[[quoteright:300:http://static.tvtropes.org/pmwiki/pub/images/tanz-der-vampire-3.jpg]]

->''"Sei bereit!"''

''Tanz der Vampire'' is an Austrian musical with music by Music/JimSteinman and lyrics by Michael Kunze. It's TheMusical of ''Film/TheFearlessVampireKillers'', and has the same general story, but with several alterations. All in all, it's a decidedly more raucous, over-the-top experience than the movie, chock full of AlternateCharacterInterpretation.

The basic plot features TheHunter Professor Abronsius and his timid, feeble assistant Alfred arriving in a Transylvanian village straight out of HammerHorror. Alfred falls in love with the innkeeper's daughter Sarah, and she toys with him a bit before running off to the local castle instead. Of course, said local castle is infested with vampires, lead by Count von Krolock and his FlamboyantGay son Herbert (who has his own eye on Alfred), and Sarah prepares to become Krolock's new Queen of the Night at a lush vampire ball. Alfred, unaware that she's happier this way, valiantly tries to rescue her (when he's not [[ScreamsLikeALittleGirl screaming like a girl]]). Meanwhile, Sarah's father is turned into a vampire himself, and he goes on to turn Magda, the beautiful and chaste maidservant he's been lusting after for years, into his undead girlfriend.

There was a Broadway version called ''Dance of the Vampires'', but mentioning this is a good way to get hit in the face by fans of the European version. (Indeed, the American producers ''fired'' Jim Steinman from the project for protesting their ExecutiveMeddling.) In Europe this show is largely regarded as the exception to the idea that all VampireMusicals will fail, which otherwise applies as strongly as it does in America (Frank Wildhorn's ''Dracula'' tried to mimic the ''Tanz'' formula by having the score rewritten as a rock show and even casting perennial Krolock Thomas Borchert as Dracula. It lasted only a little longer than it did on Broadway).

'''Productions so far:'''
* Vienna, Austria, 1997: The original production, with the late Steve Barton as Graf von Krolock and Cornelia Zenz as Sarah. It won a few IMAGE Awards (the European equivalent to the Tonys), including Best Actor in a Musical (Steve Barton) and Best Supporting Actress in a Musical (Eva Maria Marold as Magda), and featured costumes by Sue Blane of ''TheRockyHorrorPictureShow'' fame.
* Stuttgart, Germany, 2000: Responsible for pretty much saving the theater that put it on. Originally starred Kevin Tarte as Krolock and Barbara Köhler as Sarah. Introduced a new song, "Stärker als wir sind", that replaced Sarah's dream ballet in the original production.
* Tallinn, Estonia, 2000 (''Vampiiride Tants''): A loosely staged concert version, with Jassi Zahharov as Krolock and a then-15-year-old Nele-Liis Vaiksoo as Sarah, in the role that launched her career.
* New York City, United States, 2002 (''Dance of the Vampires''): The only English-language production to date was a Broadway disaster, due in part to severe ExecutiveMeddling. It changed the story a lot and turned the humor from darkly funny to slapstick and unfunny (and added to the idea that VampireMusicals don't work on Broadway). Starred Michael Crawford as Krolock, Mandy Gonzalez as Sarah, and Rene Auberjonois as Professor Abronsius. Jim Steinman hates this version.
* Hamburg, Germany, 2003: Thomas Borchert as Graf von Krolock and Jessica Kessler as Sarah. Both of them are now strongly associated with these roles, Borchert to the point of being typecast (see listings below). The cast of the film version of ''TheLordOfTheRings'' stopped by in a highly publicized event while they were in town for the German premiere of one of the films in the trilogy, leading to [[CrowningMomentOfAwesome a picture of Borchert in full Krolock makeup and costume with Hammer Dracula Christopher Lee]].
* Warsaw, Poland, 2005 (''Taniec Wampirow''): Introduced new costumes, sets and orchestrations. Featured Lukasz Dziedzic as Graf von Krolock and Malwina Kusior as Sarah. Also starred a then-nineteen-year-old newcomer named Jakub Wocial as Herbert, who's now one of the biggest rising stars in European musical theater.
* Tokyo, Japan, 2006 (''Vampiru no Dansu''): Entirely reconfigured production (restoring Sarah's original dream ballet rather than "Stärker als wir sind," the only production to do so) with Japanese stage legend Yuichiro Yamiguchi as Graf von Krolock and Chichiro Otsuka and Tamaki Kenmoci alternating as Sarah.
* Berlin, Germany, 2006: Thomas Borchert as Graf von Krolock and Lucy Scherer as Sarah. Also notable for the casting of ''Deutschland sucht den Superstar'' (the German equivalent of ''Series/AmericanIdol'') winner Alexander Klaws as Alfred.
* Budapest, Hungary, 2007 (''Vámpírok Bálja''): New sets and costumes; still playing. Currently, the role of Krolock alternates between Géza Egyházi and Gábor Bot (and Bálint Merán), while Zsanett Andrádi, Lotty Kovács and Anna Török share the role of Sarah. Máté Kamarás, who understudied Herbert in the original Vienna production, has also alternated in the part in Budapest.
* 10th Anniversary Concert in Vienna, Austria, 2007: Thomas Borchert as Graf von Krolock and Marjan Shaki as Sarah. Minimal staging using the Polish costumes except for the finale.
* Oberhausen, Germany, 2008: Kevin Tarte and Jan Ammann alternate playing Graf von Krolock (Tarte's enthusiasm for the role makes it hard to understand why Borchert keeps getting it when he's tired of it). In the spirit of representing many international Tanz productions, Nele-Liis Vaiksoo reprises her career-making role as Sarah, while the alternate Magda and Alfred (Tímea Kecskés and Tibor Héger) hail from the Hungarian cast. Jakub Wocial appears as alternate Herbert.
* Tokyo, Japan, 2009: Summer revival featuring the original Japanese cast save for a few switchouts (Sylvia Grab replacing Yuko Miyamoto as Magda, for example).
* Vienna, Austria, 2009: Thomas Borchert as Graf von Krolock, with Marjan Shaki as Sarah, as well as original cast members Gernot Kranner and James Sbano as Abronsius and Chagal respectively and original Hamburg Magda Anna Thorén returning to the show as well.
* Stuttgart, Germany, 2010: Kevin Tarte and Jan Ammann alternate playing Graf von Krolock, with Lucy Scherer and Sabrina Auer alternating as Sarah. Linda Konrad returns from the Oberhausen production as Magda, joined by horny cohort Jerzy Jeszke, who has played Chagal in Hamburg, Berlin and Oberhausen. Overall, many of this production's cast have appeared in at least one production of the show ''somewhere'', which is fitting considering this production began as the result of winning a contest to determine what show would replace ''Wicked'' for six months till a new show takes the theater. The production transferred to Berlin in November 2011, with Drew Sarich taking over the role of von Krolock.
* Antwerp, Belgium, 2010 (''Dans der Vampieren''): Was briefly in the stage version of DevelopmentHell following a proposed winter 2009 opening. An official cast recording has been released.
* Seinäjoki, Finland, 2011 (''Vampyyrien Tanssi''): Premiered in September 2011. The script was translated by Marika Hakola, and the show will star Jyri Lahtinen as von Krolock, Raili Raitala as Sarah, and Ville Salonen as Alfred. The production's Facebook page can be found [[http://www.facebook.com/tdv.finland here]]. Someone seems to have decided to use the title ''Dance of the Vampires'' in the logo (according to fans connected to the show, English is more prevalent in advertising in Finland), but no worries, the production will be the European version.
* St.Petersburg, Russia, 2011 (''Бал вампиров'', ''Bal Vampirov'' for those used to Anglicized spelling): Premiered at the same time the Finnish production did, at the St. Petersburg State Theater of Musical Comedy. This production also [[http://www.facebook.com/ballofvampires has a Facebook page]]. Starring Ivan Oghozin as von Krolock, Elena Gazaeva as Sarah, and Georgy Novitsky as Alfred. Ivan Ozhogin later went on to play Von Krolock in the 2013 Berlin production.

The Oberhausen cast performed a multilingual version of the finale in 2008, giving hints that there may be Italian and Portuguese productions as well in the future. There have been talks afoot about a production in the UK, but producers are reportedly unwilling to touch it for the two-fold reason of a) the show's English title not being changed to something other than ''Dance of the Vampires'', and b) the show's unfortunate Broadway reputation under said title. Rumors of a new English version being in the works ultimately proved to be unfounded at the moment, but this does not preclude later plans.

Fan-projects are abundant with this musical right now. A LiveJournal user is translating the songs from the show into Spanish ([[http://www.youtube.com/watch?v=CHJV5O6YSog here]] is the Spanish version of "Totale Finsternis") and there are a few tracks existing from ''Dança dos Vampiros'', an amateur Portuguese performance put together by a group of fans. There are also a couple clips from a pre-actual-production Hungarian fan album floating about the Internet. Suggestions have been made for various translations or fan recordings, but nothing other than these have yet come out of it.

Now has a developing [[Characters/TanzDerVampire Character Sheet]].
----
!!The original and all other versions except the American include examples of:

* AbsentMindedProfessor: Abronsius, though to be fair, he's only really capable of being distracted by books.
* AdaptationDistillation: Regarded by many as being this to ''Film/TheFearlessVampireKillers''.
* AFeteWorseThanDeath: The Midnight Ball, if you happen to be a mortal, and thus on the menu.
* AllGirlsWantBadBoys: Sarah is a lot more interested in the Count than she is in Alfred, the quintessential DoggedNiceGuy.
* AllMusicalsAreAdaptations
%% The alternate character interpretation was clearly invoked by the authors, as described.
* AlternateCharacterInterpretation: [[invoked]] Compared to the original film's relentless, almost Satanic antagonist, Graf von Krolock in the musical is a noble, sad AntiHero who's compelled to destroy what he loves and longs for in spite of his own guilt over it. Sarah was TheIngenue in the film, but in TheMusical, she's an ambitious free spirit longing to be corrupted into something dark and powerful. Alfred's denseness is largely ignored here, replaced purely by timidness and extreme awkwardness, while Magda is developed into something of a {{Tsundere}}. Finally, while Herbert is purely a threatening, unsettling SissyVillain in the film, here he's actually in giddy, infatuated ''love'' with Alfred rather than looking only to bang him, and subsequent productions have grown fond of implying that they would make a better couple than Alfred and Sarah and raising a moment of sympathy for Herbert when he's spurned.
* AltumVidetur: The Latin chant in "Carpe Noctem" ("Seize The Night"), mixed with Greek, translates as follows:
-->''Day of anger, master / Free me, lord.''
-->''Day of anger, master / Grant me rest, lord.''
-->''All rejoice, master / The sacrificial lamb, lord.''
-->''Day of anger, master / Holy! Holy! Rejoice!''
* AndCallHimGeorge: The more innocent interpretation of Herbert tackling Alfred. Very much dependent on the actors involved.
* AndThenJohnWasAZombie: [[spoiler:And then Alfred was a vampire.]]
* AnyThingThatMoves: Herbert (in some interpretations).
* ArcWords: "Sei bereit!" ("Be prepared!") The vampire chorus sing it soft and low and eerily at many points throughout the musical. [[note]]Even funnier to '80s nostalgia freaks, because in the real English, it's "Turn around..."[[/note]]
* AudienceParticipation: The finale of the show is written with a breakdown and chant echoing Queen's "We Will Rock You", in which the audience is encouraged to join in. Also, Alfred attempts to hide from Herbert in the audience, and many vampires enter or exit that way (sometimes biting audience members in passing).
* BathKick: Sarah does this in Act II, when she shows Alfred the huge sponge the Graf gave her as a gift.
* BeethovenWasAnAlienSpy: While none of the vampires at the ball are named, and some are just in random period costumes, a number of them appear to be historical figures- among them in the German productions are [[http://i177.photobucket.com/albums/w218/MeganPhntmGrl/Tanz%20der%20Vampire/sina05.jpg Napoleon]] and Josephine, [[http://i177.photobucket.com/albums/w218/MeganPhntmGrl/Tanz%20der%20Vampire/szenenbilder_tanz_der_vampire-096.jpg Richard III]] and [[http://i177.photobucket.com/albums/w218/MeganPhntmGrl/Tanz%20der%20Vampire/szenenbilder_tanz_der_vampire-091.jpg his queen]], William Creator/WilliamShakespeare, [[http://i177.photobucket.com/albums/w218/MeganPhntmGrl/Tanz%20der%20Vampire/szenenbilder_tanz_der_vampire-100.jpg Queen Christina of Sweden]], [[http://i177.photobucket.com/albums/w218/MeganPhntmGrl/Tanz%20der%20Vampire/szenenbilder_tanz_der_vampire-089.jpg Louis XIV]] and [[http://i177.photobucket.com/albums/w218/MeganPhntmGrl/Tanz%20der%20Vampire/vamp5.jpg Elizabeth I]]. (And they all get spiffy leather versions of their costumes in the finale, to boot.)
* BigBraToFill: Magda is supposed to be extremely voluptuous- big chest, big hips- and as this is a stage show this means that the ''opposite'' effect tends to happen when she's played by petite actresses. Drawn-on cleavage and padding around the hips and behind are standard for these Magda actresses.
%% Difficult case - this may be an East Asian trope, but the depiction of the character usually goes beyond the western equivalent.
* BigNo: Graf von Krolock gives one of these when confronted by the cross at the ball.
* {{Bishonen}}: Herbert is usually an eerily accurate three-dimensional version of this trope, going beyond the typical PrettyBoy.
* BloodSplatteredWeddingDress: Magda's white nightgown serves much the same purpose.
* BoleroEffect: "Ewigkeit" ("Eternity"). (The melody's original title was in fact "Great Boleros of Fire" before it was used here.)
* BookEnds: Not in the usual ending, however, an alternate ending used by the 2009 Vienna version ends with [[spoiler: the Professor wandering around lost, calling for Alfred in exactly the same way Alfred was for him in the beginning]].
* BoyMeetsGhoul: Girl meets vampire. Also, [[HomoeroticSubtext boy meets gay vampire]].
* BreakTheCutie: Depends on the actor, but happens a lot with Alfred.
* ChaseScene: Abronsius and Alfred after Chagal, Koukol after Magda, Koukol after Sarah and Alfred, wolves after Koukol...
* TheCoverChangesTheMeaning: Many of the melodies in the show are rebuilt from little-known (except "Totale Finsternis") songs that not many people other than Jim Steinman's fan base would know to begin with. The entirely new lyrics disqualify it from JukeboxMusical status - most of these melodies are used drastically differently than how they were originally written, or with different implications.
* CrowdSong: "Knoblauch" and "Ewigkeit" ("Garlic" and "Eternity").
* CuteMonsterGirl: Magda as a vampire, if the actress doesn't go too heavy on the horror makeup. Some of the other female vampires have this going on too - it's very much an individual choice [[spoiler:except with Sarah in the end, who is this by default]].
* DancesAndBalls: Okay, just look at the title.
* DarkReprise:
** It's highly dependent on the actors' individual choices, but the reprise of "Totale Finsternis" at the ball can be played as one of these- namely, if the actress playing Sarah acts regretful and frightened when she sings that "[she] set out to lose [her] heart and lost [her] mind instead" after being bitten, and if the Graf suddenly seems cold and forceful toward her.
** The reprise of He, Ho, Professor definitely is one of these.
* TheDeadCanDance: There's dancing throughout the whole thing, but this trope is best served by the [[http://www.youtube.com/watch?v=vP1D1znWkKY Act II finale]].
* DeadlyBath: Sarah settles in for a nice hot bath midway through act I... and then Graf von Krolock swoops in on her from the skylight.
* DeadpanSnarker: Magda, and occasionally Graf von Krolock.
* DeathIsSuchAnOddThing: The TropeNamer, after a song Magda sings while looking at Chagal's dead body and dealing with mixed feelings about his death.
* DemotedToExtra: Rebecca (Sarah's mother and Chagal's wife) disappears from the show three-quarters of the way through the first act.
* DepravedHomosexual: Herbert. Most of the time, anyway.
* DirtyOldMan: Chagal, in particular with regards to Magda.
* DistaffCounterpart: Some amateur productions have replaced the character of Herbert with an equally Alfred-obsessed ''daughter'' to the Count (variously named Herbertine, Bertine, Herberta, Helena or -- completely randomly -- [[Manga/{{Hellsing}} Integra]]).
* DistressedDamsel: Inverted: Sarah doesn't want to be saved. Also averted with a side of FridgeLogic by the fact that neither Alfred nor the Professor thinks to protect Magda from Chagal after he's been bitten, even though she's the natural vampirism target after Sarah given that she's apparently the only other attractive young woman in the village. And then when she ''is'' attacked, they leave her body behind without so much as a cross to hold her...
* DoesThisRemindYouOfAnything:
** Unhappy, dreamy teenager named Sarah is lured into a fantastic, twisted world by a much older and not quite human nobleman who offers to give her everything she desires, but for a terrible price. [[Film/{{Labyrinth}} Hmmmm.]] (And yes, while Sarah was indeed named Sarah in [[Film/TheFearlessVampireKillers the film]] as well, the dynamic in the musical is different enough to make one wonder if this was a conscious ShoutOut.)
** Obliterating any passing resemblance of the original story to that of ''ThePhantomoftheOpera'' supposedly was Michael Crawford's motivation for insisting on or agreeing to drastic changes for the Broadway version.
* DoubleStandardRapeMaleOnMale: Depending on the actor. In some performances, this is what would have happened to Alfred if the professor hadn't shown up to scare Herbert off. Yet, it's still one of the funniest moments in the show.
* DownerEnding: Depending on interpretation, because the last scene [[spoiler: (the vampires win and they accept the audience into their fold as the newest undead)]] is very dark, while the pounding finale number makes that sound rather fun.
* DreamBallet: Sarah has one in Act I and Alfred has one in Act II. The difference between the two is that Sarah imagines becoming a vampire as a beautiful, romantic and passionate experience at a ball full of lovers, while Alfred imagines her being tricked and raped while surrounded by rotting corpses. The actual ball ends up closer to Sarah's dream, but the ending is closer to Alfred's (except without the rape, thank goodness, and [[spoiler:it's ''Sarah'' who brutally attacks and turns ''Alfred'', not the other way around]].)
* TheDulcineaEffect: Summed up pretty concisely in the song "Für Sarah".
* TheElevenOClockNumber: "Die unstillbare Gier".
* EpicRocking:
** "Carpe Noctem" ("Seize the Night") clocks in at 9:38.
** "Die roten Stiefel/Das Gebet" ("The Red Boots/The Prayer"). Sarah's dream sequence song (already a big production number in itself) is quickly followed by first Rebecca praying... then Magda joins her... then it's the two women and Alfred... then the whole village... and then Sarah starts singing counterpoint over it and is herself joined by Graf von Krolock, while the music continues to grow in intensity and bright lights slowly come to point directly at the audience as well as the actors onstage- and ''more'' ensemble members stand and sing their parts in the aisles, until it all rises to a climax and the stage goes black except for the kneeling Sarah.
* EverythingSoundsSexierInFrench: Herbert calls Alfred "mon cheri" as he flirts with him.
* EvilLaugh: Some Krolocks are particularly fond of them, especially [[http://www.youtube.com/watch?v=-YaMgkSanCM at the end of Act 1.]]
* ExecutiveMeddling:
** The severe postponing of the Belgian production, which was caused by the producers of the show suing for more government support money and as a result putting the show (which was already in rehearsals and scheduled to open in December 2009) on hold until at least October 2010.
** The Polish production ended prematurely, purportedly because license holders didn't want to jeopardise the Berlin production that was about to open some 600km further away.
** License holders for the show are famed for being adverse to any changes, up to and including already-written additional songs being scrapped because they would change the rhythm of the plot. Apart from the Broadway production, the only one that got away with significant choreography changes is the Japanese one.
** Thomas Borchert is pretty sick of playing Krolock, but the producers of the Vienna revival pretty much refused to even audition any other comers. So guess who got pushed into the part again?
* ExpositoryHairstyleChange: Magda, between Acts I and II.
* FaceRevealingTurn: [[spoiler:During "Draußen ist Freiheit (Reprise)", Sarah falls to the ground, and Alfred helps her up. When she turns around again, she suddenly has vampire fangs, which Alfred doesn't notice until she attacks him.]]
* FangThpeak: One of the things that makes this musical harder for the actors than others is the requirement to sing around big freakin' fake teeth, so extra training is required for actors to overcome this trope.
* FanService: To increase the joy of squealing fangirls upon seeing Herbert attempt to seduce Alfred, a bit of choreography was added in which Herbert grabs Alfred's... buttocks. And grins. Also, for the men in the audience, Magda's vampire look was made considerably sluttier when the show moved to Stuttgart.
* FieryRedhead: Magda.
* FinalLoveDuet: Subverted. See this page's entries for FaceRevealingTurn and TwistEnding.
* FirstGirlWins: Averted -- Alfred meets (and gawks at) Magda first, but falls in love with Sarah.
* FlamboyantGay: Herbert. Some actors have gone the extra distance and made him bisexual by groping the breasts of, winking at, and giving long, meaningful looks at while stroking the cheeks of female vampires at the ball.
* FollowTheLeader: The 2009 European tour of ''[[Film/TheRockyHorrorPictureShow The Rocky Horror Show]]'' essentially turned Riff Raff and Magenta into Herbert and Magda.
* TheFourthWallWillNotProtectYou: "Ewigkeit" ("Eternity") ends with the vampires lunging directly at the audience as they walk up through the aisles. Vampires also appear in the stalls during both act finales.
* FrenchMaid: Averted -- Magda doesn't dress like this. Not that her own tigh-bodiced, cleavage-boosting dress isn't just as [[FanService fanservicetastic]].
* GagBoobs: Played to advantage ''twice'' with Magda.
* {{Gainaxing}}: Magda's costumes actually produce this effect in live-action.
* GirlishPigtails: Sarah sometimes has these.
* GorgeousPeriodDress: Averted somewhat, in that while the vampire ballgoers costumes ''are'' lush and flamboyant, they're also in varying states of decay.
* GratuitousEnglish: Used several times throughout the Japanese production. The most obvious one has to be the chorus of "[[http://www.youtube.com/watch?v=5ZMO9Hjjmv8 Carpe Noctem]]".
* HellBentForLeather: All of the vampires wear leather, vinyl and lace versions of their previous ball costumes in the finale (except Magda, whose costume is a variation on her tavern wench dress from the first act).
* HeroesWantRedheads: Done and then subverted. Alfred is fascinated and smitten with the redheaded (and very busty) Magda -- until he sees Sarah. Of course, the rest of the villagers still want her. However, of course, in several productions Sarah ''is'' redheaded, thus playing this completely straight.
* HeyItsThatGuy:
** Hey, that guy who understudied Herbert in Vienna/plays him in the Hungarian production is [[Theatre/{{Elisabeth}} Death]]!
** In the Vienna revival, Alfred and Sarah are also [[RomeoEtJulietteDeLaHaineALamour Romeo]] and [[ThisIsMyNameOnForeign "Julia"]]. [[spoiler:This makes the ending of ''Literature/RomeoAndJulietAndVampires'' particularly hilarious- it's the same as ''Tanz'' (heroine turns into a vampire in the final scene and turns the hero, and while they run off together, another character's efforts to contain and destroy vampirism instead allows them to spread and take over the world).]]
* HopeSpot: For a while, it looks like Alfred and the Professor really have saved Sarah.
* HypocriticalHumor: Averted by Chagal with his song "Eine schöne Tochter ist ein Segen" ("A Beautiful Daughter is a Blessing"): He complains about all men being swine while afterwards going on to seduce/harass tavern maid Magda, but he acknowledges that his opinion about men is based on his own behaviour.
* TheIgor: Koukol, who ups the standard Igor quotient by being not only hunchbacked, but also borderline retarded and apparently suffering from whatever it was Joseph Merrick had.
* IWantSong: "Die roten Stiefel" ("The Red Boots") for Sarah, and "Die unstillbare Gier" ("The Insatiable Greed") is a terribly dark twist on the trope for Krolock.
* ImpossiblyLowNeckline: Magda, in both her costumes.
* TheIngenue: Sarah's very existence plays with this trope. Her casting information flat-out calls her "pure and radiant, but wanting to be corrupted". She's very naive in some areas and borders on a temptress in others.
* InsufferableGenius: Professor Abronsius.
* InnocentFanserviceGirl: Sarah in the bath, though the innocence is debatable.
* InterspeciesRomance: ...yeah, pretty obvious.
* IronicEcho: The vampires take the Professor's happy predictions of a brave new world at the end and twist them to their own purposes.
* {{Irony}}: Hoo boy. [[spoiler:The show ends with Alfred and Abronsius having wrested Sarah from Krolock's clutches, only for Sarah to sprout fangs and make a meal out of Alfred, turning ''him'' into a vampire too, while the whole time Abronsius remains blissfully unaware that he didn't just fail to limit the spread of vampirism, he's actually taking a couple of vectors for it out into the world.]]
* KissOfTheVampire: Sarah spends the whole show longing for this.
* {{Leitmotif}}: Several characters get them:
** Graf von Krolock has the melody of "Gott ist tot" ("God is dead").
** Sarah and Herbert share a little three-note downward progression.
** Magda has "Tot zu sein ist komisch" ("To be dead is strange").
** Chagal has the melody of "Eine schöne Tochter ist ein Segen" ("A beautiful daughter is a blessing").
* LettingHerHairDown: Magda.
* LongHairedPrettyboy: Herbert, in several productions - most notably the Hungarian version.
* LoveDodecahedron: Herbert is in love with Alfred, who's in love with Sarah, who's in love with the count, who ends the chain by requiting Sarah's interest.
* LoveInterest: Averted, somewhat, in that Sarah's not all that interested in Alfred, and the song that is frequently touted as their "love duet" is actually Sarah complaining about her boredom and planning to leave without telling Alfred where she's going, while he says he loves her.
* MayflyDecemberRomance: Krolock's song "Die unstillbare Gier" is essentially a lament over all the lovers he's lost over the years. Except that he turned them all.
* MeaningfulBackgroundEvent:
** The audience sees Chagal wake up as a vampire a while before Magda does.
** [[spoiler:Not to mention Sarah feasting on Alfred's blood in the penultimate scene while Professor Abronsius remains cheerfully convinced that he's saved the world from the undead menace.]]
* MrFanservice: Count von Krolock and his respective actors. Sometimes taken UpToEleven.
* MsFanservice: Both Magda and Sarah have aspects of this.
* MyEyesAreUpHere: Magda never actually ''says'' this, but the look on her face when she catches Alfred staring at her [[Film/MontyPythonAndTheHolyGrail huge tracts of land]] kind of says it all.
* MythologyGag: The one musical detail lifted ''directly'' from the film is the little 'ah-ah-ah' melody Sarah and Herbert both like to sing while bathing.
* NeverMyFault: Abronsius' general attitude, unfairly shifting blame to Alfred.
* NewEraSpeech: The Professor's fourth-wall-breaking soliloquy in the end of Act II manages to hit all the standard notes- triumph, dismissal of his opponents, and predictions of a glorious future he has made possible ("the world will not be what it was")- and then the vampires enter and make it clear that he was right, a new era ''is'' dawning. It's ''theirs''.
* NotSoDifferent:
** Alfred realizes that the vampires have human emotions and can feel remorse and pain after witnessing Krolock's graveyard soliloquy.
** Not to mention all the sly parallels set up between Sarah and Herbert. Both are bored, lonely teenagers (though Herbert's been one for a ''long'' time) who enjoy bathing, they both have extremely protective fathers, they sing the same little song to themselves, and even their choreography around Alfred is similar.
* OurVampiresAreDifferent: While the ball guests are clearly evil and almost zombielike, Krolock is capable of being a perfect gentleman, and there is a touch of sympathetic melancholy about him as well. Herbert, meanwhile, embodies many of the traits associated with seductive ''female'' vamps -- but he's male.
* OverprotectiveDad: Chagal. Was nailing your daughter's door shut ''really'' necessary?
* ParasolOfPain: The Professor saves Alfred by fending off Herbert with his umbrella. Yes, [[FunnyMoments it's hilarious]].
* PatterSong: "Wahrheit" ("Truth"), the Professor's big solo. Explicitly patterned on the works of Creator/GilbertAndSullivan.
* PimpedOutDress: Sarah's [[http://www.tio-academy.de/vamppl.jpg red ballgown]].
* RaysFromHeaven: "Stärker als wir sind", or "Stronger Than We Are", which is a prayer, uses these. At its climax with virtually all named characters singing the prayer together, rays shine out from behind the stage, glorifying the moment and adding to the religious theme.
* RunningGag: Alfred forgetting where to place the stake, and the Professor's "Eins! Zwei! Drei!".
* ScoobyStack: [[http://www.musical-in.de/grafiken/musical-tanz-der-vampire-4.jpg Alfred and the Professor]].
* SculleryMaid: Magda.
* SensualSlavs: Magda (and technically Sarah too). Herbert counts as well, depending on who's playing him.
* SexyWalk: Either Magda's costumes add that hip-wriggle and/or it's something the actress does.
* [[HesDeadJim She's Dead, Chagal]]: Magda's struggling ends and her arms go limp when she dies.
* SheCleansUpNicely: Sarah makes her appearance at the ball in a beautiful, elaborate ballgown, with her hair upswept and adorned with a tiara, at the top of a staircase. Before that point, she is always shown in her nightgown and occasionally with pigtails.
* ShootTheShaggyDog: [[spoiler: The entire musical is one big STSD story. The Professor and Alfred ''don't'' stop the vampires from taking over the world, if anything helping them do it. All the dancing and love duets were in vain, and it's quite depressing.]]
* Sinister MasqueradeBall: Not a masquerade, per se, though Alfred and Abronsius do disguise themselves.
* SpiritualSequel: The Hungarian musical ''Theatre/{{Drakula}}'', which obviously took a lot of hints from ''Tanz'' in terms of choreography and music. But the most obvious homage has to be the changed ending - instead of [[spoiler: Jonathan and Mina living happily ever after]], [[spoiler: they embrace, as a happy reprise plays, only for Mina to reveal her new fangs and bite Jonathan]].
* SpoiledBrat: Herbert, in some actors' portrayals.
* StakingTheLovedOne: Rebecca refuses to do this, which means things don't end too well for Magda...
* StandInPortrait: In the opening of Act II, the vampires all masquerade as portraits in the castle when Sarah turns to them. When she looks away, they move and sing.
* SurrealHorror: "Carpe Noctem", which involves a dance chorus that looks like ancient, decaying corpses, multiple Krolocks, bright flashes of light, spectacularly dissonant and anachronistic music, and Alfred's fear that he himself will be corrupted rendered in literally nightmarish terms.
* {{Squee}}: The actor Máté Kamarás has fangirls. Máté as Herbert has [[http://www.youtube.com/watch?v=lSChnQ2aDE8 very vocal fangirls]].
* TalentDouble: [[JustifiedTrope Justified]] by the fact that the principal actors are still onstage during the {{Dream Ballet}}s.
* YouAreTooLate: [[spoiler:An interesting case, seeing as the heroes' failure to save Sarah on time is made plain by the "victim" herself, who's now the same kind of monster they intended to save her from, rather than Krolock.]]
* TomboyAndGirlyGirl: Magda and Sarah. Both are plenty feminine, but Magda's a lot more of a no-nonsense tough girl, while Sarah is a plucky dreamer.
* TownWithADarkSecret: If you arrive in an inn full of garlic where everyone denies that there's a castle in the vicinity of the village...
* TruckDriversGearChange: Occurs in the middle of the Finale.
* TrueLovesKiss: Mocked a bit, in that [[spoiler:it's actually Sarah biting Alfred and coming up drooling blood, but the music while this happens is a reprise of their theme played an awful lot like Disney happy ending themes]].
* TwistEnding: After rescuing Sarah from the ball, Alfred holds her in his arms and comforts her, only to discover that [[spoiler: he was too late -- she's a vampire now, and she turns her fangs on ''him'']].
* {{Uberwald}}: A bit obvious, though the villagers have officially given up on trying to protect any newcomers to their town and don't even acknowledge the castle, let alone tell people not to go near it.
* UnwantedRescue: Sarah doesn't want to be rescued by Alfred -- she'd rather stay with Graf von Krolock and become a vampire.
* VampiresAreSexGods: Magda is a [[Film/{{Watchmen}} Carla-Gugino-as-Sally-Jupiter]] lookalike in sleeveless nightgowns and cinched [[OfCorsetsSexy corsets]]. Herbert is a tall drink of gorgeous water in tight breeches. And so on.
* VampireBitesSuck:
** Poor Magda...
** And [[spoiler:Alfred]], depending on how it's played.
* VoiceTypes:
** Graf von Krolock is a dramatic bass-baritone. He can be either operatically inclined or have a more rock sound, or some combination of the two.
** Sarah is a low soprano/high mezzo with a lot of belt range.
** Alfred is a standard male ingenue tenor.
** Professor Abronsius is a comic tenor with some falsetto parts that move into the soprano range. In Japan, he was a baritone, and the soprano elements were transposed down.
** Magda is a mezzo, though the fact that she has to hit higher notes than Sarah on a few occasions means that she ''has'' been played by a soprano before, and generally the main requirement is that she be able to sound a little rougher around the edges than Sarah. In Hungary, this was emphasized by one of the Magda actresses understudying Sarah as well.
** Herbert is a "baritenor" (either a very low tenor or a very high baritone). Sometimes his role and Alfred's share understudies; sometimes swings are cast to play either him ''or'' his father on short notice.
** Chagal is a comic baritone.
** Rebecca is an alto.
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!!The American production includes examples of:
* AscendedExtra: Rebecca. She has a much bigger part than in the original, including changing Magda's solo "Death Is Such An Odd Thing" into a 50/50 duet with her. She also appears, and gets a reprise, in the second act.
* BadExportForYou
* BondageIsBad: Herbert announces his intention to spend his night with Alfred with "handcuffs, and wine, and candlelight...". [[CrowningMomentOfFunny Funny?]] [[FetishFuel Sexy?]] You decide.
* TheCoverChangesTheMeaning: The show's failure to change the lyrics from the original songs in many cases is part of what killed it. Compare "God is dead/He will no longer be sought out/We live forever, drawn closer to the sun/But afraid of the light" to "I've been looking for an original sin/One with a twist and a bit of a spin...", or perhaps "God has left the building/But we still must live on/Yearning for light, but/Afraid of the sun..."
* DeadpanSnarker: Both Boris (at least until he's transformed into The Renfield) and Magda.
* DeusExMachina: Having lost their vampire-killing materials, Alfred and the Professor are left to... [[spoiler:open a curtain and have sunlight pour in, killing Krolock]]. [[FridgeLogic At the]] ''[[FridgeLogic Midnight]]'' [[FridgeLogic Ball]]? [[FlatWhat What]].
* DevelopmentHell: ''Hello''. First, there was the innumerable amount of script changes and song-cutting/adding that went on because of so many people getting involved with the project. Then, there were several technical failures that cancelled preview shows and pushed the release date back. Then, the release date had to be pushed back further, due to it originally being just after a certain 2001 American disaster. (The producers - rightfully - felt that putting on a comedy [[HarsherInHindsight about dead people]] would be [[DudeNotFunny in poor taste]].)
* DisposableWoman: Nadja and Zsa Zsa's only purpose in the show is to get kidnapped in the very first scene.
* DoubleTake: Boris, upon noticing a transformed-Krolock:
-->''There's a bat in the house.''
-->''*{{beat}}*''
-->''THERE'S A BAT IN THE HOUSE!''
* ExecutiveMeddling: A key reason the Broadway version turned out the way it did was because the producer felt American audiences would reject a European pop opera out of hand (after the subgenre's heyday in the 1980s) and wanted something funny. Combined with hiring Michael Crawford for Krolock, who didn't want to repeat his work in ''ThePhantomOfTheOpera'' and was more than fine with the comic approach, the show was more or less doomed from the start; the details on the production and the differences between it and the original show are [[http://www.carpe-jugulum.com/library/bway2/5.html here]] and [[http://www.carpe-jugulum.com/library/bway2/21.html here]].
* {{GASP}}: [[PlayedForLaughs Played for]] [[{{Narm}} Narmy]] [[PlayedForLaughs laughs]] when the Professor announced his intentions to hunt vampires *GASP!* at the inn. Every time he mentions the word vampire *GASP!*, the villagers can't hide their shock. It's lampshaded when, after a couple rounds of going back and forth, Abronsius ''refuses'' to say "vampire"([[OverlyLongGag *GASP!*]]) where it would normally go in the sentence.
* IncrediblyLamePun: The show is ''infested'' with them. But the most [[CollectiveGroan groan]]-inducing comes from the Professor.
-->'''Abronsius''':(Upon seeing the crypt) This looks pretty cryptic!
* IncrediblyLongNote: Magda, in the middle of "Death Is Such An Odd Thing". It's lampshaded when she clutches her head, grunting "OW!" In the reprise of the song, Rebecca [[RunningGag does the same thing]] -- but ''[[UpToEleven longer and much higher]]''.
* MoodWhiplash: An example of this trope backfiring -- the jokester we've seen making [[IncrediblyLamePun Incredibly Lame Puns]] throughout the whole show, and just seconds before this point, begins singing "The Insatiable Appetite". It undermines what would otherwise be a very [[TearJerker Tear Jerking]] scene.
* MusicalisInterruptus: "Never Ever Seen" is interrupted in the middle by one of the Professor's machines malfunctioning noisily.
* MyGodWhatHaveIDone: Sarah, after sending Alfred away informing him that he's on an UnwantedRescue. "What have I done? What am I doing?"
* OnlySaneMan: Both Boris and Magda see themselves as this. In the end, Magda is probably a little saner.
* OverlyLongGag: The "Sunset!" panic, which would be an OverlyLongGag on its own, but is done ''twice''. It's only beaten out by the villagers' reaction to the word "vampire" *GASP!* Also, see IncrediblyLongNote above.
* OverlyLongName: The Count now has one.
* PrecisionFStrike: Done by the main villain, no less.
-->'''Von Krolock''': Boris, why don't you leave those, you ''fucking'' idiot?
* PerspectiveFlip: One way to interpret the show is that it's a PerspectiveFlip of the original, showing Sarah's side of the story - why, exactly, she's so interested in the Count.
* RapidFireComedy: The main reason the show was hated so much was that it really didn't have any time to be a musical in the small space left in between jokes.
* RightBehindMe:
-->'''Professor''':We find ourselves in this infernal castle, not in daylight, but at night. When a...a...you know...
-->'''Von Krolock (right behind him)''':Vampire?
-->'''Professor''': Vampire will be on the prowl.
* RunningGag: "This is 1880-something!", "If that means what I think it means...", and [[YouCanPanicNow "SUNSET!!!"]].
* SatelliteLoveInterest: Sarah to Alfred, about ten times more than in the original. He falls in love with her (and says so, out loud) ''two seconds'' after seeing her naked. Sure, that's what is is...
* StupidSexyFlanders: "Listen...I'm straight. I'm Lutheran. I'm ''alive''. And yet, I do find you strangely attractive..."
* TypeCasting: Michael Crawford's intense fear of being Type Cast was the main reason Krolock was changed into such a comic character. As he put it, he didn't want to be playing "the same guy with bigger teeth".
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