediums, blocked, forum crucified, tweeted as a moron who writes garbage, and reviewed on Amazon as an "amateur" who knows nothing. Ah, the love of the lair! Where else in the entertainment community can you find such -- such unconditional love and acceptance? Maybe during the final lair scene on stage, but most definitely not in the Phantom community.

Now that I got that out of my soul, let's proceed to the 25th Anniversary celebration. I had posted an article sometime ago about Phantom forums, where I occasionally read, lurk, and foolishly contribute my opinion. There's been a ton of chatter in the lair recently regarding the 25th anniversary concert of The Phantom of the Opera to be held at the Royal Albert Hall.

The full cast has been announced. You can read all about it on BroadwayWorld.com. CLICK HERE As the old saying goes, "You can please some of the people some of the time . . . but you can never please all of the people all of the time." So is the same with casting of the 25th anniversary celebration.

Frankly, I think some of the disgruntled rumblings around the lair come from the casting of Ramin Karminloo and Sierra Boggess, who stared in Love Never Dies in London. I can only surmise Ramin and Sierra are somehow marked for life for participating in LND, and therefore are not worthy to perform in the iconic celebration of 25 years.

A lot of fans had their own favorites, of course, they would have cast in the roles--that I can understand. However, casting isn't always easy. People have other commitments. Younger choices have been made rather than older seasoned performers. It is what it is. The power to choose was not given to you as a fan. And if you did have the power, you'd be in the same gondola - you'd please yourself, but alienate others.

However, Sierra and Ramin are no strangers to the roles. Ramin, of course, played Phantom at Her Majesty's Theatre, and Sierra played Christine in the Las Vegas production. Both were highly acclaimed in their performances, and I am sure will do the 25th anniversary justice, even if they're not your favorites.

The complaints go on and on, and I don't wish to rehash the unhappy ramblings of people's opinions on the remaining cast choices. However, I'll put my two cents into the ring before I take my Fandango ticket to Lloyd Center Theaters in Portland, Oregon to see the show at 11:00 a.m., on October 2nd. When I sit down in that theater seat, no doubt with popcorn in hand and friends sprinkled throughout the seats next to me, I'll first bemoan I'm not there in London. You guys that get to see this live are so lucky! Enjoy!

Then, as the lights dim, and the show starts, Ramin and Sierra will not be my focus, nor any of the other actors/actresses dressed in the stunning costumes. Instead, I will be looking at the Phantom, Christine, Raoul, Meg, Madame Giry, Carlotta, Piangi, the Managers, and the other wonderful extras who make up this fantastic show. I'm going to get lost in the scenery. I'm going to be enthralled when I hear The Music of the Night, and swoon in the lovely rooftop scene of All I Ask of You. Then, I'll no doubt shed my usual tear in the final lair scene when I hear the Phantom sing, "It's over now, the music of the night." (Even though it really isn't over.)

When it's all said and done, I'm going to jump to my feet and yell bravo and clap enthusiastically as the cast takes their bows and we celebrate worldwide 25 years of a wonderful show. I don't care who makes money off this production. I don't care who stars on stage. I don't care if you're one of the disgruntled fans in the lair who complain about everything. All I care about, is enjoying the show and loving the story.

I encourage you to do the same. Put aside your prejudices for a day and join in the worldwide celebration of The Phantom of the Opera wholeheartedly. That's what October 2, 2011 is all about. It's about the story you love and defend.

Oh, and Andrew - THANKS! Thanks for everything you've given us in the old and the new. My respect for you as a composer will never end.

Just in case you miss it live in London or miss it at the theater, head on over to the official website and preorder the CD/DVD. CLICK HERE

And that's my rambling opinion for the day!

The Phantom's Student aka Vicki

August 27, 2011 - Closing of Love Never Dies London

Yes, it's a date - August 27, 2011.

What's the significance? Well, if you're a fan of Love Never Dies in London, it's a sad day indeed, because it will have its last performance at the Adelphi Theatre on The Strand. It means that a group of wonderful, talented, and fantastic men and women are going to be out of a job; and that, in itself, saddens me to the core.

What do I think of those performers who put their heart into this production from the beginning? Well, let me tell you, because I too have a voice.

First off, I think they are servants at heart, especially Ramin Karimloo. I have great respect for this man, because he understands what it means to serve and do your best in spite of obstacles and opposition. He served his master well. Hats off to you, Ramin! I respect you greatly -- your talent, fortitude, and heart from God. I wish you the best in your future endeavors.

To Sierra Boggess, Joseph Millson, Summer Strallin, Liz Robertson, Niamh Perry, Adam Pearce, Jami Reid-Quarrell, and the many talented young boys who played Gustave -- my hat off to you as well! You should be commended for your wonderful performances, your tenacity to ignore the naysayers, and your unending every night, wholehearted performances given to the audience. You guys rocked!

To Tam Mutu! Bravo! Wonderful interpretation of Phantom as well. Thanks, Tam, for your fantastic spirit and love of the character. It was a pleasure to see you perform more often in that iconic role. We wish you the very best as you move on in your career.

To the new cast Celia Graham, David Thaxton, Haley Flaherty, Tracey Penn, Charles Brunton, and the new group of young men who came in after the changes to the show as Gustav -- bravo to you as well. You supported the creator of the production, as he tirelessly endeavored to refine his work. You gave it your all and stood by him in the process. You picked up where others left off, and continued to give the audiences great performances.

We appreciate every one of you and wish you the best for the future. You have blessed the hearts of those who received you with open arms, gave us a touching stage production and the opportunity to once again to see Phantom and Christine interact with each other on stage in a story we didn't find offensive.

Though mud has been slung your way, websites have gone up to discredit the show, pages created to complain, protestors have left anti-show fliers at the theatre, nailed them on telephone poles, flipped you the bird, and participated in a war of words on every social medium imaginable on the Internet, you held your heads up high through it all and did your very best in spite of opposition to the story and the characters you represented. We admire you for the professional way in which you handled the onslaught, and we appreciate your loyalty to Andrew Lloyd Webber's vision to continue the story he put on stage 25 years ago.

When you take your last bow in Love Never Dies on the evening of August 27th at the Adelphi Theatre, be assured there are people who love and respect you deeply as the individuals and wonderful performers you are. God bless every one of you in your careers. May you go on and become successful in all that you set your hand to, and may you take with you cherished memories of your time in the production.

As you do, remember that those feelings you elicited in the audience, who watched your wonderful performances, will never die. They will live on in our hearts as fond memories, because we were privileged to be blessed by your outstanding talent and fantastic voices.

From my heart, and I'm sure from many others,

The Phantom's Student aka Vicki Hopkins


Note: Picture of final bow on closing night reposted with permission.

The Amusement Park is Closing Down In London

Well rumors yesterday swelled on the Internet, and my Google alerts filled my inbox this morning. Andrew Lloyd Webber's production of Love Never Dies in London is closing August 27. There is no word of reworking it in London, though the Melbourne show continues in Australia.

Read here the morning news at:

Variety

Broadway World

No doubt a variety of reasons pushed the show to close in London. The Adelphi is co-owned by Webber and another group, who wished to bring in a new production hopefully more profitable. In addition, the bad reception in London and the opposition from a certain campaign tainted the show from the beginning. As far as critics, critics are critics, and mediocre reviews were published. However, some of the general public and the fans generally liked the show, in spite of the crap thrown its way. The voices that were the loudest, didn't necessary represent the entire Phantom community.

I'm so very thankful I had the chance to see it both in its original version and revised version and have been blessed to watch the performances of wonderful performers. Frankly, I never would have made it to London and enjoyed my first experience of English soil, if it hadn't been for the lure of seeing the show and reporting on it when I returned.

My heartfelt good wishes go out to all the cast as they move onto other opportunities. And to Webber, I say, thanks for letting me observe in London the choreographed reunion of my favorite two characters, Christine and the Phantom.

While some are no doubt having parties and others are already standing by the grave ready to throw the first clod of good-riddens dirt on the London production's coffin, it's still alive elsewhere on stage in the world. If Webber stays true to his plans, it will tour Australia, and perhaps one day visit Toronto and Broadway.

Usually we say it ain't over yet until the fat lady sings. In this instance it ain't over yet until the last one is thrown over the pier and drowned. My support of Webber and his endeavors continue, as I admire the man greatly and enjoy his creations.

To the London cast who leaves - GOD BLESS EVERY ONE OF YOU!

To the naysayers I say, don't rejoice over the failure of another.

To the lovers and supporters of Love Never Dies, rejoice in what you had the opportunity to enjoy in London.

To Webber I say, take heart, there are those that still support you and your creative right to take Love Never Dies elsewhere.

I'm itching to say so much more! I hate it when I have to bite my tongue. I really hurts.

Sigh...

The Phantom's Student

NOTE:  I've closed the comments on this post for a variety of reasons.  Mostly, I just don't want this blog to turn into a forum debate about Love Never Dies.  There are so many other places on the Internet to talk about the likes, dislikes, and its recent demise from the West End, that I just don't feel it appropriate to rehash the matter here.  Thanks for your understanding. 

Love Never Dies Revisions London Production

You asked for it! My recommendation is to get a cup of coffee, tea, or soft drink to keep you company, along with a few munchies while you read the new page. You may decide that you need a stiff drink of alcohol instead. Whatever your choice of beverage, here's the scoop.

Because of the length, I added a page specifically for your use that can be accessed by clicking on the tab above or CLICK HERE to be taken to the page.

Hope it helps.

Sincerely,
Vicki

Phantom of the Opera - London

The other night, I saw The Phantom of the Opera at Her Majesty's Theatre. Last year when I visited London, I saw it as well, but was not very impressed over the performance of the Phantom, David Shannon. I was a little nervous that once again there could be some disappointment, because John Owens Jones, the current Phantom, was on holiday. Well, I wasn't disappointed. To be frank, I was blown away. The Phantom of the night was Scott Davies, who is the standby Phantom. He has played Phantom in the West End and the UK Tour.

As soon as Scott took to the stage, I knew I was in for a treat. His voice is wonderful, and his inflections and tone in each of the pieces he sings is quite fantastic. When Scott sang The Music of the Night, he brought me to tears. It was a scene unparalleled by any Phantom I've seen on stage. I will admit, I have not seen many, only three others perform the role. For the first time, I saw the stage version how I think I've always wanted to see it portrayed, with gut emotion from the man behind the mask.

A couple of little nuances I love in the show that Scott does, which may seem silly to you, are at the beginning after he takes his hat and cape off, he smooths back the hair of his wig. Not all Phantoms do that, and for some reason it sort of plays upon the need for the Phantom's desire to appear attractive like any other human, especially in this important meeting between himself and Christine when he has her under his spell. The second thing I love is when the Phantom catches the fainting Christine in their arms, rather than letting them fall to the floor. The way he carries her off to the gondola and lays her down and then covers her up carefully while singing the last chords of The Music of the Night is fantastic.

The Music of the Night was very powerful - wonderfully sung by both. Sophia Escobar played Christine, and she was perfection as well. Great chemistry between the two individuals. When Christine removes his mask, Scott's performance takes to another level of brilliance. He sobs with such convincing agony upon the floor, that it tears at your heart. His crawl across the stage to Christine and her returning to him the mask is a very emotional moment. I was mesmerized. It was at this point, I almost wish that the Phantom had more stage time.

The Point of No Return and the final lair scene are mesmerizing. I wish I could live in London and could see these iconic performers such as Ramin Karimloo, John Owen Jones, and Scott Davies play Phantom often. After seeing this performance, Scott remains at the top of my list for Phantoms.

As I sat there watching it too taking in scene by scene, I wondered what the revised tour production will be like. I'm almost inclined to think they may go toward the Vegas production 90 minute version, which cuts a couple of scenes and shortens a few songs. I only hope that if they go that route, they don't cut The Point of No Return, but leave that song whole. It's such an important scene, it should be left intact for the full length. The scenes cut from Vegas include The Manager's Office (shortened and changed) and A Rehearsal for Don Juan Triumphant. The bringing down of the chandelier occurs at the end.

One more thought before I close, Scott's portrayal at the end in the lair scene portrayed a Phantom, in my opinion, on the point of madness. When the show ended, and I compare the Phantom of the Phantom of the Opera and the Phantom in Love Never Dies ten years later, I can understand the difficulty of some connecting the dots. Depending on who portrays that Phantom, there really is a large gulf and a lot of creative liberty taken to bring the story forward. Perhaps that is why initially Webber chose to bring Ramin from Phantom London to Phantom Love Never Dies to keep some kind of connection. Who knows. One can only surmise in your own mind what change has taken place in the man from then until now to make the switch to Love Never Dies. If you can't, then seeing it as a work by itself, is perhaps the only way one can justify the two.

Anyway, if you're in London, go see it! Great cast. I did enjoy everyone this time around. Perhaps next time I get here, I can check out John Owen Jones' take on the infamous mask man.

Regards,

Vicki aka The Phantom's Student

Twisted Every Way...What Answer Do I Give?

As most of you know, I'm off in London. I did see the revised version of Love Never Dies at the Wednesday matinee and oddly find myself in an difficult place. Since most of you wish to know what I thought, I will give you a quick overview.

It's been suggested on a Phantom forum, from deep in the cellars, that my change in attitude toward the show might be because I'm searching for more readers for my blog. Yes, it's a diabolical plot on my part to reel in more subscribers. (I can't believe some of the crap that comes my way.) Nevertheless, here are my thoughts.

Has my attitude changed? All I can say is that much has changed in the show in the way of lyrics, stage direction, choreography, portrayals, and cast. I have been trying to analyze my shock to it all and can only come to the conclusion I wasn't prepared to see the demise of some of my favorite portions of the show that I enjoyed in the original version. There is indeed new direction, new flavor, and new presentation. Will all that matter to you in the United States and elsewhere who are waiting to see the show the first time for yourself? My answer to that is no. You will have no former reference to go by, so your take will be fresh and untainted.

Unable to clear my brain from the shock of rewrites, staging, and new the cast, I think it's going to take me a while to warm up to the new Love Never Dies. This is really difficult for me to confess for many reasons. As most of you know, I've been supportive of Andrew Lloyd Webber's right to do a sequel, and I still am. I've been supportive, as well, of the cast, crew, and all the wonderful work put into the show. None of that has changed. I will see it one more time before leaving London on Monday night, and see how I react the second time around. I may warm up to it a little bit more, now that the initial shock is fading. Then again, I may retain my loyalties to the first version.

Below is a very short synopsis of changes that include some, but not all:

• The beginning is much clear and better. It's not the painful start I once thought where I wanted the show to get on with it. Now, there is a clear cohesion from past to present taking it from the burning opera house to the Phantom's flee to Coney Island, etc.

• The motivations for Christine's arrival in New York have changed. Hammerstein brings her rather than the Phantom luring her to hear her sing one more time. I'm not quite sure why they thought that change was necessary, but I have my suspicions it was to set up the Phantom's plot. Makes his motives look darker.

• Other scenes at the beginning are deleted. One scene I really thought should not have been changed, was Meg's early on attempt to gain the Phantom's attention. I really did not like how they rewrote this part of the show. It dismissed a crucial motivational element regarding Meg's desperate need for approval.

• Raoul's character is softened. Totally rewritten to what I think does credit to the show to make you feel much more empathetic toward his plight rather than judgmental of his failure. Thaxon and Millson are very different in presentation.

• The first meeting of Christine and the Phantom has changed, and I'm trying to sort out what happened to the choreography that I so loved in the first version in Beneath the Moonless Sky. It's no longer there, which takes the scene to a different level. The passionate longing for each other and heated desire is changed to a more hands-on approach that borders from affectionate to threatening. Hard to explain. Will elaborate later.

• The Phantom is more dark, menacing, etc. overall.

• Devil take the hindmost is much more physical. Probably one of my favorite scenes still.

• Bathing beauty is toned down. I found it interesting that the audience actually seemed to love that scene, at least when I was there. No more umbrellas over breasts to bring fright of wardrobe malfunctions.

• Ending is different, though Christine still dies. The gun going off looks much more like an accident. The Phantom's response to her death is much more grieving. Raoul returns to Christine's body to mourn her death. Better ending, except they took away another touching part that saddened me.

All in all the show is basically the same, however, the flavor is different. Motivations are re-routed, staging direction altered, lyrics/lines added/deleted, etc. Ramin was on holiday, and Tam Mutu the alternate played Phantom when I saw the show. I thought he did quite well actually. His mannerisms are much like Ramin's, as well as his voice.

Thaxton plays an excellent Raoul. He's presence and demeanor on stage is different than Millson's, and part of what I'm trying to sort out is if that is due to rewrites or actor interpretation of the role. Nevertheless, you won't be disappointed in his performance.

When I first reviewed LND, I said on BlogTalkRadio that for this show to work, it needed to be casted correctly. Celia Graham, who plays Christine now, is very different from Sierra Boggess in many ways. I'm at a loss again over her performance as well, because I did not see in it the emotional chemistry or agonizing I saw in Sierra's performance. Whether that is from personal interpretation or stage direction, I cannot tell. I can only honestly say that I much preferred Sierra's original take on Christine when I first saw the show. The woman tore my heart out. I didn't feel the same way with Celia. I mean no disrespect to her as a performer, believe me. Her vocals were wonderful. It was a matter of perception on my part regarding interpretation of Christine's reactions. Again, I don't know if those are her choices or staging directions. Unfortunately, I will not be able to see how she reacts with Ramin.

I plan to do a show on BlogTalkRadio to talk more in depth about the changes and will let you know when we broadcast. During the show, I'll do a more one on one comparison between the old and the new and tell you why I liked or didn't like what they cut or revised.

Do I still like it? I'm sitting on a fence right now walking a thin line. I'm more inclined to embrace the original as a whole, than the revised at this point. Yet there parts of the revised, I wish they would have done in the original. I'm just not in total agreement with all the changes. I think some of the revisions, had they been in the original, would have made it much stronger to begin with.

However, I'll let you all make up your own thoughts if it ever comes westward. I've heard the Australian production may make even more changes. If that's true, than whatever I feel about the current state of affairs you can throw out the window.

It's been difficult to be so public with my thoughts on Love Never Dies from the inception. There are many people I hold dear on both sides of the camps, and being truthful can sometimes offend others. It's certainly not my intention to do so, because as most of you know too, I've been an avid preacher with my kumbaya messages of peace in the lair. I am, however, holding my same attitude that I will take from Love Never Dies what I like and enjoy, and continue to enjoy the memory of those scenes that touched me. Whether we embrace it or reject it, as I said before, our personal opinions should be respected and our love for Phantom the glue that holds us together.

Check back for broadcast dates for my updated report on the revised LND on BlogTalkRadio.

An honest post painfully penned,

Vicki aka The Phantom's Student

The Ride Goes On

Well, news galore, most of what you probably have heard already. However, I can't help but spread the cheer. . . you know me.

First off, CONGRATULATIONS to Ramin Karimloo and Joseph Millson for winning best actor and best supporting actor in a musical on the What's On Stage Awards!  Love Never Dies didn't win best new musical category, but as I've cried repeatedly before, the stars of LND really make the show - especially the talented and haunting performance by Ramin. Until you see that man perform on stage the Phantom's character, you haven't lived.  The guy's a genius.

The other news out today is the changing of the guard at Love Never Dies in London.  A few of the cast are moving on to other roles, but Ramin is staying for another six months.  I'm happy to hear he's sticking around.  Sierra, of course, is back to Broadway, and Joseph is off to other things. Here's the new line-up posted on the Love Never Dies official website.

David Thaxton will be the new Raoul.  I'm sort of anxious to see how he fits the bill, because Joseph's shoes will be hard to fill.  Let's hope that great nemesis attitude between the two men keeps in place.  

Other news:  Looks like the hunt for Gustav is on for the Australian production.  Oh, to be a young lad with a good voice and have a gig on stage singing The Beauty Underneath with the Phantom.  Priceless.

I may still get to London this April to see the revised production.  We shall see....

Cheerio!
Vicki

Perhaps It's True...Love Never Dies

The recent news from the Love Never Dies camp on two levels is quite interesting.  In spite of the obstacles of the past, it seems that love continues to live anyway.  Maybe it's true...love never dies.  We we will soon see.

Today the announcement came for the Austrailian cast of Love Never Dies, which will premiere at the Regent Theatre, Melbourne in May 2011. 

Ben Lewis was chosen for the role of The Phantom, and Anna O'Byrne will play Christine.  After watching the release video below, it's quite apparent they have chosen two strong voices to carry on the roles that Ramin and Sierra possessed in the London production.  Frankly, I'm relieved, and hopefully they will do well.

Click Here for Broadway World Release Announcement

To top it all off, Love Never Dies official fan page on Facebook today announced that ticket sales for the London production have been extended through January of 2012. However, Ramin and Sierra are both leaving in mid-March, so it will be quite interesting to see who will pick up the roles.  Needless to say, that's probably a huge surprise that it continues to do strongly in London.  

What's next?  Well, I'm sure if Melbourne does well, Toronto and Broadway will be on the horizon.  There are so many in this part of the globe itching to see it and make up their own minds.  Let's hope they get a chance.  All I know is if I'm back in London, I'll be back at the Adelphi, still curious to see the revised production.

That's the latest!

The Phantom's Student aka Vicki

Ramin Karimloo And Sierra Boggess Talk LOVE NEVER DIES

I'm happy to post this link and share it with my readers. It's a wonderful interview with Ramin and Sierra talking about the story and the character changes in Love Never Dies.

I thought it fit well with this blog since I've been dissecting the characters one by one to see what makes them tick in the sequel. It is, as they state too, a psychological in-depth story that continues their lives from the original version examining the repercussions and consequences of their former choices.

Kudos to both of them for their wonderful portrayals, as well as for Joseph Millson and the other stars of the show.

Ramin Karimloo And Sierra Boggess Talk LOVE NEVER DIES 2010/04/19

Sincerely,
The Phantom's Student

Love Never Dies Review - Embrace, Enjoy or Reject

Wednesday, March 24, I had the privilege of seeing Love Never Dies in London. I know my readers have been anxious to hear what I have to say, so I thought I'd write my thoughts before my show, All Things Phantom, on April 3, 2010 on BlogTalkRadio.

SPOILER ALERT
Beware if you don't wish to know what happens, don't read.

Introduction

So where do I start? Well, it was a Wednesday night at the Adelphi Theatre, a packed house, filled with an anxious audience who gobbled up the programs (that's "programme" for the British, by the way) and LND booklet, which was fabulous! Mine now contains Ramin Karimloo's autograph slightly smudged by the rain. Very nice guy, humble, kind, and unpretentious. Thanks to a friend showing me the way to the stage door after the performance, I met Ramin and Sierra Boggess.

The Scenes & Music

Okay, back to the nitty gritty. Packed house and the scene opens, somewhat reminiscent of how Phantom begins, with a look back in time through Madame Giry's eyes. I found the beginning a tad painful, somewhat difficult to hear the voice of the performer. Not sure why it made me feel uncomfortable. Perhaps I just wanted to get on with it! Then it goes into the Coney Island Waltz and you are transported back to heyday of the park. Terrific special effects keeps you entertained.

Let me talk about the CD versus the stage performance. I know many of you have been judging the show by the CD. All I can say is you are blind if you are judging Love Never Dies merely by the CD itself. The show is a visual experience and the songs are not sung like the professional recording. Take every number that Ramin and Sierra sings and add onto it the following: longing, heartache, agony, frustration, anger, regret, and love (plus many more emotions) and you have the music. That also includes Raoul's portrayal, which is quite good.

'Til I Hear You Sing was POWERFUL. The crowd cheered Ramin after the song. He puts such emotion into it that it grabs your heart. For all of you dying to know, Sierra plays the robotic mannequin but it's replaced by a real mannequin later on. It carries the same vein of the Phantom story. Look folks, the man is still obsessed with Christine...end of story. There are no sexual innuendos associated with the "robotic" look alike that was rumored beforehand. I want to squash that immediately. Somehow they do a quick switch and it's replaced with a real mannequin and Madame Giry pulls her arm off as she complains of the Phantom's obsession.

Well, one thing leads to another and he decides to lure Christine to Coney Island to sing for him and sends off a letter. Madame Giry doesn't quite understand why he can't get over her since she and Meg are the ones who took care of him the past 10 years causing roots of bitterness (it's a ploy for conflict in a plot - likable or not). The person who plays her is different than the CD. No heavy French accent. Voice is not so sharp and "mean" but rather laced with bitterness for having given her life in his service.

Three months later Raoul and Christine arrive. Let me say this, when Christine comes on stage, it takes your breath away! OMG the woman is gorgeous! I felt as obsessed as the Phantom seeing her again for the first time.

The next big memorable number is when the Phantom reveals himself to Christine. It surprised me, but she reacts with fear at first followed by anger. The song Beneath a Moonless Sky was emotionally charged. The audience around me was as mesmerized as I was by the two of them doing a choreograph of almost touching but never touching each other. It's a heartfelt passionate remorseful moment between the two.

Now, as far as the words in the song, here is where those who object to the storyline will not like it. I can only say if you never see the show, you'll miss an emotional, passionate reunion between Christine and the Phantom where finally she confesses her love and regret for her choice and he as well. How do I see it? When I re-read the verses of the Point of No Return, Beneath the Moonless Sky for me is the culmination of all their spoken desires finally expressed. The song Once Upon Another Time is quite good too, as Christine sings they must live with their choices.

Any comic relief? Not much in this heart-tugging, heart-wrenching musical. However, Dear Old Friend put smiles on the face of everyone around me. It was great!

Ah, The Beauty Underneath! A menagerie of the Phantom's domain. Eye-catching stage effects and watching the interaction between Gustav and the Phantom. (I want to shout symbolism here...you'll get it later folks.) Your foot taps along to this powerful number. The sad part? He thinks Gustav understands the beauty underneath, so the Phantom removes his wig and mask in front of him. Well, if you've listened to the CD, you know the child's reaction is one of horror where he sees no beauty. It's during this song, the Phantom realizes this could be his son.

Let's talk about Raoul. I know a lot of people say he's been made into a drunk and changed too drastically. Beneath it all lives a broken man. Joseph Millson was a brilliant Raoul. He really displays Raoul's frustrations well. His behavior sounds less harsh to me than portrayed on the CD, and his performance makes you pity him, rather than despise him as the drunk and gambler you think him to be. He's a man who drowns his pain in alcohol, as he realizes he is incapable of giving Christine everything she needs - music. (Gee, didn't we talk about that on All Things Phantom?)

Devil Take the Hindmost is the song the two of them sing together. The Phantom is menacing in this number and there is some physical altercation between the two. The two enemies have reunited. Two men out to win the heart of one woman. Interesting to note, the Phantom confronts him without a mask, but wig on. The end result, they make a bet between the two of them.

Beyond this point, emotions run high between these two men trying to influence Christine to sing or not to sing. And Christine? Fabulous! The torment of having to choose once again is powerfully portrayed by Sierra. Raoul makes his plea for her not to sing and return to Paris. He leaves, the Phantom enters, and he makes his plea for her to sing. It's here that he puts the necklace around her neck, and she reaches up and touches his mask (note: she did not do that the second time I saw it). She shivers and melts (if you can do two things at once), which reminded me of his powerful influence over her in the original.

There she is, on the stage, between two men, one on the right, the other on the left, both holding their hands out to poor conflicted Christine. She sings, unaware of the pack the two men have made. The anguish Sierra puts into Love Never Dies is amazing. The audience cheered and whistled after her performance.

Downhill from here? Well, it's different. Raoul leaves her because he's lost the bet, but also realizes it's the Phantom she really wants. Meg carries off Gustav to throw him in the ocean after her Bathing Beauty number throws her over the edge. They find her at the pier and she threatens suicide with a gun pointed at her head. The Phantom talks her out of it. In a fit of anger, after he speaks Christine's name, she shoots.

Christine lays dying in the Phantom's arms. Gustav is told the Phantom is his father. She begs for a last kiss, and he kisses her as she dies. The kiss is reminiscent of his reaction the first time - his body shuddering at the touch of her lips. The last kiss, the heartache, brings people to tears. However, the next part was what tore my heart to shreds.

A repentant Meg gathers Christine in her arms and hugs her. The Phantom stands distraught and broken over the loss and moves away from Christine's body to center stage.

Gustave approaches and looks at his father. Erik shrinks away as his hand comes toward his face wanting to remove his mask. At first, the Phantom resists, but then removes his mask and wig revealing his hideous appearance. He doesn't recoil, but looks at it and then takes his hand and lays it on top of his father's deformity, which once again brings Erik to that place you saw him at the end of Phantom of the Opera. The boy shows him acceptance and compassion, and in an emotional move embraces his father and buries his head in his chest as he sees the beauty underneath. The Phantom reacts by embracing his son in return and the curtain comes down.

Costumes & Sets

In a nutshell, the best costumes are on Christine. She's dressed in gorgeous period dresses. The others are simple period clothing.

The sets are simple, but effective. There is often use of a circular movement on stage of the set where it turns. The one used during Devil Take the Hindmost (Quartet) is quite effective. Raoul is at one end in the wings and the Phantom at the other, with Christine standing on stage in between agonizing over whether to sing or not. You'll see a lot of bare stage in this production. There are not lavish colorful sets like in the original Phantom of the Opera. However, there are special effects on screening that are unique and amazing.

Performances

Ramin is the Phantom incarnate, as far as I'm concerned. His portrayal of that character is wonderful. Sierra was breathtakingly beautiful. Her performance as Christine was perfection. It's her performance that really grabs your heart and won't let go. She really has the profoundest effect upon the audience, as you share her agony over being placed in that position once more of making a choice.

Joseph, who plays Raoul, does a phenomenal job of playing a character who has been changed. You genuinely feel his regrets. There are six different children that rotate playing Gustav. Charlie Manton played the first night and did very good. Liz Robertson, as Madame Giry, and Summer Strallen, as Meg, is the character that you'll find changed the most. Their performances were good.

Audience Reaction

It was a packed house, even midweek. What did I hear around me? At times I could have heard a pin drop in the audience. It was like every cough was suppressed and every breath held during some scenes. Women cried (can't vouch for any men though). The show ended, there were cheers and whistles and standing ovations. The Phantom comes out in his deformed state unmasked to take his bows. The lights came up, and some stood staring at the stage and didn't leave until the last note was played by the orchestra and then they cheered and clapped again. I spoke with the family next to me and they loved it. Made it to the stage door, and those I spoke with loved it too. I'm sure others don't, as Tuesday when I got there I met a British couple walking out the door during intermission and leaving early saying they hated the music.

What did I think as a show?

If you want me to "grade" it, I'll give it a "B" overall. Performances and music between the Phantom, Christine, and Raoul were fantastic. For those fans who vow never to see it based on the storyline, I can only say you'll miss the wonderful interaction between the characters torn with regret and motivated by love, jealousy, and obsession. It's worth the price of the ticket to watch the interaction between Christine, the Phantom, and Raoul.

The storyline is different, but it's a plot, formed with conflict, to move it to an end. The story of compassion and acceptance rests on Gustuv's shoulders this time. It is he that must look beyond the deformity to accept his father and find the beauty underneath. Though Christine dies at the end, I have to ask myself a hard question. Did either of them really deserve her? I guess you'll have to answer that for yourself too.

If you dislike the change in Madame Giry and Meg, then you'll not like the play. Madame Giry is very much like the stern sour-faced ballet mistress in the original. Same dress - same tone - only a woman turned bitter. It's the point of conflict of two people who have given their life to a man they love, who can't let go of his obsession with Christine. Do they have a right to be bitter? That's what you'll have to decided for yourself. Do people change in 10 years? Yes, of course, they do. Life circumstances changes all of us for the good or bad. Whether you'll allow that to happen to your favorite characters, is up to you as a fan.

The remaining scenes to me are "fillers" that push the story along. Most disappointing, of course, is Bathing Beauties and Meg's unveiling. Why does she do it? It's a ploy to get the Phantom to notice her, but when he's not at the performance, that very act is what pushes her over the edge of instability.

Necessary in the plot? Probably a poor choice that should be rewritten. Necessary on the stage? It was an uncomfortable moment that I wish I didn't have to watch. It's a staging where she takes off layers of bathing suits and in true burlesque style of the day comes out with two small umbrellas in front of her bare breasts while she sings. Then she turns around, removes the umbrellas, and you see her naked back. My seat was 4 rows back from the stage far left, and I had an angle of her chest but saw nothing. I do wish they'd rethink that portion of the show.

At this point, I can say I was entertained and enthralled by Ramin and Sierra. The story may not be your cup of tea, but I'm not as opposed to it as most. As a writer, plotting whether good or bad, needs conflict and something to move it along. The outcome is not perhaps what people would have liked to see, but I'll talk about that more in the future.

Is there a message still there? Absolutely! Still a powerful word that one must see the beauty underneath in each human and to look with your heart and not your eyes in judging others. It's Gustav this time that learns that lesson.

How will the show fair in the future? Well, if I go by the audience's reaction, I think it will do well worldwide, but it won't be the classic you fell in love with. For whatever reason Andrew Lloyd Webber felt motivated to do a sequel, he takes responsibility for its outcome. It's up to you now to decide what you wish to do with it. As for me, I'll see it two more times before I leave London and will take away what I learned from the story and share with my readers.

So did I embrace, enjoy, or reject? Put me in the enjoy category. I haven't embraced it as a classic like the original, but didn't reject it. The show is a visual, musical, emotional experience well worth seeing. If you shun it based on prejudice beforehand, then you'll miss the wonderful Phantom and Christine you've grown to love from the original.

One last warning, bring tissues if you do go. I tried very hard to suppress any tears, but they just poured out with a will of their own throughout the show here and there, not only during the emotional ending. Ramin is so powerful watching as the Phantom that it touches your soul - not just your mind. Each performance had the same effect upon me.

Join me on All Things Phantom April 3rd @ 5 p.m. PST for more information. I'll be there to answer any questions you have. It's hard to write about everything in a two hour show, so there is much more to share.

Sincerely,
The Phantom's Student

NOTE: The picture of Ramin Karimloo was taken by me outside the stage door after the performance and the others the day before outside the theater.