Not To Mention The Lack Of Orchestration Diversity, The Lack Of Creativity In The Storyline Or The Direction

Not to mention the lack of orchestration diversity, the lack of creativity in the storyline or the direction and the samey samey soundtrack thank to the small band carrying everything with their backs.

Bandai's Sera Myu feels like an actual musical adaptation for me. IDK if it's hard to understand that what makes a good musical is not being one on one faithful to the source material. What makes it good is the quality of the direction, the art and the music. Bandai Myu was so ambitious to be on par with bigger musicals, and while it didn't work sometimes, the outcome paid off.

Let's give an example of SuperS Kaiteiban, my favorite Myu from my favorite era. The lighting is exquisite, especially in the Dead Moon Kuroi no Yume and the lighting show that is La Moon. You can see how great lighting immerse you into the scenes so easily. The props are very cool, some are cheap but well they literally cut the confetti themselves in Gaiden. The little Zircon and the soul orbs of the Amazones Trio snatched my weave off my head. While the laser Pegasus was silly, I also appreciate them for trying and committing to it.

Moving on to the music and orchestration. Just compare triple dreams to whatever is the equivalent of it. Triple dreams is a very strong number that represents three factions by using their previous leitmotifs in the best way possible. Someone said it before that this is the Sera Myu's one day more. I can see it as the Final Lair as well with the powerful impact it leaves for the audience. The Nelke Myu (maybe except Nogimyu) feels like you're watching the same small band playing every score, be it love song or final battle song. I also want to talk about the vibe of the numbers but that's for another day.

I am sure I have a few things to compliment the poor Nelke Myu but I don't think I have anything at the moment. I like that Nogimyu feels very much like Bandai Myu to some extent. It is honestly my favorite modern Myu with the cool transformation sequence, the ambitious set pieces and the diverse numbers. I wish the newer Myu can take notes from it.

Ps. I don't hate Takarazuka casting. I am probably the minority here but I just need a bit of male tenor or bass to balance the chorus ensemble. I have that problem with Takarazuka's musical adaptations like Y/K Phantom or Elisabeth as well.

newmyu be like

Long ago, it seems so long ago

How young and innocent we were

She may not remember me But I remember her....

A references study of Leyendecker's artstyle with my Raoul as the model;///; Hope you love this blonde hunk (He's buff and I make this rule😏)

WHO CHEERED

Christine updos seem to be a thing of the past for London, for both shows today Lily had her hair down all the way through, no more gathered/ponytail in masquerade and managers.

And since Eve’s wig seems to be down for masquerade as well, I think we can assume no one has an updo anymore.

Phantom of the opera x TWICE

Just my old random art of Christine and Raoul in the fits of Mina and Momo from Talk That Talk era 🥺💞 My babies...My bi ass loves them sm.

I wouldn't say they are all over the place, to be honest. Maria Björnson was really careful with the historical details. Most civilian dresses (in the design) are based on the silhouette of years 1874-6 including the background dresses that are referenced from Harper's bazaar fashion plates.

The Elissa costumes used to look more historical and in line with the 1876 bustle silhouette, but they've been amped up over the years to bell shaped skirts with backdrape. They're opera costumes after all. They don't have to follow the current fashion as long as they stay theatrical.

The reason why the bustle silhouettes seem to all over the place is because the choices made by different productions. Some production goes for a more pronounced bustle, some with something almost natural form but they never mix the silhouette up together (unless they start inheriting costumes from different warehouse and workshop)

TLDR: The concrete style and aesthetic of the late 1870s is there but the bustle size and shape is for the productions and workshops to interpret. Even though I don't agree with 'The costumes in the show are all over the place' but great research, op!

How come the wedding dress for Christine in the musical is somehow based of the bustle era? Which was in late 1880's. But then Wikipedia says its based of 1860s for the musical but now I don't know which to trust?

Always a good question. For this and more I give you the following tag:

THE TIMELINE ISSUE

Long story short, there's many different takes on when the story is set, both in the prologue and the main story. For example, the original cast album said 1861, but the West End stage show said 1881. Meanwhile Hamburg listed 1871, and the Japanese productions "mid 19th century". Today I think they all list "Late 19th century". And that's just the replica versions!

Meanwhile the prologue has been pushed from 1905 to 1911. But then "Love Never Dies" came along and claimed its main story was 1907.

So in short, nothing makes sense.

"Tonight, I gave you my soul, and I am dead."