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YMMV: Love Never Dies
  • Awesome Music:
    • Despite the show's many, many flaws, "Till I Hear You Sing" is one of the strongest songs in the show. Given how often it gets reprised (about 5 times in total), clearly ALW knew it as well.
    • There isn't a specific category for Terrifying Music, but the reprise of "Bathing Beauty" is absolutely eerie.
    • Despite the... um... strange lyrics and the drastic change in musical style (rock song sung by the Phantom? Really?!), "The Beauty Underneath" is cool.
  • Badass Decay: The Phantom. Dear Lord, the Phantom.
  • Contested Sequel: Oooh boy, is it ever.
  • Die for Our Ship:
    • 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.
  • Fanon Discontinuity: Due to the above Contested Sequel trope. Even Michael Crawford, the original Phantom, prefers to ignore this musical.
  • 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.
  • Les Yay: Christine and Meg. Even more so.
  • It Was His Sled: Come on, everybody knows that Phantom is Gustave's father.
  • Narm: "Beneath A Moonless Sky" can be this — the sheer seriousness borders on ridiculous. And it goes on, and on, and on.... Love Never Dies could basically be renamed Narm: The Musical.
  • No Yay: The Phantom and Gustave during "The Beauty Underneath"; see Unfortunate Implications below.
  • Pandering to the Base: Specifically, to Phantom/Christine shippers by reviving the possibility of their becoming the Official Couple.
  • Painful Rhyme:
    • 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.
  • Ron the Death Eater: Raoul and Meg, canonically!
  • 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.
  • Tainted by the Preview: Especially after the preview performances started in London and plot details came out...
  • Tear Jerker: The ending is still emotional, in particular Gustav's scream of despair when his mother dies and the Phantom's frantic sobbing, holding her whilst the music soars around him.
  • They Wasted a Perfectly Good Plot: Inverted. They Wasted Perfectly Good Music, Sets, Effects etc. on this plot.
  • Unfortunate Implications:
    • "The Beauty Underneath" does not sound like the sort of thing a grown man should be singing to a ten-year-old boy — who turns out to be his son, no less.
    • Not to mention that Christine wasn't "looking with her heart" when she turned down the murderous Phantom. Plus, "Beneath a Moonless Sky" implies that they could only have sex when she couldn't see him properly, breaking one of the show's intended Aesops.
    • This could qualify as implications of sexism, or just a grasp at keeping Christine a sympathetic character, but: Raoul becomes an abusive alcoholic, essentially to give her an excuse to get back together with the Phantom. But Christine was the one whose heart wasn't in the marriage, and she's the one who cheated on him on the night of their wedding and had the Phantom's son. You would think that she's the one causing the problems in the marriage. Yet somehow it's written so that it's all Raoul's fault that their marriage deteriorated.
    • Along the same lines, the Phantom and Christine's reignited relationship, with the show making him even more of a romantic figure than its predecessor did. Even if you ignore everything he did to her the first time around, he still deceives her, blackmails her into doing what he wants by threatening to take away her son, uses her as the stakes in a wager with her husband, and eventually his foolish comment while trying to talk down Meg (whom he'd driven crazy through negligence) gets Christine killed. Yet Christine is the one who apologizes to him for all the grief she's caused.
  • 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.

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