Debido a la decepcionante performance en la boleteria, y la lluvia de criticas, esta semana Love Never Dies sufrió un drástico make over, que incluye escenas eliminadas, otras movidas, un inicio totalmente distinto, un final con muchos cambios, grandes modificaciones en las letras y el tono...

Para destacar también es el hecho que, lejos de la pretension inicial de ser un "stand alone show" (es decir, no muy relacionada con su antecesora), en LND 2.0 hay muchas más referencias, especialmente musicales (aunque también narrativas), a The Phantom of the Opera.

Acá hay un buen resúmen de los cambios:

The show opens very differently - with a projected video of the Paris Opera House, burning. The original prologue is completely gone - it cuts straight to the automaton walking to the front of the stage, then over to the piano, and then the Phantom sings "Till I Hear You Sing." "Coney Island Waltz" is still there, but it's after TIHYS. "Heaven by the Sea" is combined with "Only For You" (with a changed tempo), and there are many more moments with Gangle, Fleck and Squelch. Meg and Mme Giry have a scene where they discuss the fact that Christine will be singing for Oscar Hammerstein at the Manhattan Opera House. More of the original melodies from "Phantom of the Opera" have been included.


The Phantom, of course, wants Christine to sing for him instead, so he threatens to reveal Gustave's parentage if she doesn't. "Mme Giry Confronts the Phantom" is now only a song between Meg and Mme. Giry about what's been happening for the past ten years, and how they helped the Phantom, more of a set up for Meg's actions in Act II. When she is confronted with the Phantom again the scene is not only emotional, but chilling - the lighting effects are darker, more haunting.


"Dear Old Friend" is pretty much the same, but now there's more of an undertone to Christine's presence since she's being blackmailed and Meg gets even more upset about losing the spotlight. The rest of Act I is basically the same. Gangle, Fleck and Squelch still take Gustave to the Aerie and the "come along and follow us" bit is included again.


The bar scene is basically the same, but instead of the beach scene there's now a scene called "Onstage at Phantasma" with "Invitation to the Concert" performed by Gangle, Fleck and Squelch, plus the ensemble. The balloon doesn't show up until Meg's number begins, and she still gets out of it as "Invitation" ends and "Bathing Beauty" begins. The next few scenes are basically the same - Meg's performance, her dressing room, then Christine's dressing room. The difference is that this time Raoul leaves a note for Christine saying that he's leaving her for good. "Devil Take the Hindmost: Quartet" is the same, as is "Love Never Dies." They go back to Christine's dressing room and discover Gustave's absence.


The ending of the show is very different as well. After Christine is shot the Phantom screams at the Girys to go get help, and Meg is dragged offstage by Mme. Giry. Christine reveals to Gustave that the Phantom is his father, but Gustave rejects him and runs off the stage. The Phantom and Christine have a short duet together, alone. Raoul hasn't gone - in fact, Gustave returns with him so that Raoul can kiss Christine goodbye. The Phantom turns away and moves to the side of the stage, although he still gets to kiss her (and of course, he cries). When she dies, Gustave hugs Raoul, who speaks quietly with him and gestures once towards the Phantom and nods. Gustave walks over to the Phantom, whose back is turned, and holds his hand out to the Phantom. They embrace. Fade to black.