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| Love Never Dies Announces North American Tour Dates for 2018-19 Season and Casting | |
| Posted by: Official_Press_Release 05:46 pm EDT 06/19/18 | |
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| Andrew Lloyd Webber’s LOVE NEVER DIES ANNOUNCES COMPLETE SCHEDULE FOR 2018-2019 NORTH AMERICAN TOURING SEASON NOW STARRING BRONSON NORRIS MURPHY IN THE ROLE OF “THE PHANTOM” Music Andrew Lloyd Webber Lyrics Glenn Slater Book Ben Elton Based on The Phantom of Manhattan by Frederick Forsyth Additional Lyrics Charles Hart Orchestrations David Cullen & Andrew Lloyd Webber Complete 2018-2019 schedule has been announced for the North American tour of Andrew Lloyd Webber’s Love Never Dies, the spellbinding sequel to The Phantom of the Opera. The tour launched in Fall 2018, and continues this week in Nashville, TN at TPAC June 19-24, followed by the Orpheum Theater in Minneapolis, MN next week, June 26-July 1. A complete touring schedule is below. Starring as the man behind the mask is Bronson Norris Murphy as ‘The Phantom,’ with Meghan Picerno as ‘Christine Daaé.’ The Journal-Enquirer cheers the two leads, “Murphy and Picerno are mind-blowing vocalists.” The Fort Myers News-Press said of Murphy, “[his] nuanced performance brought tears to my eyes.” “In the role of Christine, Meghan Picerno offers persuasive acting and a voice well above the usual musical theater level in total sheen and technical finesse. Her eloquent singing of the title song is a major highlight,” hailed the Baltimore Sun. Rounding out the cast are Karen Mason as ‘Madame Giry,’ Sean Thompson as ‘Raoul, Vicomte de Chagny’ Mary Michael Patterson as ‘Meg Giry,’ and Christian Harmston and Jake Heston Miller sharing the role of ‘Gustave.’ The trio of Phantom’s henchmen are played by Katrina Kemp as ‘Fleck,’ Richard Koons as ‘Squelch’ and Stephen Petrovich as ‘Gangle.’ At certain performances, the role of ‘Christine Daaé’ will be played by Rachel Anne Moore. The ensemble includes Chelsey Arce, Erin Chupinsky, Diana DiMarzio, Tyler Donahue, Yesy Garcia, Alyssa Giannetti, Michael Gillis, Tamar Greene, Natalia Lepore Hagan, Lauren Lukacek, Alyssa McAnany, Dave Schoonover, Adam Soniak, John Swapshire IV, Kelly Swint, Lucas Thompson, Correy West and Arthur Wise. Hear from the creative team about this new touring production: https://www.youtube.com/watch?v=05ih89PJV-g Directed by Simon Phillips (Priscilla Queen of the Desert The Musical) with new set and costume designs by Gabriela Tylesova, choreography by 2011 Astaire Awards winner Graeme Murphy, lighting design by Nick Schlieper and sound design by Mick Potter, the show is one of the few instances of a major West End musical being given a complete makeover for subsequent productions. Lloyd Webber said he knew about five minutes into seeing its first run-through that he and the new production team had achieved something special. “I have the great joy of being able to say that I think this production is probably the finest one I could ever, ever hope for.” The year is 1907. It is 10 years after his disappearance from the Paris Opera House and The Phantom has escaped to a new life in New York where he lives amongst the screaming joy rides and freak shows of Coney Island. In this new, electrically charged world, he has finally found a place for his music to soar, but he has never stopped yearning for his one true love and musical protégée, Christine Daaé. Now one of the world’s finest sopranos, Christine accepts an invitation to travel from Paris to New York to perform at a renowned opera house. Christine's marriage to Raoul is suffering at the hands of his drinking and gambling and they desperately need the financial rewards that America can give them. In a final bid to win back Christine’s love, The Phantom lures her, Raoul, and their young son Gustave, from Manhattan to the glittering and glorious world of Coney Island - not knowing what is in store for them. Since its premiere in 2010, Love Never Dies has enjoyed productions worldwide in London, Australia, Denmark, Japan and Germany, as well as multiple recordings including a concept album and a London cast recording. A DVD release of the Australian production has delighted fans globally, and now the North American tour brings the musical to the US for the first time. For more information, please visit www.loveneverdies.com. ACCLAIM FOR LOVE NEVER DIES “Lively, lavish Love Never Dies works like a precision timepiece. It outdoes its predecessor in stage spectacle.” – John Monaghan, Detroit Free Press “This musical has characters we know, lavish orchestrations, obsessive love, spot-on performances and some of the most glorious costumes and sets ever to hit a stage.” – Deborah Wilker, Hollywood Reporter “Grandiose and grotesque, lush and lurid, strange and familiar, Love Never Dies lets its phantasmic freak flag fly.” – Christopher Anrott, Hartford Courant “These soaring Lloyd Webber songs envelop you in a sea of melody” – Michael Riedel, New York Post REMAINING 2017-2018 TOUR DATES Nashville, TN – TPAC – June 19-24, 2018 Minneapolis, MN – Orpheum Theatre – June 26-July 1, 2018 Houston, TX – Hobby Center – July 17-22, 2018 Dallas, TX – Music Hall – July 23-August 5, 2018 Ft. Worth, TX – Bass Performance Hall – August 7-12, 2018 Kansas City, MO – Starlight Theatre – August 14-19, 2018 2018-2019 TOUR DATES Memphis, TN – Orpheum Theatre – September 4-9, 2018 Charlotte, NC – Belk Theater – September 11-16, 2018 St. Louis, MO – Fox Theatre – September 18-30, 2018 Philadelphia, PA – Academy of Music – October 2-7, 2018 East Lansing, MI – Wharton Center – October 9-14, 2018 Des Moines, IA – Civic Center – October 16-21, 2018 Denver, CO – Buell Theatre – October 23-28, 2018 Tulsa, OK – Tulsa Performing Arts Center – October 30-November 4, 2018 Oklahoma City, OK – Civic Center Music Hall – November 13-18, 2018 Little Rock, AR – Robinson Center Music Hall – November 20-25, 2018 Austin, TX – Bass Hall – November 27-December 2, 2018 Additional engagements to be announced |
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| re: Love Never Dies Announces North American Tour Dates for 2018-19 Season and Casting | |
| Posted by: MikeP (ACL15@aol.com) 04:47 pm EDT 06/20/18 | |
| In reply to: Love Never Dies Announces North American Tour Dates for 2018-19 Season and Casting - Official_Press_Release 05:46 pm EDT 06/19/18 | |
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| In response to the posters below....I haven't seen Flashdance but I did see LND, Dirty Dancing and The Bodyguard. I cant even describe the mess that is Dirty Dancing other than to say 2 hours of my life I'll never get back. Both DD and Bodyguard are commercialized excuses to leverage a know brand with little or no interest in the quality of the production. Its just plain blatant rip off aimed at an audience that probably isn't comprised of Broadway regulars or the readers of this board. LND does attempt to produce a quality, original event. Not unlike Phantom, you need to suspend any hope of reality or a book that consistently makes sense (the book of LND is only a bit more ludicrous than Phantom). It too leverages its brand but in a different way. It attempts to do something new rather than mimeograph a watered down version of the original. I enjoyed LND. Some of the music is really gorgeous. Not in the Andrew Lloyd Webber "ear worm" way. But actually beautiful music and lyrics. The score moves the story and the production (especially for a road company) is spectacular. IIRC, the London version of LND was actually praised for its score. The critics killed the book and the direction. This version follows the rewritten production that started in Australia. Does it deserve a shot at Broadway? Probably yes and no less than some of the crap that's playing now. Would it succeed on Broadway, probably not. ALW could cure cancer, homelessness and world hunger. The NY critics will still crucify him. I would imagine that the biggest deterrent to a NY run is that it would probably cost a mint. I doubt that even ALW wants to throw money on an almost guaranteed loss. |
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| re: Producers should possibly take note ... | |
| Posted by: NewtonUK 03:43 am EDT 06/20/18 | |
| In reply to: Love Never Dies Announces North American Tour Dates for 2018-19 Season and Casting - Official_Press_Release 05:46 pm EDT 06/19/18 | |
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| ... this may be the better Mousetrap. LND will never be a very good piece, but it is obviously doing well on the road. Other than ego, there is no reason to come to Broadway. There is equal argument to be made that projects like SPONGEBOB SQUARE PANTS and MARGARITAVILLE should have gone the same route. They don't really ever have to play Broadway. The shows could have been created out of town for the road only - likely at not more than 70% of the money they spent getting it up on Broadway. And mint money weekly on shows with strong titles for the road. You can't say 'direct from Broadway' - but I dont believe that teh family audience (or the Jimmy Buffet audience) give a flying fig about that! | |
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| re: Producers should possibly take note ... | |
| Posted by: EvFoDr 07:06 am EDT 06/20/18 | |
| In reply to: re: Producers should possibly take note ... - NewtonUK 03:43 am EDT 06/20/18 | |
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| And they HAVE taken note, or more like the producers of LND have take note of what's come before it. Flashdance, Dirty Dancing, The Bodyguard, to name three :-) | |
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| re: Producers should possibly take note ... | |
| Posted by: ryhog 08:52 am EDT 06/20/18 | |
| In reply to: re: Producers should possibly take note ... - EvFoDr 07:06 am EDT 06/20/18 | |
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| All 4 of these shows had a significant international provenance before touring America. Does that distinguish them from shows that had only pre-Broadway tryouts in the US? Not clear to me. I do think, however, that circumnavigating Broadway (note that most of these latter shows had intended otherwise when announced) as a strategy cannot necessarily support the weight assigned to it. It remains the case that there are no rules (see, e.g., Summer), and also that each show is different. Yes there are cases where a producer would be well served by not treating Broadway as the sine qua non of succeeding, Skipping Broadway will not make a silk purse out of a sow's ear. Finally, it is naive to think that some shows would skip Broadway for one reason or another, and the two mentioned (SBSP and Margaritaville) fall in this category, for different reasons. | |
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| re: Producers should possibly take note ... | |
| Last Edit: EvFoDr 10:52 am EDT 06/20/18 | |
| Posted by: EvFoDr 10:48 am EDT 06/20/18 | |
| In reply to: re: Producers should possibly take note ... - ryhog 08:52 am EDT 06/20/18 | |
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| I agree, I am highly suspect of the idea that a show would intentionally, from the start, have a plan to skip Broadway. Each show is a living thing with plenty of context. In the case of Love Never Dies, it seems very smart after terrible reviews in London, and a cancelled Broadway engagement, and a revamped international production that was better received than what came before it, to just skip NYC and head for the road. Nothing is ever 100%, but pretty darn close to 100% that this show would be eviscerated by New York critics, both on its own merits/flaws and the general whipping boy status of Andrew Lloyd Webber. I think Flashdance and Dirty Dancing followed a similar trajectory. These were not shows that were going to be heralded artistically, NY critics were bound to be snooty with them, but they were doing business on the road so they just kept them out there. These three shows also come with VERY recognizable branding. Phantom is...Phantom. And the other two have source material that features singing and dancing and seem an obvious leap for theatrical treatment. I think shows like Margaritaville and SBSP needed to go after the Broadway and press/awards machine to establish themselves. I doubt they would have sold well as tour only properties. | |
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| re: Producers should possibly take note ... | |
| Posted by: ryhog 11:11 am EDT 06/20/18 | |
| In reply to: re: Producers should possibly take note ... - EvFoDr 10:48 am EDT 06/20/18 | |
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| to add: these last two are mega brands, and in both cases what they were buying was exposure in the largest media market in the world. Neither of these shows was about recouping per se and, although it didn't work out that way, Buffett wanting to bask in that, something that he was not going to do in the tour stops for Love Never Dies. | |
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