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.
Adaptation Displacement: The musical is a lot more famous than 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.
Berserk Button: Think the Broadway version isn't as horrible as so many make it out to be? Great! Just, uh, don't tell anyone. There's a chance they might share the opinion, but it's far more likely you'll get Punched Across the Room (or at least the internet equivalent).
Big Lipped Alligator Moment: 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 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 Gratuitous English in other places.
An English-language version of Carpe Noctem, titled Seize the Night, was recorded by Meat Loaf in 2006.
Reverse example: Most people in German-speaking countries know the Tanz finale as, well, the Tanz finale, without realizing its basis in Streets of Fire and "Tonight Is What It Means To Be Young".
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.
"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 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 Meat Loaf. 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 (or at least going through a few more drafts later in the process).
Crowning Moment of Heartwarming: "Für Sarah". Even if, as an audience member, you're screaming things at him like "This is ridiculous - she doesn't deserve you!", "You idiot, you're gonna get yourself killed!" and, if you've seen the show before, "Come on, even Herbert would be a better match for you!"
Crowning Music of Awesome: "Carpe Noctem", which features three groups singing two languages for ten minutes, and "Der Tanz der Vampire".
Draco in Leather Pants: Both of the von Krolocks are prone to this. On a greater scale, Tanz!vampires in general. It's established in the final scene that Alfred and Sarah are as bad as any of the other vampires throughout the show once they've been turned, but try finding any fic set afterward that doesn't show Alfred as a meek, befuddled vampire, rather than a snarling beast whom Sarah restrains from immediately attacking the Professor just so she can convince him to help her spread their plague through the world instead.
Ear Worm: "Dies irae Kyrie, libera me domine. Dies irae Kyrie, requiem da domine..." It is made worse by the fact that those two lines have the same melody and are repeated again and again.
Ensemble Darkhorse: A textbook example. Herbert 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 One-Scene Wonder, as seen below.
Even Better Sequel: A lot of the fandom considers the Hungarian version to be better than the original, mainly because of the more dramatic props, costumes, and staging changes.
Fan-Preferred Couple: 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. 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.
Hollywood Homely: Only in Poland, but still. 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.
Ho Yay: It's implied that Alfred isn't quite as freaked out by Herbert as he lets on when the Professor looks at Alfred's crotch after the incident with Herbert and announces "I see how things stand!"
The Japanese production's finale implies that Alfred and Herbert end up together after Alfred is turned into a vampire too.
Something similar was suggested in the final performance of the show in Hamburg, where the actor playing Alfred wandered out onstage during the finale and the actor playing Herbert promptly broke out of the choreography to kiss his throat◊. He even joins in the choreography towards the end. (around the 3:20 mark)
Some german actors also play this kind of tension between Count von Krolock and Alfred in "Vor dem Schloß".
In the dancing scene in "Carpe Noctem", things happen between the white vampire (Alfred's symbolic stand-in) and the black vampire (Count von Krolock's symbolic stand in).
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.
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.
The American production includes examples of:
Covered Up: Again, and one that wasn't in the original. Large sections of "God Has Left The Building" (the opening vampires' dance) are taken from "The Opening Of The Box" from Steinman's project Pandora's Box. (Which was also the group that gave us "Gott Ist Tot".)
One-Scene Wonder: In a reversal of Herbert's screentime, they appear for one scene and song in the first act, then have one line in the second act.
Replacement Scrappy: Since he got rid of a character, instead of being a different version of an old one Boris got a lot of hate from fans.