Australian Production of Love Never Dies Changes

"The set and costume design is completely new and unique to the Australian production. Even parts of the script and structure have been reworked and modified from the original London Production."

As I mentioned in my post regarding revisions in the London production, more reworkings definitely going on in the Australian production. Read the article HERE.

Another article HERE.

"There are new costumes, a new set, new choreography, new lighting … only the basic storyline and music are the same.''

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

Behind the Mask

The new Phantom for the Australia production, Ben Lewis, receives his mask. Note the comment:

"The operatic musical premiered in London last year, but the Australian version, opening at the Regent Theatre on May 28, is being fully re-imagined by a local team with the composer's approval."

Click Here to Read, "Dark Side of Phantom's Joy."

Interesting video to watch. Some of the re-imagined is quite obvious in staging and costumes, etc. look different. I can confirm the way Ben Lewis is clinging to Christine on his knees is not done in the London version rewrite.

Also, I've been working on the comparison between London's Love Never Dies old and new. Hard job only seeing it twice to catch all of the new lyrics, direction, and staging, but hopefully my summary will make sense so you can compare the old CD version (if you haven't seen the original show yourself on stage), to the revised version. I should have that posted within a day or two for your anxious eyes to read.

Regards,

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

Great Quote

"Thought is the sculptor who can create the person you want to be."

-Henry David Thoreau

I've found in my own journey that I am my own biggest obstacle.  The barriers I face are those that I put there through my thoughts. 

I've also learned that by keeping the truth solidly within myself, knowing the truth despite what "seems" to be the perceived reality allows me to flourish and prosper no matter what is thrown in my path.

At the end of the day we walk together in a world of individuals each of us on a separate yet ultimately common road.  It's how we walk that road, with what dignity, with what purpose that to me makes all the difference in the world.

Words and thoughts are powerful things when set in motion. 

"Thought is the sculptor..."

Your thoughts, my thoughts...our thoughts. 

Here's to a entree into a Wonderful Spring. 

I'm looking forward to it!

High School Productions of Phantom of the Opera

If you're looking for a high school/college productions of The Phantom of the Opera, Rodgers & Hammerstein's website is the place to check out. You can do a search of where the productions are scheduled by going to the "Now Playing" tab. Sort by title, using the Phantom of the Opera search term. All the schedule productions will list.

If any of them are near you, go check them out and give the kids support! Enjoy the show. Frankly, I think this is absolutely wonderful for the younger generation to be able to play these iconic roles on stage. Who knows, perhaps some famous new upcoming artists will one day play Phantom, Christine, or Raoul, plus any of the other characters on stage in Vegas, New York, or London. Gosh, if I were in high school and could carry a tune, I'd audition, that's for sure. However, I'm flat as the lake in the lair.

Here is a link to a recent production at St. Edward's High School with production pictures.  

Print Edition - 2nd Edition of Lessons From the Phantom of the Opera Released

I'm happy to report that the print edition of the new release of Lessons From the Phantom of the Opera finally went up on Amazon U.S. today.  It contains all the relevant posts from the first edition, plus 11 additional posts.  The price is $7.99.  

If you don't wish to dig through 110 plus posts on this blog, I recommend the print version or the $1.99 eBook version available on Kindle and Smashwords for downloading.  You can get just about any format on Smashwords, and even download to your computer directly in PDF form, if you do not have a Kindle.

As most of you know who have followed me in my early days of posting in January of 2008, this blog focuses on the human aspect of how the story touches us as individuals.  It was never meant to be an in-depth literary commentary on Gaston Leroux's version of Phantom of the Opera of which I've been accused.  On the contrary, though Leroux is mentioned throughout the blog/book, it focuses heavily upon the Webber stage version and the 2004 movie version as well.  It merely takes the story and analyzes the characters, emotions, symbols, and events, and breaks them down to every-day life applications.

Hope you enjoy the new cover and interior, plus the new lower price.  As an independent publisher I now have much more control over pricing, wholesale discounts, distribution, and marketing.  All three of my books have now been moved to my new imprint/company of Holland Legacy Publishing:  The Phantom of Valletta, The Price of Innocence, and Lessons From the Phantom of the Opera.

Distribution worldwide will slowly occur for Lessons From the Phantom of the Opera, as well as the others, as online retailers begin to pick the release up.  You'll be able to find the book on all Amazon sites worldwide, Barnes & Noble, Book Depository (which I highly recommend due to their free shipping worldwide), and others.  eBooks are also available on all titles in every format under the sun to fit your telephone, readers, or your computers.

Cheerfully yours!

Vicki Hopkins aka The Phantom's Student

P.S.  Recently, at the request of some of my fans, I've started a fan page for The Phantom of Valletta on Facebook for individuals who may want more background on the story or a chance to post and talk about the book.  Feel free to drop by and learn more about my take on "brooding" Erik in my own Phantom sequel. 

Sunny updates

What a beautiful day in Los Angeles!

I've been traveling quite a bit lately including a trip to Las Vegas for a concert at UNLV. I appeared with the amazing Julia Murney and Lauren Kennedy in a great evening of music directed by Gordon Greenberg.

I gotta tell ya I love me some Vegas! So much so that one of the projects I've been working on has been concived with a Vegas audience in mind. There is such a wealth of people from all different walks of life. There is art and architecture, fashion and music. It's pretty cool really.

Tree are also some other projects about to launch...not thie least of which is the CD. Jeremy has completed the mastering and I'm just getting e artwork ready for the CD.

It's going to be released very soon...I promise.