Review: Performances soar, designs dazzle in “Love Never Dies”

Sequels are impossibly hard, particularly when the original is exceptional. Expectations are high, comparisons are inevitable. Pair that precedent with the task of following up the longest-running show in Broadway history and one of the most beloved musicals of the last 30 years, and it can seem insurmountable. Yet if anyone is poised to attempt it, Andrew Lloyd Webber is one such maestro.

“Love Never Dies,” the sequel to the iconic “The Phantom of the Opera,” brings back those familiar characters, melodies, and passionate tensions in a splashy fashion. Sure, Webber has a flair for the dramatic. But as the mastermind behind “Jesus Christ Superstar,” “Cats,” “Evita,” and recent Wharton Center season opener “School of Rock,” it’s tough to fault him for wanting to tell more of this seminal story. 

Appearing at the Wharton Center through October 14, 2018, “Love Never Dies” gives another long-awaited taste to Phantom fans who can’t get enough of the theatrics. And for those who haven’t seen “The Phantom of the Opera,” the impeccable vocals, dazzling set design, and vibrant costumes are certain to lure them in.

It is 10 years after the events of the original musical, and The Phantom has built a new world of fantasy across the pond at New York’s Coney Island. He is accompanied by Madame Giry and her daughter Meg, who is working to step out of the chorus and become a headliner in Phantasma, a Cirque du Soleil-like showcase for vaudeville acts. A home for the outsiders.

When news spreads that none other than Christine Daaé is set to make her American debut in the opening of a new Manhattan opera house, The Phantom seizes the opportunity to be reunited with his Angel of Music. In tow are Christine’s husband Raoul, the once-strapping Vicomte de Chagny now drowning in gambling debts, and her son Gustave.

Secrets are revealed, passions are reignited, and gauntlets are thrown as these characters are brought back together in dizzying fashion — it’s a less than idyllic reunion for most.

Bronson Norris Murphy (“The Phantom”) stars in Love Never Dies. Photo: Joan Marcus.

When The Phantom appears from the shadows at his organ in the show’s opening moments, Bronson Norris Murphy immediately captures the angst and vibrato of his iconic character. His rich voice, equal parts powerful and delicate, is everything one would want and expect from The Phantom. From the Prologue’s “‘Til I Hear You Sing” to “Once Upon Another Time,” Murphy proves himself to be deserving of premiering the role in the North American tour. Read my interview with Bronson Norris Murphy to learn more about his experiences with the production.

As Christine Daaé in Tuesday night’s performance, Rachel Anne Moore elegantly encompasses the qualities of the angelic soprano. In “The Phantom of the Opera,” Christine is young, timid, and afraid. Now, 10 years later, she has matured, bearing the burden of a struggling marriage, the haunting memories of The Phantom, and her role as a mother. Moore showcased her stunning voice in the show’s title song, “Love Never Dies,” while enveloped in vibrant peacock feathers.

Meghan Picerno (“Christine Daaé”) stars in Love Never Dies. Photo: Joan Marcus.

Christine’s son Gustave, performed by a fantastic Jake Heston Miller on Tuesday night, shares a special connection with his mother and her musicality. Miller reminded me of Kurt from “The Sound of Music,” and his sweet and crystalline voice pierced through the theatre. Act I’s “The Beauty Underneath” was a standout song for Murphy and Miller.

Fans of the original musical will enjoy hearing familiar melodies woven into the score; there are nods to “Prima Donna” and “I Remember/Stranger Than You Dreamt It,” which help to further link the two musicals together. And as Christine, Raoul, Madame Giry, and Meg are reunited in “Dear Old Friend,” the layered singing and strokes of humor are reminiscent of “Notes.” With all of the darkness and dramatics, this scene brought some much-welcomed levity.

“Dear Old Friend” – Mary Michael Patterson (“Meg Giry”), Meghan Picerno (“Christine Daaé”), Karen Mason (“Madame Giry”) and Sean Thompson (“Raoul, Vicomte de Chagny”) star in Love Never Dies. Photo: Joan Marcus.

As a headliner in Phantasma, Mary Michael Patterson’s Meg Giry also brings some lightness to “Love Never Dies.” In “Only for You” and “Bathing Beauty,” Patterson has a Miss Adelaide, spunky quality on stage. Without revealing too much, we also learn she has her own dark side.

“Only For You” – Mary Michael Patterson (“Meg Giry”) and the Ensemble of Love Never Dies. Photo: Joan Marcus.

I also enjoyed Katrina Kemp, Stephen Petrovich, and Richard Koons as Fleck, Gangle, and Squelch, a trio of Phantasma performers and hosts. They along with the other Phantasma performers were straight out of a circus designed by Tim Burton, helping to create and flesh out this world of the odd and extraordinary.

Katrina Kemp (“Fleck”), Stephen Petrovich (“Gangle”) and Richard Koons (“Squelch”), star in Love Never Dies. Photo: Joan Marcus.

The set and costume design by Gabriela Tylesova are vibrant and beautifully executed. From the twisting Coney Island roller coaster track to the white Phantom mask framing the stage of Phantasma, the sets are grittier and more technicolor than the French elegance of the opera house in “The Phantom of the Opera.” Rotating set pieces transformed the stage from a hotel room into a balcony, a bar into a dressing room, in seamless transitions.

“The Coney Island Waltz” featuring Richard Koons (“Squelch”), Katrina Kemp (“Fleck”), Stephen Petrovich (“Gangle”) and the Ensemble of Love Never Dies. Photo: Joan Marcus.

In the last year, my admiration for Andrew Lloyd Webber’s work was reignited with the televised performance of “Jesus Christ Superstar” and the East Lansing tour stop of “School of Rock” at Wharton Center. In “Love Never Dies,” it’s apparent there were more beautiful songs in Webber’s head, aching to get out.

Still, at times the story feels too “out there,” and at other times problematic — in the #MeToo era, watching Raoul and The Phantom continue to duel over who gets possession of Christine is icky. Why choose between these guys when she could ride off into the sunset with her soprano voice and sweet Gustave?

In reflecting on the show, I realize that those apprehensions and modern-day expectations need to be checked at the door. The ride is much more enjoyable when you let the music of the night wash over you, and accept you are entering a labyrinth of fantasy. There will be drama, and there will be passion.

For me and my sister in law Morgan, two life-long phanatics, “Love Never Dies” was an opportunity to revisit this fantasy world. And after Tuesday night, The Phantom has left us entranced once again.

 


Click here for tickets and information about “Love Never Dies,” now at the Wharton Center through October 14, 2018.

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