YMMV: Elisabeth

  • Alternate Character Interpretation: Is der Tod a creepy character who has an unhealthy obsession with Elisabeth, slowly destroying her life because she won't return his affections? Or does he know the pain that Elisabeth is going to endure so he tries to get her to die so she wouldn't suffer in a twisted case of I Want My Beloved to Be Happy?
  • Evil Is Sexy: Der Tod's evilness is as much up for debate as his sexiness.
  • Fridge Brilliance: Some parts of the musical really aren't historically correct, blatantly biased even. It all makes sense if you think of this: Lucheni is the narrator, and everything is seen through his eyes!
    • On that note, look very closely during the Prolog where the ensemble is dancing oddly while Lucheni is walking on the catwalk while holding a pole. Looks quite a bit like a puppeteer controlling a marionette, doesn't it?
  • Fridge Horror: Die Schatten werden Langer has a lot of seduction overtones. Why? Because Der Tod is trying to get Rudolf to commit suicide!
  • Genius Bonus: While it's definitely not necessary to enjoy and understand the show, knowledge of Heinrich Heine's poems helps you understand a lot of der Tod's lines. Also, many lines said by Elisabeth, Franz Joseph and other Historical Domain Characters are based on things they said or wrote in reality.
  • Ho Yay:
    • Der Tod's duet with Rudolf, "Die Schatten werden länger" ("The Shadows Grow Longer"), is basically made of this. Considering that many versions, including the original, include multiple near kisses initiated by der Tod and interrupted by Rudolf, this is more akin to intentional Homoerotic Subtext than Ho Yay.
    • Also, quite often there's something going on between Lucheni and der Tod.
  • Iron Woobie: Franz Josef gets this big time. After what happened to him in real life during and after his time with Sisi, could you really blame him?
  • Nightmare Fuel: "Die Schatten werden länger" can be quite unsettling.
  • Painful Rhyme:
    • "Ich flieh, wenn ich fremde Augen spür,/ denn ich gehör' nur mir".
    • "Majestät, der Krimkrieg droht sich ernsthaft auszuweiten. / Dass wir Russland diesmal beistehen, ist nicht zu vermeiden." (This one is made worse by the fact that most actors tend to overpronounce the different consonants in the "rhyming" words, making the flawed rhyme even more obvious.)
    • "Nichts ist schlimmer, als zu wissen, / wie das Unheil sich entwickelt, / und in Ohnmacht zusehen müssen."
  • Tear Jerker: Oh god, where do we start? Most characters die (and since they're all historical figures, it's safe to say that all of them died), there are tons of child-parent-conflicts, tons of dark looks at society, future etc. Really, it'd probably be easier to write down the scenes that aren't heartbreaking.
  • Woolseyism: The Hungarian production gives considerable attention to the impact Elisabeth had on Hungary herself compared to the Viennese versions. The Japanese productions adopted this interpretation too, probably because it gives the actor (or actress) playing adult Rudolf much more to do.