Search - Andrew Lloyd Webber :: Love Never Dies Deluxe Edition

Hello Erik, goodby Phantom

Antonio Acuna | London, UK | 03/09/2010

(5 out of 5 stars)

"I saw the first ever public performance of the show (lucky me, but not for others, the first one was canceled, mine turned out to be THE first one)How to start addressing this show...with tact:



Let me start by saying that the story is not as strong as the original, none of the Gothic gore implied by The Phantom, this is a more human one. The phantom is not below anymore, but towers above, in a penthouse overlooking Coney Island. He can now 'walk amongst man' another freak in a permanent freak show. Hence, the phantom we meet here is less mysterious, his torment more complex, not just obsession, but vulnerability. The story falters at times, I must admit it, yet the show is beautifully done and manages to move you and close the chapter.



The music



1. Prologue

2. The Coney Island Waltz

3. That's the place that you ruined, you fool!



---A terrible opening for a show, akin to the dreadful opening to the woman in white (a show that should not have existed and has been mercifully musically remade into Love never dies). The saving grace is the Waltz and its marvelous projections (on the show) a lovely piece, truly pure Webber. That's the place you ruined, fool and prologue could go amiss and no one will notice.



4. Heaven By The Sea

---- nice song, a touch out of place with the darker more romantic music, but attempting to capture the banality and lightheartedness of the time and the society in NY at the time. It serves its purpose, the core musical theme being lifted mainly from a repetitive melodic phrase used to death in woman in white, still, nice.



5. Only For Him / Only For You

-----A nice song with a less forthcoming orchestration, lovely melodic tilt, intended to show Meg's love for the Phantom. It appears Webber tried to make a clear distinction between the deep love the phantom has for Christine with the 'cheap' and brassy tolerance he shows Meg, one (Christine's) is for sustenance, the other (Meg) is for survival. I like this song, maybe the distinction marked by the styles is rather too wide, making it two dimensional and one sided (leaning towards Christine)It achieves that.



6. The Aerie

----A lovely, haunting, beautiful instrumental, right from the bowels of the Phantom of the opera. Thick, serene, moving



7. Til I Hear You Sing

---Now we are talking, this is a magnificent song, a true descendant from the original Phantom. A pure display of the best Lloyd Webber can produce. Ramin is absolutely brilliant in it, This song makes the whole show worth it, really.



8. Giry Confronts The Phantom / 'Til I Hear You Sing

---A nice excuse for listening to Ramin again. Giry's bit is typical of the sung through melodic style in Phantom. Very well done by Giry.



9. Christine Disembarks

---mostly spoken, snippets of melodies in the background, mainly themes that will develop later



10. Arrival Of The Trio / Are You Ready To Begin?

I don't care for the three new characters..the Phantom's henchman. Their a-melodic and tense musical themes grind me, not good voices, neither great lyrics, they just add to the oddness that is the phantom, but are never developed enough to matter or to add any depth to the phantom, They are cliches that fill in space. I wish a judge would give Webber a court restraining order so he cannot get near electric guitars, he seems to think that by using them he is 'edgy', wrong! Lovely melodic bit at the end for Gustav, again, lots from woman in white.



11. What A Dreadful Town!...

---I like this song. A lovely string punctuation quite different from Webber's style. Mature, efficient.



12. Look With Your Heart

---Beautiful waltz, sweet, with surprising melodic changes that slide into one another. Fresh and tender.



13. Beneath A Moonless Sky

--This is the heavy bit! the first few notes and chords are straight from the beginning of the song 'the phantom of the opera', as the phantom enters Christine's room and sees her for the first time in ten years. Although the refrain in this song will remind you of the cell block tango from Chicago (I mean it)it is a powerful, beautiful ballad (kind of a tango as well) here we get the whole story of what happened in the last ten years, a bit of a rush, but such a powerful song, the phantom has entered the room...really a triumph



14. Once Upon Another Time

---Less of a song than above, but still sweet and lovely with a great melodic surge, dense with meaning and very much an aria in the opera style.



15. "Mother Please, I'm Scared!"

--Incidental stuff, the phantom meets Gustav...we get the electric guitar...bearable...it works, just enough, the right balance.

16. Dear Old Friend

---Great song a la notes in Phantom. cleverly worded, with touches of the original show and to great effect. It does have the same rhythmic style as Prima Donna , and the scene calls for it, as Meg is a Prima Donna in her work at Coney and Christine is a Prima Donna in her own right, with the trick from 'notes' of shifting between conversations.

17. Beautiful

---Haunting, sweet melody for Gustav.

18. The Beauty Underneath

---Loved by some, hated by almost every single soul that saw the show when I saw it. Too much guitar, too far off the musical style for the show, too modern. Honestly, I hated at the moment. One can imagine Elton John playing a set with AC/DC...it has its moments and many will like it...I found it a low point in the show, uncomfortable.

19. The Phantom Confronts Christine

---Nice, a mix of themes previously heard



Disc 2



1. Entr'acte

---Just that, but I love it.

2. Why Does She Love Me?

--A brooding song, quite different from the Webber stock, although in the same vein as his musical foundation for Sunset. Really nice and very well performed.

3. Devil Take The Hindmost

---Brilliant, brilliant...all I can say is 'Javert and Valjean's dialogue at Fantine's deathbed'...as powerful and as sublime.

4. Heaven By The Sea (Reprise)

---well..it is there...this being a not so great song and rather flat in its texture, i would have preferred another song to fill this slot instead of a rehash , almost feels as if Webber did not have enough time to come up with much musical vartiety and stuck to a couple of musical themes.

5. Ladies...Gents! / The Coney Island Waltz (Reprise)

---More of the same...I must admit I was bored by this point in the plot....

6. Bathing Beauty

---cute, very much a Webber song, catchy.

7. "Mother, Did You Watch?"

---Incidental, no new musical themes, just the same: mix and match. Still effective.

8. Before The Performance

Lovely, if because of the reprise of till I hear you sing. No new musical themes, again, reprises put together.

9. Devil Take The Hindmost

---A reprise but with a lot of pressure in it, a critical point in the plot, quite effective, really nice.

10. Love Never Dies

---This one is not new to us, heard it in the beautiful game and heard it by dame Kiri, yet it works well here, after all it was conceived years ago for this show. Sierra B has a wonderful voice, but the high notes are a push in her range, we can still say it is a breathless performance, a thousand times better than Katerine Jenkins and her catastrophic attempt at this song.

11. "Ah, Christine!..."

---more of the same,nice mix of earlier themes

12. "Gustave! Gustave!..."

---As above, more incidental music and earlier musical themes intertwined.

13. "Please Miss Giry, I want to go back..."

---climatic yet melodic-less ending. The final musical theme reprises the aeria and remind me of the very ending of Superstar, John Nineteen Forty-One. Maybe too weak for an ending (for this show)



So, do I like it? yes, overall a great musical that deserves many years on stage. I wish it had more original numbers and less reprises and that it did not have 'the beauty underneath' but hey, overall, a different show, this is not the phantom times 2, this is its own original show, with it's own personality. This show contains some of Webber's best ballads and melodies. Does it copy from his previous musical stock? yes, there is lots of Aspects of love, Woman in white and some Whistle down the wind...is it bad? well if we assume absolute originality as the definition of creativity, Sondheim has not been creative since Company, so there....

"

Long Time Phan Review

Robert J. Searing | Olathe, KS | 03/10/2010

(3 out of 5 stars)

"Ok, so this is the first time I've ever reviewed anything on Amazon - however, I've really valued the reviews I find.

Let me preface by saying, like many other that will post/review here, that I am a LONG time Phantom fan. I have seen the show 26 times (on Broadway and a variety of road shows). I'm probably the only person that can actually claim to have stolen a Phantom Mask (it was Jeff Keller's first mask - one that I returned to Kevin Gray back in the early 90's).



I enjoyed the movie remake of the show - but was very dissapointed with Gerald Butler. He wasn't awful - but God, he trashed the end of the title track IMO. Music of the Night, my favorite song from that show, well - sigh, wish they would have picked a singer that could act rather than an actor that could sing.



But, alas, this is a review of Love Never Dies.



Overall, I "enjoyed" it (hesitant to say "like" yet). After listening to about 3/4 of disc 1 and listening to the "rock" track of "The Beauty Underneath" I had to walk away from it and was extremely dissapointed. However, after sitting down and listening to it through, I found myself enjoying it a little more.



The two issues I had with it was:



a) The Coney Island stuff in the beginning (albeit good and catchy) made me feel like I was listening to a Disney flick (ie Beauty and the Beast or Hunchback of Notre Dame) where they have their beginning "crowd" pieces. It didn't have the "feeling" at all of what I thought would be a sequel to Phantom - but, again, it seems to be wearing on me.

b) THIS IS HUGE. I have a VERY hard time with Gustav in "The Beauty Underneath" I mean, in Phantom, the title track - where the Phantom and Christine are descending into the depths - they are entranced with one another. In "The Beauty Underneath" it felt like ... I hate to say it ... (PLEASE tell me if I'm the only one) .. it felt like the Phantom had a thing for Gustav - and vice versa. The moaning of "YES" by Gustav - .... it just felt very weird and odd - very out of place. I realize Gustav is his son - and think I feel where he was going with this - but it just is SO hard to get over Gustav's moaning - as they sing "The Beauty Underneath".



I wanted/want SO badly to love this - but have a VERY hard time right now - mainly because of my second point above. Also, unlike others perhaps, I really wish there were more undertones from the original in this piece. I mean, in ALW's commentary, he states that the problem he had in developing the story is that he found he needed to go back to the original characters that we knew and loved. Why didn't he pay attention to his own advice with the music. I'm not looking for a rehash of the old - but, man - I just wish there was more of a trek down memory lane.



I, also, believe the Raoul in this production has changed TOO much!! No more to say about that.



I don't know - perhaps after another week or two - I might feel obliged to rate this higher. Perhaps if I ever get to see the show - it might also help - but, with Phantom, I feel in love with the music well before I saw the show.



My last point I'll make, is that, with Phantom - and many other shows, there are many catchy songs I find myself really loving and enjoying. I really only find myself falling for "Til I hear you sing," those songs that revolve around the Coney Island Waltz - and then the one where they sing with Meg (can't remember the song) - where it is very similar to Prima Dona.



Overall, like I said, I enjoy it - but need to listen to it a few more times. I realize that my review keeps pointing to Phantom - but, come on - this is a Phantom "sequel" -



Sincerely,

Rob"

A Worthy Sequel

Jim Z | 03/09/2010

(4 out of 5 stars)

"Just finished enjoying the two hours thirteen minutes of "Love Never Dies". As a sequel , it has many great moments , however one must be familiar with the original (and who isn't) to truly enjoy it's splendor.

I won't rehash what other reviewers have said , but there is one point I want to bring up. In the notes about the recording , Webber states that he only "with one short exception" uses a melody famous from "Phantom". Whereas it is true that several snippets of the original appear throughout "Love Never Dies" from a few bars , to several passages. This enhances the whole work , and is a welcome addition.

It would be unfair to compare this cast to the original , it is 20 years later , and each has it's merits.

All in all a very beautiful follow-up. Never short of a pretty melody , Webber has once again crafted a fine work of art."