Dr. Blackwell's BLOG

When I first heard Andrew Lloyd Webber was working on a sequel to his classic musical The Phantom of the Opera, I was a little skeptical. All right to be honest, I was A LOT skeptical of Love Never Dies! That thinking of “why tinker with a masterpiece?” was overwhelming. But, when I started hearing some of the musical numbers as they emerged from workshop and began learning about some of the aspects of the storyline, I became more and more intrigued; and I decided to give it a chance and followed its development closely. Then, the show finally opened in 2010 at London’s Adelphi Theater, but to horrendous reviews. The show was dubbed “The Paint Never Dries” due to its constant retooling and reworking and was a production largely void of Webber, who was battling prostate cancer during its entire run. After successfully being treated for his cancer, Webber rededicated his life to Love Never Dies, completely reconstructed every element of the show’s design, and transferred the show to Australia, where it played to sold-out audiences in Melbourne and now does so in Sidney.

Webber’s praise of his new incarnation is well-published; which is why he chose the Melbourne production to film, show in movie theaters nationwide, and release on Blu-Ray. And tonight, I had the opportunity to see it for myself. Let me start by saying that Love Never Dies is NOT a rehashing of Phantom; and it stands alone as an absolutely incredible and masterful piece of musical theater destined to, like its predecessor, become a classic.  The story of the show is delicate to review. It’s difficult to give too many details about the story without revealing too much about the progression of Phantom and where the characters are, why they got there, and what developed between the original show and the sequel. There are plenty of surprises in the story for sure. But, to provide a brief description, the events take place 10 years after Phantom.

The Phantom has moved to Coney Island, where he has founded a circus-type fair that provides a great opportunity for him to be well disguised among the freaks, oddities, and entertainers of the amusement park. Christine Daae, who has risen to stardom in Paris, is summoned to New York to perform for a large payout (that is desperately needed to pay off the gambling debts amassed by her now husband Raoul, the Vicant de Chagny) in the opening of a new American opera house. But, when the Phantom enters, plans change and Christine becomes obligated to perform for him at Coney Island. Raoul, Christine, Madame Giry and her daughter Meg are reunited in the process; and secrets of the past begin to shed light on each one’s present and possible future.

The actors in this show were some of the best I’ve ever seen in a theatrical production. The Phantom is marvelously played by Ben Lewis, who’s voice is one of the most powerful yet most gorgeous I’ve ever heard. And Anna O’Byrne’s Christine sent chills up and down my spine a countless number of times throughout the show. Her vocal abilities were absolutely breathtaking. The backup performers and even the ensemble were also phenomenal. Madame Giry (Maria Mercedes), Meg Giry (Sharon Millerchip), and Raoul (Simon Gleeson) gave outstanding performances. But the real scene-stealer is Gustave, Christine’s son, who was wonderfully played by Jack Lyall. His voice was sweet, innocent, and loving; and he brings his character to life flawlessly.

Beyond the acting, the music in the show is lush, rich, and moving. It punctuates the menacing moments of the show wonderfully, but leaves a full feeling in your heart that is downright incredible. Songs like “Look With Your Heart,” “Beneath a Moonless Sky,” and “Beautiful” are ones that pull at the heartstrings and leave your soul speechless in their absolutely gorgeous beauty. And the title number is also perfectly executed and is not only chill-inducing, but highly significant to the story of Love Never Dies as well. Not many of the musical themes present in Phantom are here; Love Never Dies has a very unique score that stands apart. “Learn to Be Lonely” which Webber wrote for the film version of Phantom is present ever-so-slightly in two scenes and there are some small Phantom themes present briefly a small number of other times. But the score here has almost zero resemblance to Phantom.

The sets of the show are also mind-boggling. I found myself comparing many of the sets to that of Spider-Man: Turn Off the Dark, not for similarity, but for their sheer complexity and grandiosity.  Perhaps no scene more better displays the brilliant intricacies of the sets’ inter-workings and impressiveness than “The Beauty Underneath.” In conclusion, Love Never Dies was an absolutely fantastic addition to the works of Andrew Lloyd Webber and I agree with his assertion that its quality is one of his best. Prior to the start of the show, a 15-minute “making of” montage is shown and Webber discusses the birth of Love Never Dies in great detail. It is quite apparent that he is a proud papa. And judging  from the experience I had tonight watching this show, he should be quite proud indeed. It will be heartbreaking if this show doesn’t make its way to Broadway. It is unbelievably deserving of a life there and will be embraced by theatergoers who loved everything about the original The Phantom of the Opera. But in the meantime, Love Never Dies plays one more time in theaters nationwide on March 7th. Tickets are available on Fathom Events’ Web Site: http://www.fathomevents.com. Below, take a look at the preview for Love Never Dies:

 The Broadway tour of Billy Elliot: The Musical has made its stop at the Bob Carr Center for the Performing Arts in Orlando this week. While the show was going to have a two-week engagement, lagging ticket sales unfortunately resulted in the show’s stint being shortened by a week. Consequently, it plays through this Sunday only. And if you can obtain tickets to the show, I highly recommend you do so. This is a great show that has a very rich and moving story told by some excellent actors (many of whom are children) who display an extraordinary amount of talent. The musical is pop-rock in design (what else would you expect from Sir Elton John,who wrote the show’s music?) and while enjoyable, isn’t the most memorable aspect of the show. That would rest in the actual dancing that is prominent in many of the scenes and the beautifully moving story of a young boy who dared to be different in a time of upheaval and extreme adversity.

The backdrop of the story centers on a striking community of  coal miners in Northern England, who are enduring the conservative anti-union leadership of newly-elected British Prime Minister Margaret Thatcher. These blue-collared men are making a harsh decision to abstain from work, which is taking an extreme financial and emotional toll on their families. The Elliot family consisting of a father, his youngest son Billy, eldest son Tony, and his mother (Grandma) have been hard hit by the strike, with both Dad and Tony unemployed. We also learn early in the show that the family is without its matriarch, who died presumably when Billy was quite young. Amid the strike, Dad is giving Billy what little money he has to send him to get skilled in the hyper-masculine sport of boxing. But, Billy’s interest lies instead in ballet dancing. And he begins taking lessons with a caring yet tough dance instructor named Mrs. Wilkinson, who after recognizing Billy’s extraordinary potential, inspires him to pursue an audition with the Royale Ballet School of London.

Of course, when Dad and Tony discover that Billy is actually learning the traditionally female-dominated skill of dance, they loudly disapprove and put it to a screeching hault. As the story moves into Act II, Dad and the rest of the mining community slowly shift their support behind Billy, realizing that his talent for dance may be a golden ticket to a better life, one that none of them ever had the opportunity to live.  The main characters of Dad (Rich Hebert), Tony (Cullen R. Titmas), and Grandma (Cynthia Darlow) are wonderfully performed. Each actor has a long extensive list of Broadway show credits to his or her name. But the real scene stealers are Billy (played by Kylend Hetherington at my performance–but rotated among several child actors) and Mrs. Wilkinson (Leak Hocking–who was in the OBC of Billy Elliot). Both actors are tremendous. Hocking brings her character to life; and Hetherington not only demonstrates his extraordinary skill in dancing, but his ability to sing and tear at the audience’s heart strings. “Dear Billy (Mum’s Letter)” had everyone around me in the theater crying; and the dream sequence in Act II featuring Billy and his envisioned older self is breathtaking.

The entire show is inspirational, uplifting, and thought-provoking. It has a lot of highs and a lot of lows. And although it’s almost three hours in length, it keeps a fast pace without one boring lull.  The cast is full of child actors, each of which is fantastic. Billy’s best friend Michael is wonderfully played by Cameron Clifford. His character is an interesting one that somewhat perplexed me. He has a taste for female clothing and has a feminine personality, which is somewhat of a distraction in several scenes that attempt to depict ballet dancing as a sport fitting for men rather than an emasculating art. While he provided some great opportunities for comic relief, his character may have been a bit too stereotypical for my liking. Nonetheless, by the end of the show, your heart melts for him. The sets of the show are also incredible! Many set changes take place within the set itself as drawer-like contraptions expand and shrink settings and scenes. And a stage that is at once completely full of scenery, props, and sets quickly becomes one of a barren dance floor, punctuated by lights and shadows that are brilliantly manipulated to illustrate a scene.

While I wouldn’t say the music of the show is its best quality, it isn’t bad either. Some of the numbers like “We’d Go Dancing” and “Angry Dance” provide an excellent sense of emotion that is humorous and sweet in the former and angry and relentless in the latter. Overall, this show was fantastic. The acting, dancing, technical aspects, and overall production make this show one that is worth seeing. If you aren’t moved by the touching and beautiful message of Billy Elliot, then it’s time to have a little introspection. Because this is one amazing musical that will make  you shed a tear or two,  crack a smile, and triumphantly cheer! It’s one of those rare shows that will enlighten your mind and lift your spirit. It’s sad the show didn’t have a longer life on Broadway. But luckily for us, it’s here in Orlando this week and it shouldn’t be missed. Billy Elliot The Musical plays through Sunday at Orlando’s Bob Carr Center for the Performing Arts.