Post by Koukol on May 10, 2011 18:00:45 GMT -5
This one's one of the more discussed topics about the show's plot line. Apparently, Michael Kunze said that Sarah must truly fall in love with the Count during the course of the show, and that's why the changes made to the character in the Broadway version didn't work, because who could fall in love with the character Michael Crawford had created unless they were either a masochist or had quirky taste? In Kunze's view, Krolock sweeps Sarah off her feet; that's why she wants to go to the ball at the castle and join the vampires -- she's truly, deeply in love with Krolock.
That said, it can be argued that not very many actresses have played the role that way in the European productions. One thing everybody seems to agree on is that she's not actually in love with Alfred. Sure, there is a growing attraction there that is referred to in the course of various scripts and synopses, but in truth, attraction doesn't mean love. The key to Sarah in the show, to me, is that she wants to be saved from a restrictive, dead-end life, and if she couldn't do it herself, she'd find someone who could. Is Alfred infatuated with her? Absolutely. But is she in love with him? Arguably not. His usefulness to her as a fairly cute, gullible ticket to freedom is perhaps most proven by how quickly her attraction toward Alfred cooled when an even better offer came along (an immortal, handsome -- and very rich -- vampire count, no less!). Once a better possible avenue of escape from what she considered to be a dull existence with no real future came along, Alfred was out of mind.
But then the question becomes, what kind of escape did she expect? Well, if Sarah were alive now instead of in the 1800s, it could easily be said of her that Disney raised her expectations way too high, LOL. She's living in a life of endless drudgery, so she wants Prince Charming to come along and save her. I see her as a sheltered, naive child prone to any number of fanciful notions, with no firm grasp on the realities of life, or for that matter death. In Act One, there's a dream ballet that shows what she thinks will happen when she's finally in the Count's arms, and needless to say, it's very "fairy tale" and very unrealistic -- she imagines being the belle of the ball, dancing the night away, and exchanging, not an immortal bite, but a passionate kiss with Krolock.
Now, this one is more controversial, especially because of evident "Adaptation Distillation" by the actresses from what Kunze intended in his writing (TV Tropes ahoy!). Is she deeply in love with Krolock? I'd say no. Fascinated, yes. Awed, definitely. Maybe even a little bit frightened. But in love? That's pushing it. Pay attention to their "passionate love song" that opens Act Two. Take a look at the lyrics and see what they say about falling in love. Let's see... lyrics about Sarah's fears, lyrics about coping with new and frightening desires, lyrics about achieving some sort of freedom by surrendering herself to Krolock... oh wait, none of that is about love. "Totale Finsternis," to me, really breaks down what Krolock is to her: a venue for her to "become a woman" and attain the freedom she's longed for, a means to a desired end. In fact, when it comes to Krolock, she seems more preoccupied with what he can give her (beautiful gowns and red boots, her own bathtub and sponges of enormous size, social status, and being the envy of her peers and family). For Sarah, it's all about gaining her freedom first and foremost, not about finding true love.
But... I want to hear your opinions! Do you think she loves Alfred? Krolock? Both? Neither? And why? Do tell!
That said, it can be argued that not very many actresses have played the role that way in the European productions. One thing everybody seems to agree on is that she's not actually in love with Alfred. Sure, there is a growing attraction there that is referred to in the course of various scripts and synopses, but in truth, attraction doesn't mean love. The key to Sarah in the show, to me, is that she wants to be saved from a restrictive, dead-end life, and if she couldn't do it herself, she'd find someone who could. Is Alfred infatuated with her? Absolutely. But is she in love with him? Arguably not. His usefulness to her as a fairly cute, gullible ticket to freedom is perhaps most proven by how quickly her attraction toward Alfred cooled when an even better offer came along (an immortal, handsome -- and very rich -- vampire count, no less!). Once a better possible avenue of escape from what she considered to be a dull existence with no real future came along, Alfred was out of mind.
But then the question becomes, what kind of escape did she expect? Well, if Sarah were alive now instead of in the 1800s, it could easily be said of her that Disney raised her expectations way too high, LOL. She's living in a life of endless drudgery, so she wants Prince Charming to come along and save her. I see her as a sheltered, naive child prone to any number of fanciful notions, with no firm grasp on the realities of life, or for that matter death. In Act One, there's a dream ballet that shows what she thinks will happen when she's finally in the Count's arms, and needless to say, it's very "fairy tale" and very unrealistic -- she imagines being the belle of the ball, dancing the night away, and exchanging, not an immortal bite, but a passionate kiss with Krolock.
Now, this one is more controversial, especially because of evident "Adaptation Distillation" by the actresses from what Kunze intended in his writing (TV Tropes ahoy!). Is she deeply in love with Krolock? I'd say no. Fascinated, yes. Awed, definitely. Maybe even a little bit frightened. But in love? That's pushing it. Pay attention to their "passionate love song" that opens Act Two. Take a look at the lyrics and see what they say about falling in love. Let's see... lyrics about Sarah's fears, lyrics about coping with new and frightening desires, lyrics about achieving some sort of freedom by surrendering herself to Krolock... oh wait, none of that is about love. "Totale Finsternis," to me, really breaks down what Krolock is to her: a venue for her to "become a woman" and attain the freedom she's longed for, a means to a desired end. In fact, when it comes to Krolock, she seems more preoccupied with what he can give her (beautiful gowns and red boots, her own bathtub and sponges of enormous size, social status, and being the envy of her peers and family). For Sarah, it's all about gaining her freedom first and foremost, not about finding true love.
But... I want to hear your opinions! Do you think she loves Alfred? Krolock? Both? Neither? And why? Do tell!