Lessons From The Phantom of the Opera© and Other Phantom Ramblings: Gossip, Chatter, and Speculation in Webber's Realm

Saturday, September 11, 2010

Gossip, Chatter, and Speculation in Webber's Realm

This past week has really been a "chatter" week, as I call it, regarding Phantom, Love Never Dies, and Andrew Lloyd Webber. On September 1, my mailbox was bombarded by Google alerts. I have a few set up, and one is for any news on Love Never Dies.

Right off the hot "chatter" was that Love Never Dies is not coming to Broadway - at least not yet (it ain't over folks until the fat lady sings...if you know what I mean). Tongues wagged that Webber was bypassing Broadway and opening in Australia and Toronto instead.

For a few days the rumors, chatter, and speculation went wild. The "con" crowd cheered that it wasn't coming to Broadway in the spring, the "pro" crowd moaned its delay. Since most of the news was hearsay, everyone waited for an official statement to come from the lair. Finally, on September 10, Sir Andrew Lloyd Webber was on the Michael Ball show. The confirmation came from the composer himelf. Love Never Dies is opening in Australia and Toronto. I subsequently read that Melbourne, Australia is anxiously hoping to be picked for the show. (You mean someone wants it to come to their city?) In addition, two production teams are going to rework the play and bring the best to New York.

Then today Ramin tweeted (the man sings like a song bird anyway). Here's his sweet tweet: "I guess it's safe to say that I'll be in LND London up until March..." and "Toronto and New York is for Love Never Dies. As it stands now."

Of course, everyone has an opinion about why RUG is making these moves. Why the NY delay? Why go to Toronto first? Comments abound on all the pro and con boards. Well, I have my own opinion about the move. Whether it's right or wrong, it's my two cents, and you know how I love to throw my two cents around even if I get plummeted with rotten tomatoes in return.

I read last week that Broadway is in a slump. Looks like they are having a pretty rotten time of it financially. At the present, only one production out of 21 on Broadway (Wicked) met and exceeded its full Gross Gross Potential at more than 106 percent. The other 20 shows never made it to 100%. Sales are down...down...down. Even The Phantom of the Opera at the Majestic is only running 76.8%. Ouch!

The decision not to bring Love Never Dies probably has a lot to do about marketing savvy, while biding time to rework the kinks out of the highly criticized production more than anything else. In fact, in that same week another article came out that the West End in London is actually exceeding in ticket sales. Frankly, I'm not surprised Love Never Dies is delaying it's arrival on Broadway right now. Why bring a show to the United States where sales are in a slump, protesters are ready to picket, and changes are yet to be made? Frankly, I think it was a smart decision on Webber's part.

Instead, it's off to making two productions in Australia and Toronto. Perhaps in tweaking the show and possibly making it a hit in other venues worldwide first, Broadway might just open its arms and accept it more readily. Wouldn't that be a hoot! Perhaps the critics will have mellowed out by time it arrives. However, I doubt the protesters will be any less quiet, but there will be those fans who will continue to support Webber's creative right to do a sequel. God, I wish I could be there opening night in Toronto! (Note to self: start saving.)

Of course, more news came out last week too that it's been reported that Andrew Lloyd Webber and the Really Useful Group are in talks to sell four of his London theatres (the New London, Palace, Cambridge and Her Majesty's). A spokesman for The Really Use Group said that they were the ones who received "unsolicitied" offers, meaning RUG didn't go looking for a buyer, a potential buyer approached them. I doubt it has anything to do with Love Never Dies bankrupting Webber, as some hope.

So that's the current gossip, chatter, and speculation in Webber's realm. I still carry great respect for the man and his achievements as an artist. Nothing will change my opinion in that area. He gave us The Phantom of the Opera on stage, that story everyone is obsessed over, which we have enjoyed since 1986. Whatever the outcome of taking Love Never Dies around the world and eventually bringing it to Broadway, I wish him well. Whatever decisions the Really Useful Group makes, I hope they are sound businesses choices.

Whenever I hear or read someone curse Webber and the LND production, I say a prayer for him and ask heaven to bless the dude and the cast of his show. Webber is an artist that deserves our respect, regardless of whether we agree or not with his latest Phantom release. He is the musical genius who immortalized the musical genius. Without him, we would have never heard the Music of the Night! How sad indeed.

Regards,
Vicki aka The Phantom's Student

UPDATE: 9/15/2010 - It was reported on Facebook Love Never Dies official page that the show has extended its run in London through March 2011.

Blog/Book Review

"Lessons From 'The Phantom of the Opera' " is a creative and thoughtful approach to pop culture hit. I enjoyed the book because I teach French history at the college level and I have long enjoyed Gothic novels as well as opera. I connect with the story on several levels, professional and personal. "Lessons" takes a personal, reflective approach that asks readers to think about why they react as they do to the musical and novel. Why does such an old fashioned, romantic story have such appeal in post modern society? Simple: young or old or in between, we still respond to the emotions explored in the story. I plan to tell some of my students who are Phantom fans about this book." (Dr. Melanie Byrd)

The Joy of Audio Books

I love audio books. They open up a whole new world of entertainment. They save time from sitting down and reading a book. You can listen while driving to work, during work, taking a walk, running, or working outside and around the house. It's a time-saving opportunity to take a moment and enjoy your favorite books, acted out by talented voice artists, many of which are from television and stage.

The talent chosen for The Phantom of Valletta, has extensive voice experience. My other narrators are from the stage, or are professional voice artists that have done television, documentaries, and commercials.

Why not try out a membership at Audible? It's easy - starts with a free trial, has no long-term commitment, and is filled with entertainment.

Join today, and I'll give you a free code to one of my books of your choosing to get you started.

JOIN HERE AT AUDIBLE

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All quotations used in this blog are the property of:

The Phantom of the Opera, by Gaston Leroux, Pubished by Random House, Inc. 2002 (Quoted with Permission)

Introduction by Anne Perry, Copyright 2002, Random House, Inc. (Quoted with Permission)

Phantom Of The Opera lyrics are the property of their respective authors, artists and labels. (Music Andrew Lloyd Webber/Lyrics Charles Hart, The Really Useful Group, London, UK). Licensing fees were paid to use them in my book, Lessons From the Phantom of the Opera, but have been omitted here on the blog. Artwork is posted by permission of artist.

Writer's icon and other photos used in his blog were purchased from iStockPhotos.com, with rights for use, or are personal photographs taken by Phantom's Student. POTO from Photobucket.

Special Thanks

Special thanks to Anne Perry who has given me permission to quote her from her introduction to The Phantom of the Opera by Gaston Leroux, published by Random House, 2002, and her good luck wishes.

Special thanks to the Hal Leonard Corporation, who made my experience in getting licensing permission to use Webber's lyrics in my book easier than I dreamed.

Special thanks to my readers that allow me to express my views from behind my mask and keep coming back for more even though I poke at them.

Special thanks to Sadie Montgomery (Author of the "The Phoenix of the Opera" series) for holding my hand through my self-publishing experience and for her faithful and continued encouragement.

References Used