Reviews

There were a lot of great things in this book, like the relationship between the characters and the setting. The setting was definitely one of the strongest points of this book for me, I loved the descriptions and how vivid every room was for me.

aklev13's review against another edition

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4.0

As far as the Phantom reimagining aspect this is by far the least true to the spirit of the canon story. I enjoyed the gender swap element but there is none of that weird possessiveness from Erika (which is fine) and as far as her character is concerned she tutors him in singing and watches him compose and practice songs in secret. I think the divergence that bothered me most is that her scars dont really create any impediment in their relationship when they’re kind of central in the original. I think most of that has to do with the modern setting. It doesnt make much sense in a modern setting to have her unable to leave the theatre but Erika does have some understandable psychological barriers regarding her scars that disappear pretty much immediately when Christoff shows interest and i feel like that could have lingered to create more tension. Aside from the Phantom aspect this was actually a really good story and Christoff as a character had some really interesting dilemmas himself that made for an interesting counterpoint to Erika’s problems. The relationship felt quite healthy and fulfilling and i loved the band characters personalities.

fantasticallyfabled's review against another edition

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funny lighthearted slow-paced

Plot- or character-driven? A mix
Strong character development? It's complicated
Loveable characters? It's complicated
Diverse cast of characters? No
Flaws of characters a main focus? Yes

4.0

Erika Greene (Phantom reference #1) was once a Tony-nominated Broadway star, and playing Fantine in Les Misérables was her crowning achievement. A diva at heart, Erika loved performing. She loved being in the spotlight, she loved being adored by her fans, and she especially loved being the center of attention. But all that disappeared after a tragic accident left her face badly scarred (Phantom reference #2), her reputation ruined, and her career over. While Erika is recovering in the hospital, she learns she’s inherited an early-twentieth-century theater from her late grandmother, and it’s in Paris…Nevada. Feeling like a pariah and convinced she will never perform on Broadway again, Erika leaves New York behind, starts a new life in the desert, and makes the Paris Opera House (Phantom reference #5) her new home. A far cry from her lavish New York apartment, the theater, which Erika discovers was once a burlesque venue and brothel, needs significant repairs. Let’s be real; it’s borderline condemned and inches away from being foreclosed on by the bank. Oh, and it’s said to be haunted by no less than five ghosts, including that of a Frenchwoman killed by a falling chandelier (Phantom reference #7).

Christof Daae (Phantom reference #11) is the lead singer of the German glam metal band Nachtmusik (Phantom reference #17). Their first hit single, “Demon of Music” (Phantom reference #21), earned them modest fame in Germany, and they recently returned from their first European tour. But Christof wants more. He wants Nachtmusik to be world-famous. His plan? Take the band to the US and write a mega awesome and badass English-language metal album. But Christof has one teensy-weensy problem. His longtime girlfriend and the band’s keyboardist, Gillian (Phantom reference #33), has broken up with Christof and left the band. Even though Christof is weirdly okay with his relationship being over, Gillian is still their keyboardist, and the band isn’t complete without her. She won’t return any of Christof’s calls or texts, and he’s terrified to tell the rest of the band that Gillian has left them. Instead, he lies and says Gillian is off dealing with a sick family member. Christof hasn’t put up with his bandmates’ crazy hijinks and managed their finances to perfection (you should see his color-coded Excel spreadsheet) just to watch the band fall apart.

Unfortunately, Erika has her own teensy-weensy problem, and his name is Raoul Decomte (Phantom reference #42). Raoul owns Paris’ shiny new megacasino and is trying to buy up every drop of land Paris, Nevada, has to offer. Erika is sure that the Paris Opera House is his next target. Desperate to keep the bank from taking her beloved theater, Erika has been trying (and failing) to give historic, haunted tours of the Paris Opera House and Brothel. But the tourists in Paris aren’t interested in her dilapidated theater, especially when there are bigger, better, and newer attractions right down the road. Out of options and suddenly torn between selling pictures of her feet to creeps on the internet or renting the Opera House to the strange German band who just inquired about the theatre, Erika takes a chance and returns Christof’s email. After getting confirmation from Erika about the temperament and number of ghosts who haunt the premises, Christof agrees to rent the theater for two months so his band can write their new album. Assuring the band that Gillian will join them when she can, Christof; his sister and bass player, Sibylle; best friend and drummer, Waldo; and weirdly silent and vampire-like guitarist, Sergei, hop on a plane to beautiful Paris, Nevada.

Erika is shocked and completely unprepared when the band shows up two days later. But she is immediately drawn to Christof’s passion, drive, and ambition. Plus, she finds his eccentric wardrobe choices, low-slung pants, barely buttoned shirts, bleached hair, and general badassery unexpectedly sexy. But Christof has a girlfriend—at least that’s what he’s telling the band—and Erika has committed to being “good” so she can undo the “not-curse” she’s convinced is responsible for ruining her perfect Broadway life. Poor Christof has never met a “witch” like Erika and is utterly smitten. So, he tells Erika about Gillian and swears her to secrecy until he can figure out how to fix this mess. Erika is still not convinced Christof is telling her the truth, so she forces herself to stay away from him and his incredibly sexy, tight gold pants. But one night, when Erika can’t sleep, she discovers that Christof has been sneaking into the theater late at night to write songs and practice. Christof is magnetic, and Erika can’t help but spy on him from her perfect hiding spot in Box 5 (Phantom reference #53). Erika loves her private concerts, but being a classically trained vocalist, she knows Christof will ruin his beautiful voice if he constantly abuses it. When she can take the vocal cord torture no more, she offers to teach Christof how to use his vocal gifts properly (Phantom reference #69). But secret midnight voice lessons quickly turn into passionate trysts, and they soon realize that their feelings for each other are deeper and more real than they ever expected.

Midnight Duet is funny, eccentric, over the top, and a little weird—in all the best ways. I enjoyed finding all the Phantom of the Opera references and the one This is Spinal Tap nod. I had a few minor qualms with the book, but I enjoyed the story overall. The characters are a little EXTRA at times, but I guess when both the main characters are divas, EXTRA is what you get. If you are a musical theater aficionado, love glam metal, or just like to laugh along with your spicy scenes, Midnight Duet will not disappoint.