Once Upon Another Time

Love Never Dies – Broadway in Chicago

 

Can’t beautiful, inspiring works of art exist by themselves without trying to cash in on their popularity with a sequel? Sometimes sequels work and are masterful, in their own right; at other times they’re simply miserable failures. Followups that’ve succeeded primarily include brilliant films, like

“The Godfather 2” or “Toy Story 2,” and written works, such as the young adult novel series, include the Harry Potter novels, Twilight and The Hunger Games. But on Broadway…not so much. We recall such dismal failures as “Divorce Me Darling,” “Best Little Whorehouse Goes Public,” “Annie II” or “Bring Back Birdie.” But what to make of Andrew Lloyd Webber’s own sequel to the musical that practically made his name a household word?

“The Phantom of the Opera” is one of the most successful shows in theatrical history. It ranks up there with “Les Miserables,” “The Lion King” and “Wicked.” But those musicals exist and are successful on their own. Their composers and book writers have seen no need to write a second chapter to these stirring dramatic stories. Andrew Lloyd Webber’s “Phantom” is still playing on Broadway after 30 years and it continues to tour the world, entertaining old fans and new audiences everywhere. But in 1990, even before the

overwhelming popularity of his original musical that was based upon the Gaston Laroux novel, Webber started thinking about writing a sequel.

The followup to “The Phantom of the Opera” went through a great many changes, edits and even different titles. Eventually Ben Elton, Webber’s librettist for his soccer musical, “The Beautiful Game,” based this present-day version upon Frederick Forsyth’s novel, The Phantom of Manhattan. Music was composed again by Webber with lyrics by Glenn Slater (“School of Rock”). The plan was to open this production simultaneously in New York, London and Shanghai, but only the British production saw the light. It was poorly received and closed for more revisions. When it reopened in London it was more kindly reviewed, but it closed within the year. In 2011 a newly rescripted, less spectacular production opened in Australia, which was recorded for DVD sales and even played limited engagements in movie theatres. To date, there are no plans to open this musical on Broadway, although it’s still in the back of the minds of the show’s producers. This North American National Tour, which began in the Autumn of 2017, is much like the Australian production in its story, score and scope.

The plot of Lloyd Webber’s musical continuation of his Phantom story isn’t its strength. It must be noted that the composer maintains that this musical is not a sequel, but a story than stands on its own. Webber’s gorgeous score, richly sung by a gifted cast of artists, with eye-popping scenic design and splendid turn-of-the-century costumes by Gabriela Tylesova, and brilliant lighting by Nick Schlieper, is what enchants the audience. The dark, melodramatic story manages to hold our interest, but it’s far more contrived tale than the original.

It’s now ten years after the finale of “Phantom of the Opera.” Following an opulent overture, the audience discovers a man in a mask composing music at an organ, pining for the love of his life, a woman he’ll never possess. Or will he? The opening number, “’Til I Hear You Sing,” at first begins softly and slowly, but builds to a chill-producing finish, and offers some hope for an interesting new story.

We’re then suddenly transported to the brightly garish Phantasma, an amusement park and music hall theatre in New York’s Coney Island. We meet the stars of a freak show that features all kinds of strange characters, introduced by the eerie and menacing trio of Dr. Gangle, Mr. Squelch and the diminutive Miss Fleck (played by excellent performers Stephen Petrovich, Richard Koons and Katrina Kemp). We also learn that the Paris Opera House’s former ballet mistress, Madame Giry, and her ballerina daughter, Meg, have secretly transported the Phantom to America. There he owns and manages the amusement park and burlesque theatre where Meg Giry is employed as a dancer. Both mother and daughter have worked long and hard for the Phantom, now known as the tycoon called Mister Y, in the hopes of earning his approval and star status.

Under the pretense of being hired to sing for the famous American composer, Oscar Hammerstein, Christine Daae, her alcoholic, gambling-addicted husband, Raoul, and their musically gifted little boy, Gustave, are all lured to New York City. When Raoul discovers that the Phantom is behind this adventure, and Madame Giry learns that he’s secretly hired Christine to sing at his theatre in the star spotlight, coveted by Meg Giry, jealousy and revenge rear their ugly heads. The plot soon thins out afterwards, with a prolonged tragic climax that completes the evening.

There are holes in the plot, during which the audience must suspend their belief. There’s also a number of strange, disturbing events and character quirks we’re asked to accept since the last time we encountered these familiar characters. Most disturbing to faithful fans of the original bittersweet love triangle, is that Raoul has become a thoroughly bitter, despicable fellow. And, if that weren’t enough, we find out that Gustave is the son of the Phantom, implying that he and Christine had intimate relations at some point during the original story. The vindictiveness of Madame Giry and her daughter are like something out of “Medea;” and the whole story turns into a musical soap opera.

That’s not to say that this magnificent cast, under the tight leadership and guidance of Australian director Simon Phillips (“Priscilla, Queen of the Desert”), and choreographed by fellow Aussie, Graeme Murphy, isn’t brilliant. Certainly the storyline stretches the limits of believability and our trust in these characters we’ve come to love. But the performances are all top-notch. Beautiful Meghan Picerno, a local girl who has deservedly made it big in the opera world, is stunning as Christine. Her crystal clear voice shows remarkable range and emotion that’s accented by her lovely countenance. Only listen to Ms. Picerno’s gorgeous “Love Never Dies,” or her lush, romantic duets, “Beneath a Moonless Sky” and “Once Upon Another Time,” and you’ll know you’re in the presence of musical genius. Once again the pawn between two forces, Ms. Picerno is at once vulnerable, yet demonstrates the strength that we came to love in the Christine of the original musical. She’s a truly transcendent artist and will be eagerly awaited as the star of more musical productions.

Gardar Thor Cortes, who created the role of the Phantom in the original German cast, makes his US debut in this role. He has the voice of a god and his high notes simply soar into the stratosphere. Not too surprising, since Cortes has many operatic roles to his credit, in addition to a number of international musical theatre roles, including “The Phantom of the Opera.” Mr. Cortes is as impressive and commanding in this leading role as anyone could ever imagine.

Supporting these two incredible musical artists is Broadway musical actor/singer Sean Thompson, as Raoul. His character is well-thought and nicely portrayed, as are his musical moments. Mr. Thompson adds his voice to “What a Dreadful Town!” as well as the quartet, “Devil Take the Hindmost” and the melancholy “Why Does She Love Me?” Another supporting actor is Chicagoan, Karen Mason, who’s known on Broadway for her roles in “Wonderland,” “Hairspray” and “Sunset Boulevard.” She’s also a top recording artist, as well as a star of the cabaret theatre world. Here Ms. Mason portrays Madame Giry with the verve and vindictiveness of Cinderella’s Stepmother. Clad in black with her dark hair in an ironic halo atop her head, Karen Mason plays this viciously protective mother with vitriol and venom. And as Meg Giry, the shy little ballerina friend of Christine’s from days gone by, Mary Michael Patterson is excellent. With Broadway credits, such as Christine Daae in “The Phantom of the Opera,” as well as having appeared in the leading role of “Singing in the Rain” at Chicagoland’s Marriott Theatre, Ms. Patterson wows as the flirtatious It Girl, singing and dancing in “Bathing Beauty” and “Streets of Coney Island.”

The true discovery of the evening is young Casey Lyons, as Gustave (who alternates in the role with Jake Heston Miller). Master Lyons is another Windy City talent, with prior notable appearances as Michael Banks, in Mercury Theater’s “Mary Poppins,” and as Harold Baxter in Drury Lane’s “Hazel: A Musical Maid in America.” Here he dazzles with his lovely, clear, boy soprano, blending his voice with other castmates in “Mother, Please, I’m Scared,” “The Beauty Underneath” and “Streets of Coney Island.” This little boy has a big career ahead of him in this pivotal role.

It’s debatable whether this musical should be considered a sequel to “Phantom of the Opera.” For those few who haven’t seen the original musical, this show can be enjoyed on its

own merits, as well. But while “Phantom…” featured a villainous, masked maestro, who was prepared to kill in order to further the career of the lady he worships, this musical is more about an entrepreneur who lures his lost love to distant shores with the promise of paying off her husband’s debts. Audiences probably won’t have the same emotional connection to these characters, except in the parent/child relationships. The show lacks too much dramatic stress within the storyline. Christine learns who her employer really is and then simply has to decide whether to sing or not. We know from the start, since “Love Never Dies,” exactly how this is all going to play out. There’s also no real tension in how Raoul will respond, in what 11th hour revenge will be exacted by Meg Giry or who is Gustave’s real father.

In this production it’s Webber’s score that’s the true star of the show, along with the degree of finesse with which this talented cast, masterfully backed by Dale Rieling’s brilliant, full orchestra, conveys that music. Sadly, by the end, audiences may have forgetten the details of this trite story because Andrew Lloyd Webber’s lavish and alluring score doesn’t match Ben Elton’s forgettable libretto. But, then, that’s “Once Upon Another Time,” isn’t it?

Recommended

Reviewed by Colin Douglas

 

Presented February 15-March 4 by Broadway in Chicago at the Cadillac Palace Theatre, 151 N. Randolph St., Chicago.

Tickets are available at all BIC box offices, at all Ticketmaster retail locations, by calling the Broadway in Chicago Ticket Line at 800-775-2000 or by going to www.BroadwayInChicago.com

Additional information about this and other area productions can be found at www.theatreinchicago.com