Today in an article printed in the The London Evening Standard, Andrew Lloyd Webber had a few things to say about the London release of Love Never Dies. Basically, he believes his bout with cancer was a setback to Phantom II, causing it to fail. In hindsight, he regrets not postponing the release until he was better and could focus upon the production with greater intensity. He termed it a "flop."
Frankly, I was a tad surprised he used that terminology to describe the London release. Though it has had its problems, I wouldn't term it a complete failure or a dismal flop. There are plenty who have seen the show since its inception, who like it and continue to like it. No doubt the poor reviews in Andrew's mind defines "flop" regardless of audience acceptance, along with the concerted effort by a group to raise a ruckus over its existence.
I will be honest, as I have been since the first time I saw it on March 24, 2010, that I didn't give it "raving" reviews, but took from it what I liked and wished some things were different. One of my first comments was there was a lot of bare stage in the production, compared to the opulence of Phantom of the Opera. Also, the costumes were not memorable by any stretch of the imagination. However, the original cast of Ramin, Sierra, Joseph, and the others made up in my mind whatever lacked in glitz on stage. Their performances were stellar, and the new cast are very talented as well. I loved seeing the Phantom and Christine together again engaging in a choreographed scene of regret and longing.
As far as musical score, I had no complaint either. Even after the CD release when some of the die-hard opposers on Facebook admitted to their dismay they couldn't turn off listening to some of the songs, it was proof even the most hardened of hearts were still touched by the music including Ramin's rendition of 'Til I Hear You Sing and Sierra's Love Never Dies.
However, then came the story and that blasted plot spawned off of Frederick Forsyth's The Phantom of Manhattan, which now totes 199 two-star reviews on Amazon. Disliked by the masses, the thought of basing a sequel off of his book enraged some in the Phantom community. Certainly, there was something better than that trash! Well, what remained was the Coney Island theme of the Phantom hiding among freaks and other themes of adultery, illegitimate children, and Christine shot to death at the pier.
If that wasn't bad enough, the characters changed, and people cried blasphemy. No one changes like that in "ten long years"! Christine is a whore! Raoul is a drunk! Meg kills her best friend! Gasp! Then, of course, lest we forget there were the screams that Phantom needs NO sequel that raged across the Internet like annoying tweets from a thousand black Starlings.
Well, the stage version is not word for word Frederick's tale of woe, but it is what it is. Some people have accepted the plot from start to finish. Some like parts, but wish they could change it in places. Whether Webber thinks the plot needs changing again to please the masses, is hard to say. I question though if it was once again rewritten, would it still please everyone? Well, I don't think I even need to give my opinion on that note. It's obvious the answer to that is no.
Right now he's pleased with the revised Melbourne version of glitzy sets, color, staging, and costumes. He'll probably leave it as is. After all, it's his baby. It's his conclusion to the story he birthed on stage. The ending concludes the love triangle. The Music of the Night is really over this time.
The stage that was once bare is filled with wonder, and the costumes that were once mediocre are breathtakingly beautiful. Ben Lewis is one formidable Phantom, and Anna O'Byrne is a porcelain Christine, whose beauty takes your breath away. The audience is raving, the critics are still critics, but Andrew is pleased. He has come to a place of satisfaction of seeing the story how he wanted it to be birthed on stage, but could not produce earlier due to his illness. In his eyes, it's a hit. You may think he's delusional, but he has the right to strive for success.
Frankly, I don't think the London production is a total flop. It didn't close a month later like people hoped. The lights are still on, the seats at the Adelphi still hold bodies. However, like any creative genius that puts a new musical on stage, Webber wants to see that musical succeed. He does what he does, folks, because God has given him a gift. When people love what he creates, he finds satisfaction in his calling. When people criticize him as having missed the mark, he feels disappointed that perfection wasn't attained. That's how all creative people feel. You are driven to do what you do, because that's how you were made. What keeps you going in your craft, in spite of the trash thrown your way, is the knowledge that you have touched others by what you've created.
I was overjoyed to read his words, "But now there is a great production and it's not going to go away." It shouldn't go away either. Love Never Dies should continue to bless those who wish to be blessed by it and find enjoyment in seeing the Phantom with Christine. No one has the right to make that decision for others. If you don't like it, fine. Don't waste your money seeing it. Go buy another ticket to the original and bask in what gives you pleasure, and let us who like it bask in ours.
In conclusion, I can only say, I don't define Love Never Dies as a flop. I define it as creative work that's been in progress and now brings satisfaction to its creator. Where it goes from here, one never knows. The Melbourne team should be congratulated a thousand times over for giving to Webber what his heart desired to see in a musical that is deeply personal to him, as it is to you. I think they did a fantastic job, and Andrew has every right to fluff up like a peacock and show his feathers in pride! Well done Melbourne! Well done indeed.
Bravo, bravissimo!
