I didn’t really know what to expect of Love Never Dies, aside from the fact that the story had moved to Coney Island and that action was taking place ten years or so from where Phantom left off. Mr DCB told me that some adjustments had been made since it originally opened, but bearing in mind we never saw the initial version, there was nothing to compare it to, and I was happy just to sit there and let it wash over me and then form my opinions unaffected by anything else I read. The original characters from Phantom including Madame and Meg Giry are all reunited in this new and magical setting, which is idealy placed for the darkness of the story. The surrealism is aided greatly by three freakshow sidekicks Fleck, Squelch and Gangle who camp up the costumes and are able supporting cast members, alongside the young actor playing Christine and Raoul’s son. Despite this extra padding however, I think all anyone really wants to know is if the love triangle between Phantom, Christine and Raoul is set to be resolved. My lips are sealed ;o)

The Phantom visits Christine to persuade her to sing for him.

I would argue that Love Never Dies is more Phantom’s story than Christine’s – in fact after what felt like her being on stage for 10 minutes and not having said a word, I was beginning to wonder if part of the new story was that she had lost her singing voice, and therefore was no longer the Phantom’s inspiration. Eventually she did speak and normality resumed. The chemistry between Ramin Karimloo as our musical impresario and Sierra Boggess as his protege was thoroughly believable (although if I was nitpicking, then to me the Phantom should have a far greater physical presence then Karimloo does, being only an inch or two taller than Boggess) – perhaps less so that between Christine and husband Raoul who seemed to have been cast in the role of obvious pantomime villain. All three had fantastic singing voices although I did feel that Christine’s role didn’t require as much of a musical challenge as in Phantom, which was a shame because Boggess singing was simply stunning. I genuniely think that over time the score will stand strong in exactly the same way we are used to the songs from Phantom, but they won’t be instant classics. Lloyd Webber has kept one of Phantom’s signature tunes running throughout Love Never Dies which I think pays a suitable homage to the prequel and afficionados will recognise it as soon as they hear it.

Not wanting to give anything away about the actual story itself, I would simply advise anyone who is unsure to go along anyway and decide for yourself. The costumes and set design are every bit as lavish as you would expect from a West End show, and the transition from one location to another and moving the story forward is cleverly done. I would love to think that in ten years to come it is still pulling in the crowds but only time will tell. Certainly it coudn’t replace Phantom in my affections, but I don’t think any other musical ever would. This is certainly a worthy contender though.

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