Love Never Dies -Adelphi Theatre, London 2010 — Page 9

In regards to ALW using material from Phantom, I do actually think that he could have used a bit more. I think that the material repeated was chosen very carefully as not to repeat any of the huge big numbers from Phantom - I thought the use of Twisted Every Way was very effective, for example. I am not too sure about him reusing something like the Music of the Night, merely because it is so iconic, and so definitely belongs to Phantom.

The Cast Recording is now available in its entirety on SkySongs.

I'm very excited to hear the score. I am so bogged down by all of the anti-Phantom 2 stuff, such as Love Should Die, that when put into perspective it seems that a majority of people are actually enjoying the show.

Okay, you left me off the PAN list, though I only specifically talked about the way ALW basically nixed plot points from the original to fit into his (or Elton's) horribly plotted sequel. But please know: I thought the production was one of the worst professional things I've ever seen. I am not an ALW hater. I have championed him here (I live in New York City) among my writer friends (I write musical theatre) and fully loved the British musical invasion of the 80's. But please. Even if this show opened in 1988 (which is when I assume ALW thinks he's still living) it would have been a piece of crap. And its still a piece of crap. At least as of the first preview I saw last week. And really, there was no salvaging that play unless they tore it apart and started over. You Brits who actually liked it should be ashamed of yourselves. This is why your musical theatre is in the ****ter. Your taste level is embarrassing. You reject something completely musical-forward like "Spring Awakening" and embrace an atrocity like "Love Never Dies"? Not that I think "Love Never Dies" stands much of a chance. At least I'm hoping the hopeless fanboys of the Broadway World West End chat rooms are not the norm, not the typical West End discerning theatre goers. Again, I don't hate ALW. I LOVE his work. I think he is a genius who can out melody Sondheim. But even Glen's work, which I usually admire, resorts to cliche at times and is mostly pablum. This is an awful, awful show. ALW has written some nice music for it, in places, but even that's negated by his use of the only hit from "Beautiful Game" (a show I didn't completely love but did admire a lot). He's Andrew Lloyd-f**king Webber. He couldn't have come up with a new melody for the big stupid set-piece second act number???? Really? Really, Andrew? I used to say Jack O'Brien should direct EVERY musical. He just has a knack. I don't know what happened with "Love Never Dies". I'm guessing, as producer AWL just wanted to hire our best director for the show and didn't allow him to do what he does best: dramagurg! To make a show better through constant re-writes. Perhaps ALW just wanted a figure-head director and Jack took the money and ran. Its hard to fight and win, or ask to rewrite the very man who is paying you. I have lost so much respect for one of my favorite directors. I am so mad at this production already. And then I come on here and see that the RAVES so outnumber the PANS and I just get madder. For shame.

I was reacting to Phantom of London's list. There was only one pan. They should have all been pans. Love Never Dies is beyond opinion bad. The sky is blue. And Love Never Dies is bad.

Whoa now hang on a sec Holbee. I loved Love Never Dies, I loved Spring Awakening, I loved Drowsy Chaperone. The audience at last nights show seemed to enjoy it alot and there was a good buzz about at the interval.

Maybe you don't like it, but it sold out a 1500 seater theatre with around 2/3 of the tickets going for £67. Obviously Andrew Lloyd Webber is doing something right.

No one should feel ashamed for liking or disliking a show and no one needs to justify their qualifications for liking or disliking anything.
You go to the theatre you get an opinion.

Maybe the shows getting a bit better? Friends enjoyed it Sat afternoon. I've a month to wait.

I have entered a few posts about LND on other sites after seeing it last Wednesday. I downloaded the original cast recording from Sky Songs yesterday and have now played it many times. Apparently this is not available to you guys on the other side of the pond at the moment (sorry).

If ALW and Really Useful Group have any sense, they will release it for immediate download via iTunes and others and not wait until the day before opening night on 9 March.

Despite having misgivings about the production in terms of some story aspects and production design (which they may fix before opening night) I honestly feel that the this is one of the greatest musical theatre scores to emerge over the last quarter of a century.

Many people have commented that the performances in the show are faultless - they are. Unsurprisingly this is reflected in the cast recording. The music is achingly good; the libretto works really well when heard a few times. The performers couldn't do any better.

It might be fashionable to knock Andrew Lloyd Webber - but if anyone who actually loves musical theatre really listens to this work - it is a fabulous achievement.

If the director, set designer, costume designer have 'messed up' in various departments - so be it and I don't really care. This score is sublime and the man ought to be given the credit for an amazing piece of work. Listened to in its entirety I absolutely love it and will now see it again however it has being produced.

Ramin Karimloo, Sierra Boggess and the rest of the company are brilliant.

I don't pretend that the current production is is faultless but if it gets 'buried' because there aren't enough fairground attractions onstage to keep the kids happy it will be a travesty.

LND comprises a wonderful theatrical score.

(I am a regular theatregoer - not in Really Useful Group's pay etc. etc.)

I'm not really sure what 'saggy' means.

'Bathing Beauty' is signposted in the show as being 'a little more earthbound' than the etherial Christine Daae's anticipated performance on the same bill. Isn't Meg's song supposed to be a little vulgar in relation to the aria 'Love Never Dies' performed by the great opera star? I think that this might be to underline the fact that however much she craves Mr Y's attentions Meg's a bit of a non-starter in comparison.

We have seaside entertainment here in the UK in places like Blackpool which I would guess would equate (on a more minor level) to Atlantic City or Vegas in the States. In present day terms it would be a bit like Angela Gheorghiu being asked to close for Bette Midler. Great performers - but on the same bill?

The fact that the show has contrasting musical styles isn't 'saggy'. How you handle the co-existence is another matter, of course.

Random: anyone else hear part of the melody from "Sally's Song from "Nightmare Before Christmas" at :40 in "Beneath the Moonless Sky"?

YES!! I listened to the album earlier today and that was the very first thing I thought of, since the Prologue begins with that same tune.

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Though the "Twisted every way... " them is apt, I ofund the Prima Donna theme really intrusive and ill-fitting with the style of the rest of the piece. It jarred.

Well, I am an American and I am not a fan of "Spring Awakening." What's your point?

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Updated On: 3/2/10 at 11:58 PM

Exedore, they arn't really that bad. I was in Row K. You could maybe even get one of the ones at the front for £37.50 as nothing really happens at the front of the stage until the very end where everyone leans forward anyway.