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    Divine diva proves that Love Never Dies in Phantom sequel's Dallas premiere

    Tarra Gaines
    Jul 23, 2018 | 9:16 am

    Broadway’s longest running musical, Andrew Lloyd Webber’s Phantom of the Opera, has enthralled audiences for 30 years, but Dallas will soon discover that the Phantom story didn’t end with the crashing of the giant chandelier. In the new musical Love Never Dies, that ultimate bizarre love triangle between the Phantom, the angelic-voiced Christine Daaé, and her protector, Raoul, lives on as they all meet again — this time in the new, strange world of early 20th-century New York.

    As the Love Never Dies tour heads to Dallas Summer Musicals, CultureMap caught up with Meghan Picerno, who stars as Christine, to find out what it takes to bring new life to this iconic role. In this Phantom sequel, 10 years have past. While Christine married Raoul, had a child, and has sung her way into international diva acclaim, the Phantom has found refuge and a new freedom living among the performers, freaks, and geeks of Coney Island.

    A voice for two worlds
    While Picerno hasn’t experienced any theater-haunting, masked maestros in real life, she is a classically trained opera performer in her own right, who finds it easy to move back and forth between opera and musical productions.

    “I am one of those artists who lives in both worlds,” she says of her opera and musical theater experiences. “Both of the worlds really help each other. The colors and tools that I’m using and learning in one, I bring over to the other. They enrich each other.”

    Picerno believes that with her opera training, she brings “a flavor that perhaps wasn’t always there” when tackling a Broadway show, yet when she crosses back to opera, she believes her experience with musical theater helps her bring urgency, and sense of being in the moment in her characters’ development. For Picerno, Love Never Dies, in some ways, merges those two worlds together.

    “Andrew Lloyd Webber is an absolute musical genius of our day, and his music is not too far from the opera world. This score of Love Never Dies is extremely classical. It’s a difficult score to sing and beautiful one.”

    A 20th-century woman with 21st-century problems
    From the first notes to the last, the story in Phantom was always one of heightened emotions and drama, perhaps very like some classic opera, and Picerno finds Love Never Dies offers that same volume of intensity.

    “Particularly in this story and where we find them, to me it is very operatic in the most glorious way. Everything is heightened. Where the story finds them all is in the most insane, extraordinary circumstance, she describes, adding “I do find from my opera training, when you do have larger than life situations and emotions, in order for that to work the foundation has to be completely genuine.”

    At first glance Christine’s story set at the turn of the 20th century might seem very removed from our 21st-century relationship concerns, but Picerno says some of her character’s dilemmas feel somewhat familiar, comparing the situation a bit like being ghosted by a guy or that unsettled situation when an old boyfriend pops back into your life. Above all, she sees aspects of the story having contemporary relevance.

    “Christine is not the 18 years old that we see in Phantom, a little naive and just starting out to discover what life is. This woman has lived, traveled and seen things, and she’s in a marriage that’s not so great,” Picerno describes of Christine’s growth and struggles. “She is the one making the money in her family. Even today, what is it like in our society when a woman is working and has a child. This is still in 2018, in some areas, an issue. For a woman of that strength in 1907, I find her pretty incredible.”

    The new adventures of Christine
    When asked if she tries to find connection with all the previous Christines who have gone before her, including Sarah Brightman who originated the role, while making this older, hopefully wiser woman her own, Picerno says it was conversations with Webber that helped her find her own way.

    “Within the context and constraints of the directing and the flavor of the show, he basically gave permission to make it my own. And that’s really exciting. It’s an honor to portray an iconic role, but again, it’s 10 years later. I want to be true to the role and stay true to her roots but find where she can grow and mature.”

    Whether opera or musical theater, early 20th or 21st-century set situations, Picerno believes there are some aspects of love stories we can all understand.

    “I cry every day onstage. Maybe there’s something wrong with me,” she says with a laugh. “It’s because I’m using my own pain, experiences and joy and then I use the music that Andrew Lloyd Webber writes to communicate that to the audience. Especially in this day and age with everything that’s going on in the world, people need art. They need theater, the human connection and to feel the things on stage.”

    ---

    Love Never Dies runs July 24-August 5 at The Music Hall at Fair Park. For tickets, showtimes, and information, visit the official site.

    Meghan Picerno (Christine Daaé) and Gardar Thor Cortes (The Phantom) star in Love Never Dies.

    Love Never Dies
    Photo by Joan Marcus
    Meghan Picerno (Christine Daaé) and Gardar Thor Cortes (The Phantom) star in Love Never Dies.
    musictheater
    news/arts

    Season Announcement

    Echo Theatre introduces Dallas audiences to a season of strangers in 2026

    Lindsey Wilson
    Jan 16, 2026 | 11:51 am
    The Roommate on Broadway
    Photo by Julieta Cervantes
    'The Roommate' was recently on Broadway.

    It's a "Season of Strangers" for Echo Theatre this year, as the Southwest's premier company for promoting dramatic works by women+ focuses on how someone different than you can change your life.

    The 28th season begins with the new musical Silhouettes by Jordan Ealey and Ari Afsar. This score-in-hand workshop was developed in the aftermath of the fall of Roe v. Wade, and examines a pivotal moment in American history through the intersecting lives of two women navigating the decision to have an abortion. Echo's managing and artistic director Kateri Cale directs, with Vonda K. Bowling as musical director.

    In a joint statement, Ealey and Afsar say that Silhouettes was born from their need to process the emotional and political aftermath of Roe’s fall. “We continue to see that history is cyclical and equity is fleeting,” they say. “But when policy fails, art has the opportunity to step in. Silhouettes is a musical about choice, sisterhood, and intergenerational courage.”

    They add that presenting the work in Dallas reflects their commitment to community-building in states like Texas, where bans and restrictions have made women and gender minorities particularly vulnerable. “We want this musical to be a safe and brave haven amid attempts to create a culture of fear and a reminder that people are not alone.”

    It runs January 16-17, 2026, and admission is free, though a $20 donation is suggested.

    The world premiere of You Must Wear A Hat by C. Meaker is next, and plugged-in Dallas theater fans might recognize the play from its reading at Kitchen Dog Theater in 2019.

    Tuesday and Weeks make hats on the Great Barrier Reef, waiting for the world to end. It's described as "A play for two. And a rabbit."

    C. “Meaks” Meaker (they/them) is a playwright, essayist, and teacher whose work often explores queerness, monstrosity, and the end of the world. Their plays have been performed and developed across the United States, including the Kennedy Center, Seattle Repertory Theatre, San Francisco Playhouse, Annex Theatre (Seattle), Hub Theater (D.C.), Fat Theater Project (Chicago), and About Face (Chicago). They’re a two-year finalist for the Dramatist Guild National Fellows program and a recent finalist for the Jerome Hill Theater Arts Fellow.

    You Must Wear a Hat runs February 27-March 14, 2026.

    The season closes with The Roommate by Jen Silverman. The play was on Broadway in 2024 starring marquee names Mia Farrow and Patti LuPone.

    In it, a divorced Midwesterner takes a roommate from The Bronx. A relationship evolves and secrets unfold into a darkly comedic exploration of life choices. It runs June 19-July 4, 2026.

    All shows this season will be performed at the Bath House Cultural Center, 521 E. Lawther Dr., in White Rock Lake Park.

    Tickets range from Pay-What-You-Can to $40, with discounts available for students and seniors.

    Additional events this season include Cake by the Lake on April 21, Echo's free birthday party fundraiser that also launches its reading series, Echo Reads.

    Echo Reads runs April through September, presenting six plays in six month. All plays will be performed on Tuesdays at 7:30 pm, and then read the next day at different venues around the city.

    Echo Offstage Podcasts is going monthly. The free podcast series interviews women+ who are making art and making a difference.

    And Echo is already teasing its 29th season, which will begin in the fall of 2026 and run the more traditional September through August instead of the calendar year.

    The season 29 opener is a co-production, the company mysteriously hints, involving three Dallas theaters, two shows, and an internationally known writer. We'll all just have to wait and see what this intriguing production might be.

    echo theatrepodcastsworld premieresecho readsthe roommate playtheater
    news/arts

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