History YMMV / TanzderVampire

** Does Sarah really know what she is doing all along? Is she in love with Krolock? Is she just some BitchInSheep'sClothing trying to get what she wants by manipulating Alfred and Krolock? Or does she coax herself in the belief that Krolock is just some twisted prince charming with whom she's infatuated and who can grant her freedom, to discover, in the end, that he just manipulated her all along?

* HollywoodHomely: ''Only'' in Poland, but still. [[http://i887.photobucket.com/albums/ac78/megantanz/Polish%20Design%20Scheme/2.jpg Polish!Rebecca]] simply looked like an older, much heavier version of Sarah, wavy brown hair and all, making it extremely easy to imagine her having been a beautiful young woman years ago who just aged through a difficult life.

** Does Sarah really know what she is doing all along? Is she in love with Krolock? Is she just some BitchInSheepClothing trying to get what she wants by manipulating Alfred and Krolock? Or does she coax herself in the belief that Krolock is just some twisted prince charming with whom she's infatuated and who can grant her freedom, to discover, in the end, that he just manipulated her all along?

** Alfred:

** Reverse example: Most people in German-speaking countries know the ''Tanz'' finale as, well, the ''Tanz'' finale, without realizing its basis in ''StreetsOfFire'' and "Tonight Is What It Means To Be Young".

** Some german actors also play this kind of tension between Count von Krolock and Alfred in "Vor dem Schloß".

** There's often a male vampire in the ensemble that Herbert seems to be interested in during "Tanzsaal". In the Russian version this is {{King Ludwig II}}.

** Does Sarah really know what she is doing all along? Is she in love with Krolock? Is she just some ManipulativeBitch trying to get what she wants by using Alfred and Krolock? Or does she coax herself in the belief that Krolock is just some twisted prince charming with whom she's infatuated and who can grant her freedom, to discover, in the end, that he just manipulated her all along?

** Does Sarah really know what she is doing all along? Is she in love with Krolock? Or does she coax herself in the belief that Krolock is just some twisted prince charming with whom she's infatuated and who can grant her freedom, to discover, in the end, that he just manipulated her all along?

* UnfortunateImplications:
** The last we see of Magda as a human is her being held to a table and screaming and trying to get away while Chagal bites her and kills her. In her next appearance, she's lost all traces of modesty and appears to be fine with sleeping with him, though she still seems to personally dislike him. The resulting effect is that her transformation -- essentially being raped- has made her loose and no longer caring if he has his way with her.
** Also, Herbert's... amorousness, depending on the performance. He's at least scripted to be basically just a lovestruck fanboy. Anything more aggressive (or more [[TheWoobie woobielicious]]) is up to the actor.

** There's often a male vampire in the ensemble that Herbert seems to be interested in during "Tanzsaal". In the Russian version this is King Ludwig II.

** In the dancing szene in "Carpe Noctem", things happen between the white vampire (Alfred's symbolic stand-in) and the black vampire.

* BigLippedAlligatorMoment: So, the whole musical's in German/Hungarian/Dutch/Estonian/Japanese. You're listening to the finale, when all of a sudden, the vampires start singing in English. Before you can realize that no, you're not just hearing things, they've gone back to German/original language. It never happens again, and is given no explanation. Apparently, the lyrics were kept in because Steinman's original English demos were too [[SoBadItsGood good]] to not keep at least some of them in.
** The Polish production didn't feature the English lines there, and while Japan left them out of that part, it did have some GratuitousEnglish in other places.
* CoveredUp: An English-language version of ''Carpe Noctem'', titled ''Seize the Night'', was recorded by MeatLoaf in 2006.

* CrowningMusicOfAwesome: "Carpe Noctem", "Der Tanz der Vampire".
* EarWorm: "Dies irae Kyrie, libera me domine. Dies irae Kyrie, requiem da domine..."
* EnsembleDarkhorse: Herbert
* EnsembleDarkhorse: A textbook example. He has ''one line'' in the first act, shows up for one scene and song in the second, and only appears in the ensemble for the rest of the show. He is not all that important to the plot, but even the press release for the Vienna revival calls him the show's most popular character. This also qualifies him as a OneSceneWonder, as seen below.

* UnfortunateImplications: The last we see of Magda as a human is her being held to a table and screaming and trying to get away while Chagal bites her and kills her. In her next appearance, she's lost all traces of modesty and appears to be fine with sleeping with him, though she still seems to personally dislike him. The resulting effect is that her transformation- essentially being raped- has made her loose and no longer caring if he has his way with her.

* Severely dependent on the actor, but the musical depicts Herbert much more sympathetically than the movie, and certain actors have milked this for all it's worth, causing the audience to feel very sorry for him upon being rejected.

* CrowningMomentOfHeartwarming: "Fur Sarah".

* EnsembleDarkhorse: Herbert is not all that important to the plot, but even the press release for the Vienna revival calls him the show's most popular character.

* UglyCute: Some of the ensemble vampires verge on this, depending on the actors and more commonly with the women than the men.

* TheWoobie: Alfred. And with some actors, Herbert.

* BigLippedAlligatorMoment: So, the whole musical's in German/Hungarian/Dutch/Estonian/Japanese. You're listening to the finale, when all of a sudden, the vampires start singing in English. Before you can realize that no, you're not just hearing things, they've gone back to German/original language. It never happens again, and is given no explanation. Apparently, the lyrics were kept in because Steinman's original English demo's were too [[SoBadItsGood good]] to not keep at least some of them in.

** As [[http://en.wikipedia.org/wiki/Tanz_der_Vampire#Songs the other wiki]] points out, about 70% of the musical score written by Jim Steinman was recycled from his earlier projects, mainly from his less-known shows written in the late Sixties and early Seventies before he abandoned theater to work with MeatLoaf. As the Loaf himself says in his autobiography of Jim's songwriting process for albums, "The way Jim works on an album is this: First he recycles stuff that's either been lying around or, often, songs he's used elsewhere in another form. [...] Steinman regurgitates the older material, then he writes three or four new songs, and that makes the album new. When he has the content down, then the album is ready to be recorded." That's pretty much what happened here. Steinman even speaks at the link provided of having written the score in a month, which would be near impossible for an established theater composer without recycling.

** "Die Unstillbare Gier" had a first life as "Objects in the Rear View Mirror May Appear Closer Than They Are" on Meat Loaf's ''Bat Out of Hell II''. Unlike the others, this isn't a complete lift - the two songs have different choruses and "Die Unstillbare Gier" is a verse shorter.

* BigLippedAlligatorMoment: So, the whole musical's in German/Hungarian/Dutch/Estonian/Japanese. You're listening to the finale, when all of a sudden, the vampires start singing in English. Before you can realize that no, you're not just hearing things, they've gone back to German/original language. It never happens again, and is given no explanation. Apparently, the lyrics were kept in because Steinman's original English demo's were too [[strike: bad]] [[SoBadItsGood good]] to not keep at least something of them in.

*** Same with "Totale Finsternis" as opposed to the original "Total Eclipse of the Heart". It helps that the ''friggin' vampire love duet'' makes more sense than, and is far less narmtacular than, the original Bonnie Tyler song.
**** And then there's the fact that "Die Unstillbare Gier" had a first life as "Objects in the Rear View Mirror May Appear Closer Than They Are" on Meat Loaf's ''Bat Out of Hell II''. Unlike the others, this isn't a complete lift - the two songs have different choruses and "Die Unstillbare Gier" is a verse shorter.
***** As [[http://en.wikipedia.org/wiki/Tanz_der_Vampire#Songs the other wiki]] points out, about 70% of the musical score written by Jim Steinman was recycled from his earlier projects, mainly from his less-known shows written in the late Sixties and early Seventies before he abandoned theater to work with MeatLoaf. As the Loaf himself says in his autobiography of Jim's songwriting process for albums, "The way Jim works on an album is this: First he recycles stuff that's either been lying around or, often, songs he's used elsewhere in another form. [...] Steinman regurgitates the older material, then he writes three or four new songs, and that makes the album new. When he has the content down, then the album is ready to be recorded." That's pretty much what happened here. Steinman even speaks at the link provided of having written the score in a month, which would be near impossible for an established theater composer without recycling.
* CrowningMomentOfFunny: "I'm a Jewish vampire!"
** Herbert and Alfred singing together in 'Wenn Liebe In Dir Ist'
** "Bücher, Bücher! Hunderttausend Bücher!" makes me giggle every time.
*** On the note of the previous one, half of Ambronsius' lines leave me giggling uncontrollably.
** In an incident during the Oberhausen performance of "Vor Dem Schlo?", a few girls screamed when they got frightened by some of the vampires. [[http://www.youtube.com/watch?v=ccML3aXfKBU&feature=related Just watch Von Krolock try to keep a straight face]].

* FanPreferredCouple: There aren't that many Alfred/Sarah shippers out there. Most fans seem to prefer Sarah with Krolock, and a strong number like to pair Alfred with Herbert.
** Plus anyone who's seen the film beforehand ships Krolock/Professor with renewed vigour, some fans going so far as to state that 'Gott ist tot' is aimed at the Professor not Sarah.
* TearJerker: Just ''try'' to not shed a tear during [[http://www.youtube.com/watch?v=Bjrjz2C2Ci0 "Say A Prayer" (3:00)]]. It doesn't help that the [[CrowningMusicOfAwesome music]] and [[SceneryPorn imagery]] are already beautiful enough to make you cry.

** Also, Herbert's... amorousness, depending on the performance.
*** To be fair, he's at least scripted to be basically just a lovestruck fanboy. Anything more aggressive (or more [[TheWoobie woobielicious]]) is up to the actor. Magda's transformation is hard to view as anything but sketchy, no matter who's playing her.

* FetishFuel: Herbert. Just... Him, please. (Don't forget Sarah. And, though to a lesser extent than his son, Graf von Krolock.)

* AdaptationDisplacement: The musical is ''a lot'' more famous than [[TheFearlessVampireKillers the original film]]. It's not uncommon to see people commenting on the Broadway version to say "this story could never work in English!", with resulting "*Cough* *cough* Ahem" responses from people who actually know the movie.

* LoveItOrHateIt: Oh yeah.

***** As [[http://en.wikipedia.org/wiki/Tanz_der_Vampire#Songs the other wiki]] points out, about 70% of the musical score written by Jim Steinman was recycled from his earlier projects, mainly from his less-known shows written in the late Sixties and early Seventies before he abandoned theater to work with MeatLoaf. As the Loaf himself says in his autobiography of Jim's songwriting process for albums, "The way Jim works on an album is this: First he recycles stuff that's either been lying around or, often, songs he's used elsewhere in another form. He re-records his songs with different people over the years until he finds the right place for it. [...] Steinman regurgitates the older material, then he writes three or four new songs, and that makes the album new. When he has the content down, then the album is ready to be recorded." That's pretty much what happened here. Steinman even speaks at the link provided of having written the score in a month, which would be near impossible for an established theater composer without recycling.

***** As [[http://en.wikipedia.org/wiki/Tanz_der_Vampire#Songs the other wiki]] points out, about 70% of the musical score written by Jim Steinman was recycled from his earlier projects, mainly from his less-known shows written in the late Sixties and early Seventies before he abandoned theater to work with MeatLoaf. As the Loaf himself says in his autobiography of Jim's songwriting process for albums, "The way Jim works on an album is this: First he recycles stuff that's either been lying around or, often, songs he's used elsewhere in another form. He re-records his songs with different people over the years until he finds the right place for it. [...] Steinman regurgitates the older material, then he writes three or four new songs, and that makes the album new. When he has the content down, then the album is ready to be recorded." That's pretty much what happened here.

***** As [[http://en.wikipedia.org/wiki/Tanz_der_Vampire#Songs the other wiki]] points out, about 70% of the musical score written by Jim Steinman was recycled from his earlier projects, mainly from his less-known shows written in the late Sixties and early Seventies before he abandoned theater to work with MeatLoaf. As the Loaf himself says in his autobiography of Jim's songwriting process for albums, "The way Jim works on an album is this: First he recycles stuff that's either been lying around or, often, songs he's used elsewhere in another form. He re-records his songs with different people over the years until he finds the right place for it. [...] Steinman regurgitates the older material, then he writes three or four new songs, and that makes the album new. When he has the content down, then the album is ready to be recorded."

**** And then there's the fact that "Die Unstillbare Gier" had a first life as "Objects in the Rear View Mirror May Appear Closer Than They Are" on Meat Loaf's ''Bat Out of Hell II''. Unlike the others, this isn't a complete lift- the two songs have different choruses and "Die Unstillbare Gier" is a verse shorter.