These are what we call the 'YMMV items.' Things that some people find in this work. We call them 'your mileage might vary' because not everyone sees these things in the same way. This starts discussions in the trope lists, a thing we don't want. Please use the discussion page if you'd like to discuss any of these items.
Designated Hero: The Phantom. Just think of it: we're all supposed to cry on him and his doomed love, and that Christine is dead just at the moment they were going to be happy together, but in the end, he's actually the winner: Raoul's entire life is destroyed, Madame Giry is caught with a crazy daughter, and the Phantom gets to keep Gustave... How is this supposed to be his tragedy? Especially when you know that all the crap happening is actually all his fault, just because he refused to stop clinging on a woman he can never have.
Christine could also qualify for this. It's easy to assume she shares a lot of responsibilty for her marriage going all wrong because it's obvious she kept on pining for the Phantom. And how can you just cry on all her problems, when she actually does nothing to help herself, since you have the Phantom and Raoul all deciding for her, she stays incredibly passive when Erik actually THREATENS THE LIFE OF HER CHILD (but hey, since Gustave is Erik's kid, this troper guesses it doesn't count), and when you compare her to Meg and her crap... I mean, good lord.
Or, rather, be derailed and become The Alcoholic for our ship. And all for nothing, too...
Meg, popular among fans to pair with Erik, is also derailed to become a psychopathic bitch who stands in the way of Erik and Christine's "true love" and kills Christine in the end.
Those who see the Phantom and Christine as Webber's stand-ins for himself and Sarah Brightman might definitely take this view.
Esoteric Bittersweet Ending: The audience is supposed to be touched by the finale, in which Christine dies in the Phantom's arms, and Gustave accepts him as his father, but a mess of unanswered questions and questionable fates for the characters derails it.
Faux Symbolism: The Australian production has Christine perform the title song in a blue dress, with peacock feathers arranged in a tail on a stage behind her.
Foe Yay: The first instance of Devil Take the Hindmost is incredibly homoerotic. This troper would consider the relationship between Raoul and the Phantom the true love story of this play. Or at least the true hate sex story of this play.
From "'Til I Hear You Sing" alone — "The moments creep / Yet I can't bear to sleep", "And music, your music, it teases at my ear / I turn and it fades away and you're not here", and in the choruses, rhyming floor, door, core and for with more. (Note: these are all fine when spoken using a 'Queen's English' Accent.)
"Gustave! Gustave!" uses "It's that idiot Raoul! / Why, I'll kill that drunken fool", which has to mangle the pronunciation of "Raoul" to work.
Sequelitis: This may or may not have to do with the fact that Lloyd Webber is the only significant member of the original's creative team involved in this one. Word of God is that he was suffering from cancer while constructing it; a mixture of this, twenty years between installments when a writer's creativity to sure to change, Pandering to the Base, and a whole bunch of other shit... Something's bound to go down.
Shipping Bed Death: A lot of E/C shippers were turned off by the improbable circumstances under which the two got together.
What Do You Mean, It's Not for Kids?: The London production offered free tickets to children at one point. Hmm, let's see. Alcoholism, stripping, infidelity which allegedly produced a son, a song with arguably pedophilic undertones, and murder. Yep, this is definitely for kids.
The Woobie: Meg Giry is possibly one of the few sympathetic characters in the show, also qualifies as a mild example of a Woobie, Destroyer of Worlds after she kidnaps Gustave and then unintentionally murders Christine.