Love Never Dies : Phantom Of The Opera
By Angie Bedford
The Phantom of the Opera is a juggernaut, playing for twenty-five
years in London and over twenty years on Broadway. Its website will
tell you that it is the most successful piece of entertainment – in any
media form – of all time.
A question often asked of successful stories is "to sequel or not to sequel"?
As
a self confessed obsessed phanatic, I didn't need one. I’m sure I’m not
the only Phantom die-hard who has been content to let my imagination
decide just what happened next after Meg Giry retrieved the Phantom’s
mask from his lair.
Although a sequel may serve to fill the gaps
or create nostalgia, the risk with Love Never Dies is that it may just
destroy the original stories and characters for billions of
theatregoers who have seen Phantom over the last twenty-five years.
Such
was the case with the Original London Production of Love Never Dies,
which received some pretty vicious reviews. Although my intention at
last night’s opening was to review the new Melbourne production, having
seen the London production last year, it would be remiss of me not to
offer a comparison, and send my sigh of relief to our friends in London.
I
should note that I saw the London production in July 2010; my
understanding is that alterations have been made there since. I hope
that they will go one step further and adopt this entirely new
production.
The biggest improvement on show in this production
is a reconstructed Act One. Love Never Dies now opens with the Phantom
lamenting Christine’s loss in Til I Hear You Sing – easily the best
song in the show.
This insight into Phantom’s suffering is far
more effective than the unnecessary Prologue with Madame Giry and
Fleck. Director Simon Phillips gives his audience more credit – given
Phantom’s audience statistics, it is safe to say we all know what
happened ten years earlier.
The whole premise for Christine,
Raoul and son Gustave’s arrival in Manhattan is not this time at the
hands of ‘Mr.Y’ (you-know-who), but thanks to Oscar Hammerstein. This
small detail changes Christine’s motivations significantly, who
seriously believed that the Phantom was dead.
The rousing score
was successful in the London production, but fans were treated to only
a few snippets of the original Phantom score. This was an oversight as
Phantom’s musical themes help dictate the narrative.
This new
production is far more giving, with hints of Angel of Music, The Point
of No Return, Prima Donna and Little Lotte. This makes for a far more
cohesive transition from original to sequel, and who doesn’t love a bit
of nostalgia?
Highlights of the Love Never Dies score include
the glorious Coney Island Waltz theme and the electro-rock The Beauty
Underneath. Musical director Guy Simpson (who also wrote additional
orchestrations) and orchestra are to be commended on a superb
performance, and kudos to Mick Potter for fantastic sound.
The
Coney Island landscape is seemingly an ideal refuge for the Phantom in
hiding, however despite a technologically stunning design in London the
overall mood was one of freakishness and gaudiness, and it was
difficult to accept that the Phantom, vilified for his appearance,
would celebrate his deformity.
This is improved through a more
circus style Coney Island; the Phantom’s helpers Fleck, Gangle and
Squelch no longer look like extras from the Addams Family, they are
brightly dressed circus folk and Fleck is a short statured person (ably
performed by Emma J Hawkins). Gone is the creepy Christine statue
and gothic skulls, this Coney Island celebrates the electric light
through a brighter circus/vaudeville appeal.
When the Phantom
introduces Gustave to the supernatural in The Beauty Underneath, he no
longer shows him the paranormal in his aerie; rather he shows him the
glorious sights of Coney Island, in a very clever sequence including
mirrored pillars and circus performers.
Gabriela Tylesova’s
overall set design is circular and rollercoaster like, one minute a
sterile metal setting, the next as a colourful circus, more on par with
the glorious Paris Opera house sets in Phantom. I particularly liked
the Phantom mark arch framing Phantasma, and use of cloths which were
used effectively throughout. The balcony set was a standout.
Tylesova’s
costume design is an array of circus reds and period costumes.
Highlights included the Phantom’s grand black robes and Christine’s
beautiful blue dress, and all of the vaudeville costumes. The overall
visual mood is cemented by some transformative lighting thanks to Nick
Schlieper.
The ending is the same as the London production. It’s
not the ending I hoped for, but at least in this production it is
bettered by improved characterisation of the key characters.
Meg
Giry is trying her hardest to achieve success as a vaudeville performer
in Phantasma, and this time does so whilst keeping her clothes on! Only
for Him has been thankfully revised as Only for You, and a revision of
Old Friends and the preceding dialogue means that Meg is far more
welcoming of Christine’s arrival. We are therefore positioned to be
somewhat more sympathetic of her sacrifices for the Phantom. Sharon
Millerchip delivered a strong performance in this role.
Thankfully,
the Phantom is not the far-too-human character as seen in the London
production. Instead he is given the entrances he deserves (completing
with ominous soundtrack!) reminding us that he was once a terrifying
Ghost and murderer. His suffering and tortured emotions are well
portrayed by Ben Lewis, who sings the role with ease.
The
character of Christine in London’s Love Never Dies was difficult to
warm to, primarily in part to the character’s poor choices and
inability to stand up for herself.
This is somewhat improved
in this production, thanks to changes early in the script where she is
given more credit for her relationship with the Phantom. The dull ‘to
sing or not to sing?’ narrative driver in the London production is
thankfully given far less prominence here. Anna O’Byrne is a very
talented young performer, and is very well suited to the role. ‘Once
Upon Another Time’ was a highlight; she sang with beauty and passion.
Ten
years on, Raoul (well played by Simon Gleeson) is a depressed gambler,
who fails to connect with his son and wife. Raoul and Christine’s
relationship is left on a much better note than the London production,
which left me thinking that the writers had completely forgotten that
Raoul and Madame Giry still had to attend the Opera House auction one
day as staged in the Prologue of Phantom of the Opera. I appreciated
the reminder of Raoul’s wooing of Christine, all of which assisted in
throwing some sympathy in Raoul’s direction.
As issue with the
London production at the Adelphi was the vast stage that often looked
empty. Director Simon Phillips and team have skilfully morphed the
large Regent Theatre stage into a more intimate affair. The stage is
filled with a large, versatile cast. The ensemble played a number of
roles and many performed acrobatics. A special mention to Kurtis
Papadinis who played the role of Gustave very well.
Lloyd Webber
confessed last night that he “was not very happy” with the London
production. He is to be applauded for having the fortitude to try
again, and the musical is the better for it.
Don’t miss Love
Never Dies. Whether or not a sequel is your cup of tea, the Phantom
story is undeniably one of the greatest on the musical theatre stage,
and everyone should have the opportunity to experience a new Lloyd
Webber musical once in their lifetime.
Love Never Dies is now showing at the Regent Theatre, Melbourne - www.loveneverdies.com.au
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