I suddenly realized that I don't remember what numbers end most musicals, perhaps because the movie adaptations change everything. "One Day More" in "Les Mis" certainly tells everyone that something major will take place in Act II, but it nonetheless has problems: It wraps up one story, and then Act II starts another, to me less interesting story. Yet, I can't think of another place to break.
I've seen versions of "The Phantom of the Opera" where the chandelier falls towards the end, right before the final lair scene (The Las Vegas version, which is presented in one act, and the movie). Maybe because I saw the movie first, followed by the Las Vegas production, followed by the original stage show, I think the falling chandelier is SO major that it belongs at the end. I think ending Act I after "Masquerade," and crashing the chandelier before the final lair would be preferable.
^^ I disagree, I think Masquerade is a great way to start Act II. I like having it all nice and happy for a few minutes, with the whole cast out singing, nice way to start off fresh with a new act.
Could the poster who mentioned DER GLÖCKNER VON NOTRE DAME elaborate on why you feel the Act I ending is bad? I never saw it, but I think the music for the Act I finale, "Esmelda" is incredible and at least sounds like an amazing closure to Act I.
There were so many reasons to dislike the Phantom movie, and I get why they reworked the order for the one-act presentation of Phantom in Vegas, but I'm with GingerBreadMan on this. The chandelier crashing at the end of Act 1, and Masquerade opening Act 2 as both a celebration of New years Eve and six months of no peep from the Phantom, only to be broken by his re-appearance is perfect IMO.
However, depending when and where you saw Phantom, the chandelier coming down at the end of Act 1 could be a let down. Early on in London, Broadway and, depending on the tour venue, it "fell" rather slowly. Rather anti-climactic. Toronto initially was able to fall more quickly and ALW was asked to rewrite the bars that play as it falls, but he refused.
There is a Chandelier Crash Comparison video on YT that compares several of the companies worldwide. Some are dreadfully slow. Spain, however, came down at breakneck speed.
Some great Act I closers: Lennon - "New York City" Big - "Cross The Line" Ghost - "I Had A Life" Hot Feet - "Fantasy" Good Vibrations - "Dance Dance Dance" Women On the Verge of a Nervous Breakdown - "On The Verge" The Capeman - "Adios Hermanos" Lestat - "The Crimson Kiss" Wonderland - "Through the Looking Glass"
All truly wonderful moments because they meant you could escape soon.
I second the thoughts about Follies a while back. "Too Many Mornings" never really did it for me as an first act closer in the revival, although there really isn't a more logical stopping point ("Who's That Woman?" perhaps, but it would lack the "suspense" that came from Buddy seeing Ben and Sally together). I would love to have seen it sans intermission, although it's understandable why they ultimately had one.
Saw what you will, but I thought the act one finale of the original Jekyll & Hyde on Broadway with Hyde beating the Bishop and lighting his body on fire was pretty creepy and, if you weren't sitting on the extreme sides, it looked pretty cool too.
Evita - when A New Argentina is done correctly, it is thrilling. The entire cast onstage singing "cannot be and will not be and must not be denied!"
If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.
Best CANDIDE-Quartet Finale EVITA-A New Argentina CABARET-Tomorrow Belongs to Me LES MIS-One Day More NINE-Bells of St. Sebastian SUNDAY IN THE PARK WITH GEORGE-Sunday WILL ROGERS FOLLIES-I've Got You/Marry Me Now Worst URINETOWN-Look at the Sky!