10 years has passed since a fire broke out in Paris, leaving only a mask behind - As the love story continues in Coney Island, NY, The Phantom's undying love has grown for the soprano ...
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10 years has passed since a fire broke out in Paris, leaving only a mask behind - As the love story continues in Coney Island, NY, The Phantom's undying love has grown for the soprano singer, Christine Daae. Christine, her 10-year-old son Gustave, and her husband Raoul, the Vicomte de Changy, travel to Coney Island where Christine is scheduled to sing for Hammerstein, but ends up singing for the mysterious Mister Y. They don't know what lies ahead. Christine and Erik confess about their past, Christine and Raoul reunite with old friends, and Christine sings for her mysterious masked man once more.Written by
According to Andrew Lloyd Webber, the title song "Love Never Dies" was first sung under the title "The Heart is Slow to Learn" in 1998 by Kiri Te Kanawa at the Great Performances: Andrew Lloyd Webber: The Royal Albert Hall Celebration (1998) show; "The Heart is Slow to Learn" was originally written for a Phantom sequel (ideas began in 1990) that was unproduced and aborted. The song was then retitled as "Our Kind of Love" when it reappeared again in Lloyd Webber's other musical The Beautiful Game in 2000. When the song finally made its way home to this Phantom sequel as originally intended, now under the title "Love Never Dies", several media critics at the London 2010 musical premiere widely remarked that the title song bore much resemblance to Charles Williams' 1949 composition "Jealous Lover" (from the film Naughty Arlette (1949)), which was later retitled in 1960 as the popularly known "Theme from The Apartment" for Billy Wilder's Oscar Award-winning film The Apartment (1960). The first public performance of the song "Love Never Dies" as its new title was sung by Sierra Boggess at The South Bank Show: 2009 Awards (2010) to promote the premiere of the 2010 London musical sequel. See more »
When the carriage arrives for Christine, Raoul & Gustave, they're shown walking away from it. In the next shot, they're looking at it as Gangle greets them. See more »
I took a little trip to Coney Island. I took a little trip because of you. I did as mother said, and followed where you lead, and tried to do what little I could do. But, here's the way it works on Coney Island, they make you pay for every little crumb. I gave what they would take, I gave it for your sake. Now look at me and see what I've become. Bathing Beauty, on a beach. Bathing Beauty in her dressing room. Bathing Beauty in the dark, on their laps, in their arms, in their beds.
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Much of the problem that I had watching this was to do with Love Never Dies itself. I am one of those who has appreciated Andrew Lloyd Webber overtime, especially as Phantom of the Opera is so good, but Love Never Dies is my least favourite musical of his by quite some way. Two or three of the songs are nice, Til I Hear You Sing Once More, The Beauty Underneath and Look With Your Heart, but the rest are completely forgettable. The story is also a mess, it is nowhere near as cohesive as Phantom of the Opera, is very bad soap-opera-ish and didn't engage me emotionally. The characters seem off, especially Raoul, and one plot strand(the one revealing when Gustave was conceived) actually distorts them, while the ending is ridiculously anti-climatic. This production is a slight improvement by excising that one plot strand, but other than that it does nothing to change my perception of the musical. The production is certainly not bad, the costume and set designs are just exquisite with beautiful lighting. The orchestral playing, chorus and conducting are also first-rate. And I thought the two leads were fine. Ben Lewis has a magnificent voice, and does his best making Phantom charismatic, edgy and tortured, it's not his fault that Phantom in Love Never Dies is too much of an obsessive businessman with a dark past, a much watered-down version of his former self really. Anna O'Byrne struggles with the title number- hardly surprising seeing as the song itself isn't that good anyway- but her voice is very angelic and rich with an unbelievable range, she also does elegant and diva-ish very well. The rest of the cast aren't as effective, good voices but dull. Well Simon Gleeson does have flashes where he allows Raoul to be dashing, but there is strong emphasis on flashes. It doesn't help that the drama is so overly-melodramatic, dull and emotionally cold, or that the relationship between Phantom and Christine is as tawdry as it is. And if you're struggling to believe that they actually hooked up, I don't blame you. The choreography was well danced but lacked drive and sparkle for my tastes. The camera work was a big, perhaps even the biggest, issue. There are too many close-ups and medium shots that are moved so fast, this approach is the very opposite of intimate(which I believe was intended), further ruined the dramatic flow and actually cried for a more expansive use of the stage and live-performance spontaneity. Overall, lavish but also disappointing. 5/10 Bethany Cox
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