Love Never Dies (musical)
Love Never Dies is a romantic musical composed by
Andrew Lloyd Webber with lyrics by Glenn Slater and
a book by Lloyd Webber, Ben Elton, Frederick Forsyth
and Slater. It is a sequel to the long-running musical
The Phantom of the Opera loosely adapted from the 1999
novel The Phantom of Manhattan, by Forsyth.
The plot is not based on the storyline in the original book
by Gaston Leroux. Lloyd Webber stated: I don't re-
gard this as a sequelit's a stand-alone piece.* [1] He
later claried: Clearly, it is a sequel, but I really do
not believe that you have to have seen Phantom of the
Opera to understand Love Never Dies.* [2] The musical
is set in 1907,* [3] which Lloyd Webber states is ten
years roughly after the end of the original Phantom",* [4]
although the events of the original actually took place in
1881.* [5]
In the show, Christine Daa is invited by an anonymous
impresario to perform at Phantasma, a new attraction on
Coney Island. With her husband Raoul and son Gustave
in tow, she journeys to Brooklyn, unaware that it is actu-
ally The Phantomwho has arranged her appearance
in the popular beach resort.
Although Lloyd Webber began working on Love Never
Dies in 1990, it was not until 2007 that he began writ-
ing the music. The show opened at the Adelphi Theatre
in London's West End on 9 March 2010, with previews
from 22 February 2010. It was originally directed by
Jack O'Brien and choreographed by Jerry Mitchell, but
the show closed for four days in November 2010 for sub-
stantial re-writes, which were overseen by Lloyd Webber,
and it re-opened with new direction from Bill Kenwright.
Set and costume designs were by Bob Crowley.* [6] The
original London production received mostly negative re-
views,* [7]* [8] but a subsequent Australian production
featuring an entirely new design team and heavy revisions
was generally better received, although the show nally
closed with heavy discounting to tickets.* [9] A planned
Broadway production, which was to have opened simul-
taneously with the West End run, was cancelled.* [10]
1 Background
I really do not believe that you have to have seen Phantom
of the Opera to understand Love Never Dies. I really don
t. But I hope if you see them together, if you wanted
to see them back-to-back, that what you would get from
them from both of them is the extension of where the
story goes.
Andrew Lloyd Webber* [11]
Andrew Lloyd Webber rst began plans for a sequel
to his 1986 hit musical, The Phantom of the Opera, in
1990.* [12] Following a conversation with Maria Bjrn-
son, the designer of The Phantom of the Opera, Lloyd
Webber decided that, were a sequel to come about, it
would be set in New York City at the turn of the 20th
century. One of his ideas was to have the Phantom live
above ground in Manhattan's rst penthouse, but he re-
jected this when he saw a TV documentary about the
Coney Island fairground.* [12] Lloyd Webber began col-
laborating with author Frederick Forsyth on the project,
but it soon fell apart as Lloyd Webber felt the ideas they
were developing would be dicult to adapt for a stage
musical. Forsyth went on to publish some of the ideas
he had worked on with Lloyd Webber in 1999 as a novel
entitled The Phantom of Manhattan.* [13]
Lloyd Webber returned to the project in 2006, collabo-
rating with a number of writers and directors. However,
he still did not feel the ideas he had were adaptable into
a piece of musical theatre.* [14] Finally, in early 2007,
Lloyd Webber approached Ben Elton (who had served
as the librettist for Lloyd Webber's The Beautiful Game)
to help shape a synopsis for a sequel, based on Lloyd
Webber's initial ideas. Elton's treatment of the story fo-
cused more on the original characters of The Phantom of
the Opera and omitted new characters that Lloyd Web-
ber and Forsyth had developed.* [14] Lloyd Webber was
pleased with Elton's treatment and began work on the se-
quel.* [13] In March 2007, he announced he would be
moving forward with the project.* [15]
The Daily Mail announced in May 2007 that the sequel
would be delayed because Lloyd Webber's six-month-
old kitten Otto, a rare-breed Turkish Van, climbed onto
Lloyd Webber's Clavinova digital piano and managed to
delete the entire score. Lloyd Webber was unable to re-
cover any of it from the instrument, but was eventually
able to reconstruct the score.* [16]* [17] In 2008, Lloyd
Webber rst announced that the sequel would likely be
called Phantom: Once Upon Another Time,* [18] and the
rst act was performed at his annual Sydmonton Festi-
val. The Phantom was played by Ramin Karimloo and
Raoul was played by Alistair Robbins.* [19] However, in
September 2008, during the BBC's Birthday in the Park
1
2 3 PRODUCTIONS

concert celebrating his 60th birthday, Lloyd Webber an- ing place within the show itself. Only Bathing Beauty
nounced that the title would be Love Never Dies.* [20] survived the post-concept album cuts to be performed on
In other workshop readings, Raoul and Christine were stage.
played by Aaron Lazar and Elena Shaddow.* [21] Instead of the operatic passages for ctional operas,
On 3 July 2009, Lloyd Webber announced that Karim- the stagemusic at Phantasma is based on the com-
loo (who had played the Phantom in the West End) and panion pieces to the Savoy Operas, which were often
Sierra Boggess (who had originated the role of Christine burlesques and were also sometimes performed at the
in Phantom The Las Vegas Spectacular) had been cast as Opra Comique. Many of these kinds of burlesques were
the Phantom and Christine and that the role of Meg Giry based on existing French operas. During the Victorian
would be played by Summer Strallen, Madame Giry by age, nearly every popular opera was turned into a bur-
Liz Robertson, and Raoul by Joseph Millson.* [22]* [23] lesque.* [37] The W. S. Gilbert (of Gilbert and Sullivan)
I'd Do Anything nalist Niamh Perry was given the role operatic burlesque Robert the Devil is a parody of Robert
of Fleck.* [24] le diable, a romantic grand opera by Meyerbeer, which is
Lloyd Webber originally intended for Love Never Dies to mentioned in the prologue to Phantom of the Opera.
open simultaneously in London, New York, and Shanghai These pieces were very popular among the lower class,
in the autumn of 2009.* [21]* [22]* [25] By March 2009, but not commonly seen by more sophisticated opera go-
he had decided to open the show at London's Adelphi ers. According to W. J. MacQueen-Pope:
Theatre, followed by Toronto's Royal Alexandra Theatre
(before transferring to Broadway's Neil Simon Theatre in This was a one-act play, seen only by the early
2010) and Shanghai.* [25] The three casts would rehearse comers. It would play to empty boxes, half-
simultaneously in London for three months beginning empty upper circle, to a gradually lling stalls
August 2009.* [25] Opening dates were soon announced and dress circle, but to an attentive, grateful
as 26 October 2009 in London, November in Toronto and appreciative pit and gallery. Often these
and February 2010 in Shanghai, with a later transfer to plays were little gems. They deserved much
Melbourne, Australia.* [26] Plans were then announced better treatment than they got, but those who
for a separate Broadway production to run concurrently saw them delighted in them. ... [They] served
with the Toronto show if Toronto proved successful.* [27] to give young actors and actresses a chance to
In May, the debut of the London production was delayed win their spurs ... the stalls and the boxes lost
until March 2010 due to Lloyd Webber re-orchestrating much by missing the curtain-raiser, but to them
the score and re-recording the album.* [28]* [29] Techni- dinner was more important.* [38]
cal issues with special eects and an automaton version
of Christine, and the casting of multiple simultaneous Like most burlesques, Robert the Devilfeatured
productions also contributed to the postponement.* [22] women in scanty costumes and breeches roles. In op-
By October 2009, Shanghai plans had been dropped in eras, these were always supporting roles. The pageboy
favour of an Australian production.* [30] role in the secondoperawithin Phantom of the Opera
is a breeches role, like the part of Cherubino, the Count's
On 8 October 2009, Lloyd Webber held a press confer- page, in The Marriage of Figaro. However, in burlesques,
ence at Her Majesty's Theatre, where the original Phan- breeches roles could be main parts.
tom has been running since 1986, conrming the cast-
ing of Boggess as Christine and Karimloo as the Phan- Very little specic information is available for most
tom. Karimloo sang Til I Hear You Singand the in- of these curtain openers. However, the opener for
strumental The Coney Island Waltzwas performed Pinafore, which had also been performed at the Opra
by an orchestra for the journalists, industry insiders, and Comique in 1878, was called Beauties on the Beach
*
*
fans who had assembled for the presentation. [31] [32]* . [39] Meg Giry's grand opening number in Love Never
Lloyd Webber announced that Love Never Dies would Dies is called Bathin Beauty.
begin previews in London on 20 February 2010 and an-
ticipated that the Broadway production would open on
11 November 2010 (this was later postponed* [33] and 3 Productions
then indenitely* [34]). Rehearsals began in January
2010.* [35]* [36] 3.1 West End (20102011)
The rst preview of Love Never Dies was delayed from 20
to 22 February 2010 due to a last-minute brief illness of
2 Score Boggess and technical demands.* [40]* [41] The show had
its ocial opening on 9 March 2010. It was directed by
As with Phantom, Lloyd Webber's score for Love Never Jack O'Brien and choreographed by Jerry Mitchell, with
Dies also includes original music in the style of the show's set and costume designs by Bob Crowley.* [6] The cast in-
time period to accompany characterperformancestak- cluded Ramin Karimloo as the Phantom, Sierra Boggess
3.3 Sydney (2012)
as Christine, Joseph Millson as Raoul, Liz Robertson as
Madame Giry, Summer Strallen as Meg Giry, and Niamh
Perry as Fleck. In April 2010, Lloyd Webber was threat-
ened with a 20,000 ne for illegally painting the Grade
II-listed Adelphi Theatre black to promote the show.* [42]
In December 2010, Lloyd Webber closed the London
production for a few days to rework the show after a poor
critical response. The musical was reviewed again (at
Lloyd Webber's invitation* [43]), with critic Henry Hitch-
ings noting that Some of the most obvious alterations
stem from the recruitment of lyricist Charles Hart to ad-
just the cadences of the original clunky lines written by
Glenn Slater.He further pointed out that There are
also lots of bracing directorial touches; the show is cred-
ited to Jack OBrien, but it is new choreographer Bill
Deamer and producer Bill Kenwright who have added
the zest.* [44] The London production closed on 27 Au-
gust 2011 after a disappointing run of fewer than eighteen
months.* [45] In 2012, Lloyd Webber stated that although
he was,very, very proudof the London production, it
did not completely work and also said, something just
went slightly wrong; I had cancer just before the produc-
tion, and it was just that crucial 5% o-beam.* [11]
The hoped-for Broadway production was announced as
delayed to spring 2011.* [33] Lloyd Webber also an-
nounced that Asian and Canadian productions were
planned, although these have been dropped for now.* [13]
After the mixed reviews and negative reaction from some
Phantom fans during previews, an executive producer
stated that before its bow on Broadway, the show would
likely undergo some changes.* [46] On 1 October
2010 it was announced that the musical would not open
on Broadway in Spring 2011.* [34]
In March 2013, it was reported that the musical might
return to the West End after a UK tour of the successful 3.5 Vienna (2013)
Australian production.* [47]* [48]
A concert rendition, translated entirely into German, was
held in Vienna, Austria, in the Raimund Theater in Oc-
tober 2013. It starred Drew Sarich as the Phantom.* [64]
3.2 Melbourne (2011)
In 2010, Lloyd-Webber announced that the Australian
production would open on 21 May 2011 at Melbourne's
Regent Theatre. This production, the rst outside of
the UK, featured brand new direction and design by
an Australian creative team, including director Simon
Phillips.* [49] Ben Lewis and Anna O'Byrne were cast
as the leads,* [50]* [51] Although Lloyd Webber hopes to
bring the Melbourne production to Broadway in the fu-
ture,* [52] he told The New York Times that, even with
the positive reception of the reworked Melbourne pro-
duction, a Broadway transfer was probably not realistic.
He also announced that the Melbourne production would
be lmed on 15 September 2011 and made available on
DVD.* [53] The recording was originally to be released on
DVD and Blu-ray 1 February 2012,* [54] but it was later
delayed till 29 May 2012 in the United States.* [55] In
the UK, the DVD was released on 12 March 2012,* [56]
3
and in Australia it was released on 8 February 2012. The
recorded performance also played in select theatres on 28
February and 7 March 2012.* [57] It was then screened
again in US cinemas on 23 May 2012.* [58] Lloyd Web-
ber stated at the time that, even if a Broadway production
did not happen, he felt that he had closed the chapter on
the piece, as the lmed version is something he's,very,
very proud ofand it does not really matter to him, if
it comes tomorrow or ve years' time.* [59]* [60] The
Melbourne production closed on 18 December 2011.
3.3 Sydney (2012)
The Melbourne production transferred to Sydney's
Capitol Theatre with previews beginning 8 January 2012
and ocially opened on 12 January 2012.* [61] The show
concluded its limited engagement on 1 April 2012.* [62]
3.4 Copenhagen (20122013)
Det Ny Teater in Copenhagen, Denmark announced that
their production of Love Never Dies would open on 24
October 2012* [63] and star Tomas Ambt Kofod and Bo
Kristian Jensen as the Phantom and Danish coloratura
soprano Louise Fribo as Christine. It featured a new
production design by Paul Farnsworth, new stagings by
Daniel Bohr, and new choreography by Hayley Franks
Hier. Karen Homann, who translated the score of
Phantom of the Opera into Danish, also translated this
score into Danish. The production closed 21 April 2013.
3.6 Japan (2014)
A Japanese production opened in March 2014 at the
Nissay Theatre in Tokyo with direction and designs
from the original Australian production.* [65] It starred
Masachika Ichimura and Takeshi Kaga as the Phantom
and Megumi Hamada and Ayaka Hirahara as Christine.
3.7 Germany (from 2015)
The German branch of Stage Entertainment announced
a production of Love Never Dies from fall 2015 at the
Operettenhaus in Hamburg. The show's title was trans-
lated literally asLiebe stirbt nie. The German produc-
tion was based on the original Australian version.* [66]
 4 4 SYNOPSIS (ORIGINAL)

3.8 US National Tour (2017) and take them to Coney Island ( Arrival of the Trio / Are
You Ready to Begin?"). Raoul is angry at the way they
A touring production is scheduled to travel through North have been greeted by the freaks and upsets Gustave by not
America in the 20172018 season.* [67] Performances playing with him (What a Dreadful Town!"). In spite of
will begin on October 3, 2017 in Baltimore, Mary- Christine's pleas, Raoul leaves to go drinking as Christine
land.* [68] tells Gustave to Look With Your Heartto try to help
him understand his fathers behaviour. After Gustave
leaves to go to bed, the Phantom enters and reveals that
it was he who summoned her to sing at Phantasma. In
4 Synopsis (Original) Beneath a Moonless Sky,the Phantom and Christine
recall the night of passion they shared the day before her
4.1 Act I wedding. Early the next morning, Christine awoke pre-
pared to abandon Raoul for the Phantom, but found that
In a brief prelude, Madame Giry walks along an aban- the Phantom had left her. He admits that he left because
doned pier recalling Phantasma, Coney Island's 'City of he was too afraid of being rejected by her again. They re-
Wonders' ( Prologue). She is then confronted by Fleck, call thatOnce Upon Another Time,they thought their
a freak who once worked with her there, who reminds her love had a chance of succeeding, although current situ-
of 'the good old days' and blames her for 'what happened.' ations prevent that from happening. Gustave wakes up
The audience is transported back in time through The screaming from a nightmare and meets the Phantom for
Coney Island Waltz.It is now ten years after the events at the rst time as Mr. Y (Mother Please, I'm Scared!").
the Paris Opera House, and the setting is at Phantasma on The Phantom promises to show Gustave more of Phan-
Coney Island in New York. An excited group of vacation- tasma the next day.
ers arrive overwhelmed at everything that Phantasma has In the rehearsal studio for Phantasma, Meg unexpectedly
to oer, and speculate about its reclusive, masked owner reunites with Christine, and is surprised and jealous to
and creator, a wealthy tycoon known only as Mr. Y ( learn she will be singing there. Raoul runs into Madame
Heaven by the Sea). Meg Giry, Christine Daae's friend Giry and discovers it is the Phantom who has invited
from the Opera, is now a headlining performer at Phan- Christine to sing there (Dear Old Friend). Chris-
tasma with Madame Giry, her mother and the Opera's tine becomes concerned when Gustave goes missing. The
ballet mistress, at her side. As Meg prepares for her per- freaks bring Gustave to the Aerie where he is greeted by
formance, she wonders what the boss will think and states the Phantom. Gustave plays a haunting melody on the pi-
she will be performing Only for Him.She wins the ano, which leads the Phantom to have a revelation that he
crowd over with her performance ofOnly for You,and could be Gustave's father (Beautiful). The Phantom
learns afterward that Madame Giry has arranged for her questions Gustave about his feelings and musical abilities,
to meetan important client. In Dear Old Friends nding that they are kindred spirits. He unmasks himself,
, it is conrmed that Mr. Y, the mysterious creator and believing Gustave will accept him (The Beauty Under-
owner of Phantasma is indeed the Phantom himself. In a neath). Gustave is horried and screams. Christine
dark, private lair in a tower high above the park, he inter- enters to comfort a terried Gustave. When the Phan-
acts with an automaton that resembles Christine. In spite tom presses her about Gustave, Christine confesses to the
of the ten years that have passed and his many successes, Phantom that Gustave is his son (The Phantom Con-
he still longs to be reunited with her (Til I Hear You fronts Christine). The Phantom declares that everything
Sing). Meg intrudes and presses the Phantom to give he owns will go to him. A furious Madame Giry over-
feedback on her performance, but he dismisses her as an hears this and fears all of her work over the years for the
annoyance. Madame Giry is irritated that the Phantom Phantom has been for nothing.
is still longing to be with Christine after all the help she
has given him over the years (Giry confronts The Phan-
tom/Til' I Hear You Sing Reprise). She reveals that 4.2 Act II
she and Meg helped smuggle him out of Paris and to a
ship departing from Calais, where he made his escape to Following the (Entr'acte), Raoul is seen sitting alone
America. Ignoring Giry, the Phantom summons Fleck, in a bar contemplating his relationship with Christine (
who appears with two other freaks, Squelch and Gangle. Why Does She Love Me?"). He is joined by Meg who
The Phantom has them send a letter to Christine inviting suggests that he should leave that night with Christine and
her to come and perform at Phantasma. Gustave. Raoul refuses, saying he is not afraid of the
Three months later, Christine, Raoul and their son, Gus- Phantom, who has since appeared behind the bar. The
tave, arrive in New York to crowds of paparazzi (Chris- Phantom makes a bet with a drunken Raoul: if Christine
tine Disembarks). It is revealed that Christine is no sings Raoul must leave alone; if she doesn't then all their
longer performing and that Raoul has spent much of their debts will be wiped away. He also makes Raoul question
fortune on drinking and gambling. They are greeted by his paternity of Gustave (Devil Take The Hindmost).
the freaks who arrive by a strange carriage without a horse At the beach, it is the last day of the season and the
 5.1 Act I 5

holiday makers are enjoying the experience (Heaven sing again (Til I Hear You Sing). At Phantasma, The
By The Sea Reprise). A balloon then lands on the Phantom's performers Dr. Gangle, Miss Fleck and Mr.
beach and the freaks advertise that night's performance Squelch introduce the wonders of Coney Island (The
(Ladies...Gents!/The Coney Island Waltz Reprise Coney Island Waltz). Meg Giry, Christine Daa's friend
). That night, they present Meg, who performs a strip- from the Paris Opera, has become The Ooh La La
tease routine about her choice of swimming costume ( Girl in The Phantom's vaudeville show, which Madame
Bathing Beauty). Backstage, Madame Giry tells Meg Giry produces. Meg and the Phantasma cast win the
that the Phantom had not been there to watch the perfor- crowd over with their performance of (Only for You
mance, and it had all been for nothing ( Mother, Did You ). Madame Giry has read in the newspaper that Christine
Watch?"). Raoul asks Christine to reconsider her deci- is coming to New York to sing for Oscar Hammerstein at
sion to sing, and asks her to leave at once if she loves him
the opening of his new Manhattan opera house. Madame

( Before the Performance). As Raoul leaves, the Phan- Giry is concerned that her daughter has lost the attention
tom enters and tells Christine that Raoul knows his love of the Phantom and she reminisces about how she and
is not enough and that she must sing for him once more. Meg smuggled him from Paris, France to New York City
Alone in her dressing room, Christine recalls the Paris ten years ago. (Ten Long Years) Christine, Raoul and
Opera House where she had to make the dicult decision their ten-year-old son Gustave arrive in New York and are
between Raoul and the Phantom. Backstage, Madame met by crowds of paparazzi (Christine Disembarks).
Giry, Raoul and the Phantom are wondering whether or They are greeted by Gangle, Fleck and Squelch, who ar-
not Christine will sing and who will win the bet. rive by a horseless carriage, to take them to Coney Island
As Christine prepares to perform, Meg makes a hurried (Are You Ready to Begin?).
exit (Devil Take The Hindmost Reprise). Christine Raoul is angry at the reception (What a Dreadful
then walks on stage and performs an aria for the crowd ( Town!") and upsets Gustave by not playing with him. As
Love Never Dies) while Raoul and the Phantom watch Raoul leaves to go drinking, Gustave believes that Raoul
from the wings. The Phantom greets an overwhelmed doesn't love him. Christine tells Gustave to Look With
Christine following her triumphant performance. Chris- Your Heart to try to help him understand (Look With
tine nds a letter from Raoul stating that he has left for Your Heart). Gustave goes to bed. The Phantom reveals
good. Christine realises that Gustave is missing and be- himself by stepping through the balcony door to Chris-
comes worried. Fleck reveals she had discovered Meg's tine. She faints, having believed he was dead, and he car-
dressing room smashed up and seen her with a small g- ries her to her chair. When she awakes, they remember
ure. Madame Giry believes she knows where she has about the last time they were alone together on the night
taken him. before Christine married Raoul and why The Phantom
ran away afterwards (Beneath a Moonless Sky). On
On a pier, a distraught Meg is preparing to drown Gustave
when she is confronted by the others. She holds up a gun the balcony they recall that they thought their love had a
chance of succeeding ( Once Upon Another Time). He
to them so that the Phantom will listen as she reveals the
truth: the resources that Madame Giry has aorded him oers to pay her double what Oscar Hammerstein is pay-
ing her to sing for him once more, just one song he wrote,
all these years have mainly come from Meg being forced
to work secretly as a prostitute to supporters of Phan- but Christine refuses. Gustave wakes up screaming from
tasma. The Phantom tries to get the gun from her but a nightmare (Mother Please, I'm Scared!") and Chris-
in the confusion Meg accidentally shoots Christine. The tine introduces him to the Phantom for the rst time. The
Phantom rushes to a fatally wounded Christine as Meg Phantom promises to show Gustave all of Phantasma the
watches, horried by what she has done. Christine re- next day. After Gustave returns to bed, The Phantom tells
veals to Gustave that the Phantom is his father. Her nal Christine that she must sing for him again or she will re-
words tell the Phantom that her love for him will never turn home without the boy. Just before leaving, he hands
die. They have one nal kiss, and she dies in his arms. her the sheet music for the song he wrote for her.
The Phantom hands the body of Christine to Meg and he In the rehearsal studio for Phantasma, Meg is surprised
comforts Gustave who unmasks him as the curtain falls. and jealous to learn that Christine will be singing af-
ter her. Raoul encounters Madame Giry and discovers
that the Phantom, not Oscar Hammerstein, is the one for
5 Synopsis (2012 version) whom Christine is singing
( Dear Old Friend). Gangle,
Fleck and Squelch bring Gustave to the Aerie, where he
is greeted by the Phantom. Child prodigy Gustave sings
5.1 Act I and plays a melody on the piano (Beautiful) that leads
the Phantom to suspect he is Gustave's father (He plays
Ten years after the events at the Paris Opera, the Phan- like me! He's just 10 years old...ten years old.) The
tom is now a well known tycoon, being the mastermind Phantom questions Gustave while showing him the dark
of Phantasma, a Coney Island amusement park. Despite wonders, illusions and freaks of Phantasma and nds they
the success of his endeavours, he is tortured by the ab- are kindred spirits. He unmasks himself, believing Gus-
sence of Christine Daae in his life and he longs to hear her
6 6 CHARACTERS AND ORIGINAL CAST

tave will accept him but Gustave is horried and screams Christine).
(The Beauty Underneath). Christine comforts Gus- Suddenly realising that Gustave is missing, Christine re-
tave and asks Meg to go with him back to the hotel so calls that she had asked him to wait backstage for Raoul,
that she and the Phantom can have a private conversa- but she does not want to believe that Raoul may have
tion. When pressed by the Phantom, Christine confesses taken the boy. Furious, the Phantom vows to kill the
that Gustave is his son (The Phantom Confronts Chris- drunken fool,but Squelch informs him that he saw
tine). The Phantom makes Christine promise to never the Vicomte leave alone. The Phantom then suspects
tell Gustave that Raoul is not his real father. Christine Madame Giry, because of her attitude towards him be-
swears she will and also promises that she will sing for
fore Christine's number, and proceeds to threaten Giry
him once more, and leaves. The Phantom declares that when she is brought to him by Squelch and Gangle.
everything he owns will be inherited by Gustave. Hav-
Madame Giry confesses that she knew about Gustave's
ing overheard everything, a furious Madame Giry fears true parentage, but denies abducting the boy. Fleck re-
all her work over the years has been for nothing.
ports that she was passing Meg's dressing room, where
she saw that the mirror has shattered, and Meg is now
nowhere to be found. Christine fears for her child's life,
5.2 Act II but Madame Giry assures her that Meg would never hurt
Gustave. The Phantom believes he knows where Meg has
In a gloomy bar, Raoul contemplates his relationship with gone (Gustave, Gustave).
Christine. He is joined by Meg, who tells him she swims
each day to wash away the stress of working. She tells At the pier, Meg prepares to drown Gustave, who cannot
Raoul that he must leave with Christine and Gustave and swim, when the others arrive to confront her. She reveals
runs out of the bar (Why Does She Love Me?"). Raoul to the Phantom that the resources Madame Giry has af-
says he is not afraid of the Phantom. Suddenly, the Phan- forded him came from Meg's working as a prostitute to
tom reveals himself to Raoul and they make a bet that inuential men. She expresses her hurt and resentment
if Christine sings, the Phantom wins and if she doesn't, that the Phantom never took any notice of her or appreci-
Raoul wins. If Raoul wins the bet, the Phantom will pay ated her singing and dancing. After sharing her feelings,
his debts and Raoul can leave with Christine and Gustave. Meg decides to let Gustave live and releases him. She
However, if The Phantom wins, Christine and Gustave produces a gun and holds it to her head, intent on ending
will remain in America with him and Raoul must return her misery. The Phantom tries to apologise and console
to Paris alone. The Phantom also leads Raoul to ques- her, but when he unthinkingly mentions Christine's name,
tion Gustave's paternity (Devil Take the Hindmost). Meg becomes agitated once again. When the Phantom
Fleck, Squelch and Gangle appear to advertise Christine's tries to take the gun from her, Meg accidentally shoots
appearance at Phantasma (Invitation to the Concert). Christine (Please Miss Giry, I Want To Go Back).
That night, Meg performs a strip-tease about her choice After Madame Giry and Meg are dispatched to nd help,
of swimming costumes Bathing
( Beauty). She success- Christine reveals to Gustave that the Phantom is his real
fully impresses the audience, but Madame Giry reveals father and the shocked boy ees Look
( with Your Heart
to Meg that the Phantom did not watch the performance, (Reprise)). Christine tells the Phantom that her love for
saying it was for nothing (Mother, Did You Watch?"). him will never die, then they share a nal kiss and she dies
In Christine's dressing room, Gustave helps his mother in his arms (Once Upon Another Time(Reprise)).
get ready for the show. Raoul arrives and Christine asks Gustave returns with Raoul, who looks on silently and
Gustave to wait for his father backstage. Raoul begs sadly, and Gustave lays his head on his mother's lap.
Christine not to sing, and to leave New York with him The Phantom surrenders Christine's body to Raoul, then
if she really loves him. Christine asks for some time and moves to the edge of the pier and collapses to his knees in
Raoul leaves. The Phantom enters and tells Christine that grief. Gustave goes to the weeping Phantom, who sings
Raoul's love is not enough. That she must sing for him to him, and the boy embraces his real father for the rst
and embrace her destiny (Before The Performance). time (Love Never Dies(Reprise)). Gustave then re-
Christine recalls the events at the Opera where she had moves the Phantom's mask, but does not react as he did
to decide between Raoul and the Phantom. (Twisted before; instead, he gently touches the Phantom's face in
Every Way) Madame Giry, Raoul and the Phantom an act of acceptance. Gustave and the Phantom gaze at
wonder whether Christine will sing (Devil Take The one another as the curtain falls.
Hindmost(reprise)). The curtain opens on Christine,
with Raoul and the Phantom watching from the wings at
either side. As the long musical intro comes to its end,
Christine makes the decision to sing. Raoul leaves just
before Christine nishes to thunderous applause (Love
6 Characters and original cast
Never Dies). Backstage, Christine is greeted lovingly
by the Phantom and the two share a kiss. She then nds The following is a list of the principal roles and original
a letter from Raoul informing her of his departure (Ah cast of Love Never Dies.
 8.2 Discography 7

7 Musical numbers February 2010 through The Mail on Sunday website.* [75]
It previewed elsewhere on 22 February 2010.* [76] It
is a love ballad about the male narrator expressing his
7.1 The Concept Album
longing to hear the voice of his beloved after many
years. The promotional music video was an excerpt
The Original Concept Album was released in March 2010.
of Ramin Karimloo's live performance at 8 October
It peaked at number 10 on the UK Albums Chart, No. 1
2009 London press launch and made viewable the same
in Greece, No. 8 in New Zealand and No. 15 in Den-
* day, with Karimloo singing in a blue-lit set while Sierra
mark. [69] The musical numbers appear in the following
* Boggess sits quietly on a throne. The ocial music
order on the original album. [70]
video features Karimloo undisguised in a at with a
backdrop of projector images and oating appearance of
7.2 London Boggess.* [75]
On 26 January 2010 the title songLove Never Dieswas
The Original London production opened with all the rst publicly performed at The South Bank Show Awards,
songs from the Concept Album. However, the show went sung by Sierra Boggess and accompanied by Lloyd Web-
through several rewrites and many of the songs were re- ber and Louise Hunt on two grand pianos. The show
arranged or even removed from the production. Charles was broadcast on ITV1 on 31 January 2010.* [77] The
Hart, one of the original lyricists from Phantom of the tune is identical to Lloyd Webber's other musical num-
Opera, was brought in to help in the rewrites.* [71] These
bers Our Kind of Lovefrom The Beautiful Game in
are the musical numbers as they last appeared in the Lon-2000 and The Heart is Slow to Learn, which was
don Production. intended for a Phantom sequel, sung by Kiri Te Kanawa
in 1998 at the Andrew Lloyd Webber: The Royal Albert
Hall Celebration.* [78]* [79]Love Never Diesalso has
7.3 Melbourne and subsequent produc- a very similar melody to Charles Williams' composition
tions Jealous Loverfrom the 1949 British lm The Romantic
Age. Jealous Loverwas later retitled Theme from
The Original (reworked) Australian production opened the Apartmentfor the 1960 Billy Wilder lm The Apart-
with many of the songs from the reworked London pro- ment.* [80]* [81]* [82]* [83]* [84]
duction with new staging. The reworked libretto is the
one currently used by subsequent productions (Copen- Welsh singer Katherine Jenkins was approached by Lloyd
hagen and Tokyo). Staging and musical numbers for the Webber to record her version of Love Never Diesin
Australian and subsequent productions: late 2009.* [85]* [86] The song appears as the rst track on
the special edition of Jenkins' album Believe, which was
Note: The Copenhagen and Tokyo productions have trans- released on 29 March 2010 in the UK. Jenkins performed
lated the libretto from English to Danish (by Karen Ho- the song with Lloyd Webber on the ITV1 show Dancing
mann) and Japanese (by Ryu Machiko) on Ice on 28 February 2010. Lloyd Webber has stated
that Jenkins would not t the score of his musical Love
Never Dies because her vocal range is a mezzo-soprano,
8 Recordings not a soprano like Sierra Boggess.* [22]* [87]
Japanese singer Ayaka Hirahara was chosen to record
8.1 Singles Love Never Diesin Japanese for a bonus track of the
soundtrack album's Japanese release.* [88]* [89] Love
The rst song released to the public was The Coney Never Dieswas also recorded in Mandarin by Liping
Island Waltz, on the musical's ocial site as part of Zhang and in Korean by Sumi Jo.* [90]
a Love Never Dies' teaser trailer video in September
2009.* [72]* [73] The teaser trailer combined clips from
the 2009 London EPK video of The Phantom of the 8.2 Discography
Opera (featuring Gina Beck, Ramin Karimloo, and Si-
mon Bailey)* [74] with black-and-white lm footage of The concept album of Love Never Dies was recorded
immigrants arriving by ship in New York City and shots around 20082009, using an 8090 piece orches-
of Coney Island. The ocial site later released The tra.* [25]* [91]* [92] Lloyd Webber did not like the or-
Coney Island Waltzas a sample track in 2009 and chestrations in the second act, so he had half the al-
as a complimentary music download for customers pre- bum re-recorded.* [93] John Barrowman had originally
ordering the Love Never Dies studio recording album. recorded the part of Raoul on the concept album but
The music video for The Coney Island Waltzis set was replaced by Joseph Millson, who had been cast as
to archival lm footage of Coney Island. Raoul for the stage production at the time the album was
Til I Hear You Sing, sung by Ramin Karimloo, was re-orchestrated and re-recorded.* [94]* [95]Sally Dexter,
the rst single from the musical and previewed on 20 who performed Madame Giry on the album, is replaced
8 9 RECEPTION

by Liz Robertson in the musical. The album was com- 9.1.1 Critics' reaction
pleted in September 2009 and scheduled to be released on
10 March 2010, the day after the show's London open-
ing.* [96] Preview sound clips from all tracks on the al- After Love Never Dies opened on 9 March 2010 in Lon-
bum became available online on 8 February 2010 at Ama- don, it received mixed critical reviews.* [109]* [110] Per-
zon.co.uk.* [97] haps the most positive review was Paul Taylor's in The In-
dependent giving the show ve stars, and writing,What
A cast recording of the original production was released is in no doubt is the technical excellence of Jack O'Brien's
on 8 March 2010 by Polydor Records in the UK and on seamlessly uent, sumptuous (and sometimes subtle) pro-
9 March 2010 by Decca Records in North America. It duction, or the splendour of the orchestra which pours
debuted at No. 82 on the Billboard 200, No. 1 on the forth Lloyd Webber's dark-hued, yearning melodies as if
Billboard Cast Album chart, and No. 10 on the UK Al- its life depended on them. Special praise should go to
bums Chart. It also charted at No. 1 in Greece, No. the lyrical lavishness of Bob Crowley and Jon Driscoll's
14 in Taiwan, No. 8 in New Zealand, and No. 15 in designs, with their gilt interiors where the vegetation-
Denmark.* [98]* [99] imitating contours and giant peacock-plumage of Art
Nouveau run rampant, and their ghostly external loca-
tions where a brilliantly deployed combination of ow-
8.2.1 Albums ing projection (timed to perfection with emotional/ rhyth-
mic shifts in the music) and solidly presented stage-eects
Love Never Dies Deluxe Edition [Original Cast create a dizzying Coney Island of the mind.* [111] In
Recording] stark contrast, Ben Brantley of The New York Times gave
Release date: 8 March 2010 (UK), 9 March 2010 (North it zero stars, calling the production a big, gaudy new
America) show. And he might as well have akick mesign pasted
Number of discs: 2 Audio CDs, 1 DVD-Video to his backside. ... This poor sap of a show feels as eager
Extras include:Bonus DVD with interviews and lmed to be walloped as a clown in a carnival dunking booth.
footage and 40 page booklet with full libretto Why bother, when from beginning to end, Love Never
Love Never Dies [Original Cast Recording] Dies is its very own spoiler.* [112]
Release date: 8 March 2010 (UK), 9 March 2010 (North Other positive reviews included Charles Spencer of The
America) Telegraph, who raved,this is Lloyd Webber's nest show
Number of discs: 2 Audio CDs since the original Phantom, with a score blessed with su-
Both recordings feature the same 19 tracks on Disc 1 and perbly haunting melodies and a yearning romanticism that
13 tracks on Disc 2 with each disc matching an act. sent shivers racing down my spine.He gave the show
A digital version of the double CD album was also made four stars out of ve, but cautioned that The show may
available on the Love Never Dies ocial online shop. ultimately prove too strange, too dark, too tormented to
become a massive popular hit, but I suspect its creepy
allure will linger potently in the memory when frothier
Charts shows have been long forgotten.* [113] Paul Callan of
the Daily Express also gave the show four stars, writing
Love Never Dies: Asian edition that Love Never Dies is an elegant and clever sequel
Release date: 30 March 2010 (North America) to Phantom and deserves to have the old Adelphi The-
Number of discs: 2 Audio CDs atre lled every night with Lloyd Webber's core, usually
*
Extras include: 2 bonus tracks, Love Never Dies middle-class, audiences. It is a great night out. [114]
(Mandarin language version) by Liping Zhang andLove In The Guardian, Michael Billington gave the show three
Never Dies(Korean language version) by Sumi Jo.* [90] out of ve stars, commenting,There is much to enjoy in
Andrew Lloyd Webber's new musical. The score is one
of the composer's most seductive.However, Billington
8.3 DVD and Blu-ray said, The problems lie within the book ... which lacks
the weight to support the imaginative superstructure.He
The musical was released in DVD and Blu-ray on 29 May continues, the staging is a constant source of irides-
2012 by Universal Studios Home Entertainment in the cent pleasure. But, as one of the lyrics reminds us,dia-
United States.* [108] monds never sparkle bright unless they are set just right
. ... With a libretto to match the melodies, this might
have been a stunner rather than simply a good night out
.* [115] Tim Walker of The Sunday Telegraph praised the
9 Reception production for what are undoubtedly the most impres-
sive special eects to be had in the West Endand said
9.1 West End the principals sang with gusto, charisma and sexiness.
Still, he found himself, yearning after a while for the
9.2 Australia
big showstopper ... but it never came.* [116]
In The Times, critic Benedict Nightingale gave the show
two out of ve stars and said, Where's the menace, the
horror, the psychological darkness? For that I recom-
mend a trip to Her Majesty's, not the Adelphi.* [117]
Another unenthusiastic review appeared in the London
Evening Standard, where critic Henry Hitchings wrote
that while Lloyd Webber's music is at times lavishly
operatic, the tone is uneven. There are no more than a
couple of songs that promise to live in the memory, the
duets dont soar, and the ending is insipid. Admirers
of Phantom are likely to be disappointed, and there's not
enough here to entice a new generation of fans. Hitch-
ings also commented that the storyis largely predictable
and imsy. The chief problem is the book. ... It lacks
psychological plausibility. Worse, it lacks heart. There's
little pathos or emotional tension. There is also scarcely a
moment of humour [the] lyrics are prosaic, and the ick-
ers of light relief are merely confusing.* [118] Similarly,
David Benedict of Variety wrote that the showwants to
be a tragic romance, but it's simply torpid. Only a radical
rewrite will give it even the remotest chance of emulating
its predecessor.* [119]
Quentin Letts of The Daily Mail gave the show a negative
review, stating that it is as slow to motor as a lawn-
mower at spring's rst cut. He also criticised the show
for lacking in storytelling and romance, stating that itas-
sumes that we understand the attraction these two dullards
[Phantom and Raoul] have for the beautiful Christine.
Could she do no better? ... In the end you conclude that
she simply seeks out suering to improve her art.Letts
praised the performances and the orchestration but con-
cluded that the show was not a hit: But if it is a miss,
it is ... a noble miss, noble because Lloyd Webbers in-
creasingly operatic music tries to lift us to a higher plane.
* .* [134]
[120] Susannah Clapp of The Observer was also critical
of the book and called the show draband about as
tension-lled as winding wool.Even the musical num-
bers, she wrote, never meld with the visual splendours,
never give the eect, which is Lloyd Webber's gift, of the
music delivering the scenery.* [121] Sam Marlowe of
Time Out London gave the show one out of ve stars, call-
ing itghastlyandan interminable musical monstros-
ity. He observes: With its sickening swirls of video
imagery, pointless plot, and protracted, repetitive songs,
Love Never Dies ... is punishingly wearisome.* [122]
Other negative reviews appeared in the Financial
Times,* [123] Entertainment Weekly,* [124] The Arts
Desk,* [125] and numerous others.* [8]
9.1.2 Audience and other assessments
Dave Itzko of The New York Times reported on fan reac-
tion: How is the new Phantom faring with theatergoers
who have seen it in previews? Not so well. ... Elsewhere
online, 'Love Never Dies' has even spawned a Facebook
9
protest group called 'Love Should Die', which declares
in its mission statement: 'We feel strongly that Andrew
Lloyd Webbers latest musical ... is a completely mis-
guided venture that is a detriment to the story of the orig-
inal Phantom of the Opera novel and musical of the same
name'. Virtually everything about the show strikes us
as illogical, irrational, oensive andfranklystupid.
*
[126]* [127] A barbed reworking of the show's title from
Love Never Dies to Paint Never Dries was originated
by the London-based theatre bloggers, The West End
Whingers.* [128]* [129] It has subsequently been picked
up and repeated by a multitude of journalists, both in
print and on screen.* [117]* [130]* [131]* [132]* [133]
Columnist Barbara Ellen of The Observer ridiculed the
pomposity of some of the unfavourable reviews in her
column on Sunday 28 March 2010, in a jokey Open
letter to London's famous Adelphi theatre": Dear Mr
Adelphi, Regarding the performance I viewed last week
of Andrew Lloyd Webber's Phantom sequel, Love Never
Dies, ridiculed as Paint Never Dries. With regret, I must
demand my money back; it simply wasn't bad or boring
enough. My companions and I paid our money and went
along in good faith, expecting a right old disaster. Imag-
ine our disappointment when it was good. The phantom
bore an eerie resemblance to Martin Amis sulking after
his ti with Anna Ford, but, sir, this was not enough. A
catastrophe we were promised and a catastrophe we ex-
pected to see. One concedes that it is not all the produc-
tion's fault. Negative reviews, the dark art of anti-hype,
are a dangerous business. However, do ne feelings pay
my babysitter? I feel that I, and several innocent coach
parties, were tricked into going to Paint Never Dries, and,
against our will, forced to endure an enjoyable evening.
I'm sure I speak for many when I say I left your theatre
wholly dissatised with how incredibly satised I felt
9.2 Australia
9.2.1 Critics' reaction
The reworked production received mostly positive
reviews during its engagements in Melbourne and
Sydney.* [135]* [136]* [137]
Chris Boyd, of The Australian called the musical, The
best thing Lloyd Webber has written in the quarter cen-
tury since Phantom of the Opera, Love Never Dies is still a
missed opportunity. It toys half-heartedly with domestic
melancholia. Christine's wealthy suitor Raoul, 10 years
on, is an insecure and possessive husband who uses his
wife's talents to pay o his gambling debts. He frets that
he cannot deliver to Christinethe rush that music brings
, leaving her vulnerable, once more, to her angel of mu-
sic. Love Never Dies provides several of those rush mo-
ments, but doesn't quite connect the starry dots. Musi-
cally, there are some richesa uttering duet between
Meg and Christine for examplebut few surprises.As
 10 11 REFERENCES

for Gabriela Tylesova's sets such as,Coney Island carni- re-twirlers and magicians, with Luna Park-like plastic
val, deco interiors, a shabby bar,he found them,end- heads, a portable big-top, and rows of carnies singing
lessly fascinating; they're spectacular without being os- from rollercoaster tracks suspended mid-air. It's breath-
tentatious. The main feature is an upright metal circle, taking stu, and not the best of Love Never Dies' dark
part Luna Park mouth, part Stargate. Her costumes, too, illusionism. That honor belongs to a scene, deeper into
are gorgeous.* [138] Coney, where transparent obelisks caging eldritch won-
Jason Blake of the Sydney Morning Herald said, ders including *
a gilded mermaid rotate across the
Phillips's production steers clear of chandelier mo- stage. [143]
ments, favouring sustained invention, seamless ow and
an engulng sense of nightmare. There's wow factor, of
course (a galloping carousel is an early highlight) though 10 See also
quieter scenes are realised with the same attention to de-
tail, particularly the recreation of a Coney Island bar to The Phantom of the Opera (1986 musical)
frame Raoul's saloon song feature (Why Does She Love
Me) and his face-o with Mr Y (Devil Take the Hind- The Phantom of Manhattan
most) An inspired, often ravishing production for sure,
though of a sequel that doesn't make a strong enough mu-
sical or narrative argument for its own existence.* [139] 11 References
In the Daily Express, Mark Shenton commented, Now
under the new leadership of director Simon Phillips, and [1] see Lloyd Webber launches Phantom 2, BBC News, 8 Oc-
with a fresh creative team, there is a new vision to the tober 2009
show in Australia and here, at last, is the masterpiece that
[2] see Andrew Lloyd Webber responds to critics, talks 'Phan-
was always crying to be let out...The new production has tom' at 25, 'Love Never Dies')
a spectacular Gothic theatricality that heightens, deepens
and darkens those emotions.* [140] [3] Phantom Sequel, Love Never Dies, Now Due in London
and on Broadway in March 2010. Playbill.com. 18 May
Kate Herbert of the Herald Sun gave the show four out 2009.
of ve stars and wrote, With its vivid design, eccen-
tric characters and mystical imagery, this is a ravishing [4] Andrew Lloyd Webber on Love Never Dies. YouTube. 8
spectacle that captures the dark mystery of a perilous fair- October 2009. Retrieved 30 August 2015.
ground (circa 1907) and should convert even a die-hard
[5] Phantom Las Vegas: Synopsis of scenes and musical num-
Phantom fan.She also said,Lloyd Webber's score (con-
bers.
ducted skilfully by Guy Simpson) intermittently and ele-
gantly reprises the original Phantom, connecting the two [6] LoveNeverDies.com The Show: Creative Team
storiesbut she did feel that, several songs, with trite
lyrics, lack punch. A bigger problem is the unsatisfying [7] New York Times:Love Never Dies
Looking Less Likely
story. There are unnecessary Red Herrings and too many for Broadway This Season'
villains.* [141] [8] Press Reviews. Love Should Die website, accessed 11
William Yeoman of The West Australian wrote, With August 2010
book by Ben Elton and lyrics by Glenn Slater and Charles
[9] The Sydney Morning Herald: 'Coney Island lights start
Hart, Love Never Dies is a curious mixture of gothic
dimmingSydney Morning Herald, 10 November 2011.
romance, vaudeville and verismo, with Lloyd Webber's
lush, romantic score spinning like a fairground ride from [10] The Australian: 'Moonshadow musical testing ground
Puccini to Pulcinella to driving rock to delicate aria as gets tough. The Australian, 16 June 2012.
the tragedy unfolds. Under Simon Phillips' unfailingly
cogent direction, the cast too manage to transform the [11] Andrew Lloyd Webber responds to critics, talks 'Phan-
tom' at 25, 'Love Never Dies'". Entertainment Weekly's
most unpromising material, if not into gold then at least
EW.com. Retrieved 30 August 2015.
into silver.* [142]
Cameron Woodhead of The Age gave the show three and [12] Wigg, David (5 March 2010). Andrew Lloyd Webber's
sequel to The Phantom of the Opera, which opens next
a half out of ve stars and said, Between Gabriela
week, is already being hailed as even better. Can it live up
Tylesova's set and costumes, Nick Schlieper's lighting,
to the hype?". London: Daily Mail.
and Graeme Murphy's choreography, youre in for some
spectacular stagecraft. After the Phantom pines for [13] London Theatre Tickets, Theatre News and Reviews
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Island Waltz). Introduced by a trio of freaks, the amuse-
[14] Lloyd Webber, Andrew. A Note From The Composer
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12
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Missing or empty |title= (help)
[66] LIEBE STIRBT NIE DAS PHANTOM DER OPER
KEHRT ZURCK (transl. LOVE NEVER DIES THE
PHANTOM OF THE OPERA COMES BACK)". Stage
Entertainment. 24 February 2015. Retrieved 2 March
2015.
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Dies Will Tour U.S.. Broadway.com. Retrieved 30 Au-
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[68] LOVE NEVER DIES North American Tour Will
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[70] http://www.loveneverdies.com/the-show/
musical-numbers/
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11 REFERENCES
[75] A fabulous new Phantom song now hear it rst with
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[77] Gans, Andrew (22 January 2010). Title Tune From
Lloyd Webber's Love Never Dies to World Premiere on
South Bank Show Awards. Playbill.com.
[78] Thenewtitle song fromLove Never Dies"". Best-
Musical.net. 4 February 2010.
[79] Gans, Andrew (11 March 2007). Lloyd Webber Will
Pen Phantom Sequel. Playbill.com.
[80] Callan, Paul (10 March 2010). Press Review The
Daily Express. The Daily Express. LoveNeverDies.com.
(But do the rst couple of bars not bear a resemblance to
the Rachmanino-type scene from Billy Wilder's comedy
The Apartment?)
[81] Hirschhorn, Clive. Phantom's Lowly Stepchild. The-
aterNewsOnline.com. The ubiquitous title song and the
best in the show has a whi of Adolph Deutsch's theme
tune from Billy Wilder's The Apartment (the rst four
notes are identical)
[82] Seckerson, Edward (8 March 2010).Love Never Dies
at last some constructive thoughts. Independent Minds.
Archived from the original on 25 July 2011. ...about the
main title of The Apartmentto which it bears a dis-
turbing resemblance
[83] Adoph Deutsch's The Apartmentw/ Andre Previn's
The Fortune Cookie Kritzerland.com
[84] Eldridge, Je. FSM: The Apartment FilmScore-
Monthly.com
[85] Jenkins 'thrilled' with Lloyd Webber honor. WENN.
3 March 2010.
[86] Battle of the divas: Katherine Jenkins takes on Phantom
star Sierra Boggess with rival version of Love Never Dies
. Daily Mail. London. 6 February 2010.
[87] Sir Andrew Lloyd Webber would love to work with
Katherine Jenkins. ThaIndian.com. 12 August 2009.
[88]
(in Japanese). RBB Today. 11
March 2010. Retrieved 11 March 2010.
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[90] Tuesday's Connector Andrew Lloyd Webber. Connect-
theworld.blogs.cnn.com. 8 March 2010.
[91] Lloyd Webber, Andrew. ANDREW LLOYD WEBBER:
Love Never Dies... but here's how I nearly did Daily Mail.
12 January 2010
 13

[92] Phantom Sequel to Play West End's Adelphi Theatre Be- [112] Brantley, Ben. Same Phantom, Dierent Spirit New York
fore Bowing on Broadway. Broadway World. 27 March Times. 9 March 2010.
2009.
[113] Spencer, Charles. Love Never Dies at the Adelphi The-
[93] Riedel, Michael (9 October 2009).Cash ows to 'Phan- atre, review Telegraph. 9 March 2010.
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[94] Bamigboye, Baz (29 January 2010). John Barrowman
set to play villain in Desperate Housewives. London: [115] Billington, Michael. Love Never Dies Adelphi, London
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[95] John Barrowman: my ti with Andrew Lloyd Webber [116] Shenton, Mark (15 March 2010). Paint Never Dries
. London: The Daily Telegraph. 27 February 2010. but does mud always stick?". The Stage blog: Shenton's
View.
[96] Love Never Dies global launch. AndrewLloydWeb-
ber.com. 8 October 2009. [117] Nightingale, Benedict. Love Never Dies at the Adelphi,
London The Times. 10 March 2010.
[97] BWW News Desk. Preview Clips Now Available from
LOVE NEVER DIES CD Broadway World. 8 February [118] Hitchings, Henry. Love never dies...it just fades away
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[98] Cauleld, Keith (17 March 2010). "'The Phantom of the [119] Benedict, David. Love Never Dies Variety. 10 March
Opera' Sequel Scores on Billboard 200. Billboard.biz. 2010.

[120] Letts, Quentin (10 March 2010). Stodgy Phantom se-

[99] LOVE NEVER DIES Hits No. 1 on Billboard Cast
quel not quite a hit.... London: The Daily Mail.
Album Chart. Broadway World. 18 March 2010.
[121] Clapp, Susannah (14 March 2010). Love Never Dies;
[100] "Austriancharts.at Musical Love Never Dies(in Ger-
London Assurance. The Observer.
man). Hung Medien. Retrieved 8 August 2013.
[122] Marlowe, Sam (18 March 2010). Love Never Dies.
[101] "Danishcharts.com Musical Love Never Dies. Hung
Time Out London.
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[123] Shuttleworth, Ian. Financial Times, 12 March 2010
[102] Love Never Dies Simon Lee / Andrew Lloyd Webber.
Allmusic. Rovi Corporation. Accessed on 8 August 2013. [124] Shenton, Mark. Love Never Dies (2010)". EW.com, 11
March 2010
[103] "Longplay-Chartverfolgung at Musicline (in German).
Musicline.de. Phononet GmbH. Retrieved 8 August 2013. [125] Wolf, Matt. Love Never Dies, Adelphi Theatre .The Arts
Desk, 10 March 2010.
[104] "Greekcharts.com Musical Love Never Dies. Hung
Medien. Retrieved 8 August 2013. [126] Itzko, Dave. Down Once More to the Dungeon: The
Phantom Prepares for His Return. NYTimes.com. 9
[105] "Charts.org.nz Musical Love Never Dies. Hung Me- March 2010.
dien. Retrieved 8 August 2013.
[127] About Love Should Die LoveShouldDie.com. 9 March
[106] "Swedishcharts.com Musical Love Never Dies. Hung 2010.
Medien. Retrieved 8 August 2013.
[128] Review Love Never Dies, Adelphi Theatre West End
[107] ORIGINAL CAST RECORDING | Artist | Ocial Whingers. 2 March 2010.
Charts. UK Albums Chart Retrieved 8 August 2013.
[129] Guardian theatre critics are UK's best, says the Stage The
[108] Phantom of the Opera Sequel Love Never Dies Heading Guardian. 6 May 2010.
to Blu-ray and DVD in May. Dread Central. Retrieved
30 August 2015. [130] Todd, Ben, and Katie Glass. Standing ovation shows
love for Andrew Lloyd Webber's Phantom will never die...
[109] Winer, Linda (17 March 2010). "'Phantom' sequel un- even if critics want to retitle sequel 'Paint Never Dries'".
masked in London to mixed reviews. Newsday. PopMat- Daily Mail. 10 March 2010.
ters.com. ...'Love Never Dies,' which opened in London
last week to some of the wildest mixed reviews in history. [131] Shenton, Mark. Love Never Dies (2010). Entertainment
Weekly. 11 March 2010.
[110] Broadway debut of Love Never Dies is postponed.
BBC News. 7 April 2010. The sequel to Phantom of the [132] Riedel, Michael. 'Phantom' menace: Sequel is shaky.
Opera has been met with mixed reviews since it opened in New York Post, 12 March 2010.
the West End in March.
[133] Brooks, Richard. Bloggers boo and hiss at return of the
[111] Taylor, Paul. First Night: Love Never Dies, Adelphi The- Phantom in Love Never Dies. The Sunday Times, 7 March
atre, London The Independent. 10 March 2010. 2010.
 14 12 EXTERNAL LINKS

[134] Ellen, Barbara. MPs are in no position to sneer at any-

one, Diane. The Observer, 28 March 2010.

[135] Love Never Dies Melbourne Reviews. Really Useful

Group. Retrieved 30 August 2015.

[136] BWW. Review Roundup: Australian Production of

LOVE NEVER DIES. BroadwayWorld.com. Retrieved
30 August 2015.

[137] Review Roundups. Review Roundup: LOVE NEVER

DIES Makes Its Sydney Premiere. BroadwayWorld.com.
Retrieved 30 August 2015.

[138] Phantom sequel spectacularly unmasked

[139] Love Never Dies review. The Sydney Morning Herald.

Retrieved 30 August 2015.

[140] Mark Shenton. Love Never Dies review: Sydney shows

love is eternal. Express.co.uk. Retrieved 30 August
2015.

[141] Review: Love Never Dies by Andrew Lloyd Webber, Re-

gent Theatre, Melbourne

[142] Musical Review: Love Never Dies. yahoo.com. Re-

trieved 30 August 2015.

[143] Love Never Dies: Review

12 External links
Love Never Dies
16-image photo gallery from The Daily Telegraph

15-mage photo gallery from Playbill

Love Never Dies Casting Breakdown
 15

13 Text and image sources, contributors, and licenses

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