LOVE NEVER DIES OFF-BROADWAY REVIEWS

Show	NY TIMES	VARIETY	EW	TELEGRAPH	GUARDIAN

Synopsis: Ten years after the mysterious disappearance of The Phantom from the Paris Opera House, Christine Daae accepts an offer to come to America and perform at New York’s fabulous new playground of the world - Coney Island. Christine arrives in New York with her husband Raoul and their son Gustave. She soon discovers the identity of the anonymous impresario who has lured her from France to sing.

Broadway Reviews

NEW YORK TIMES REVIEW:

"To think that all this time that poor old half-faced composer hasn’t been dead at all, just stewing in his lust for greater glory. Being the title character of “The Phantom of the Opera,” the most successful musical of all time, wasn’t enough for him. Oh, no. Like so many aging stars, he was determined to return — with different material and a rejuvenated body — to the scene of his first triumph. So now he’s back in the West End with a big, gaudy new show. And he might as well have a “kick me” sign pasted to his backside."

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VARIETY REVIEW:

"This Phantom of the Opera sequel wants to be a tragic romance but it's simply torpid."

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ENTERTAINMENT WEEKLY REVIEW:

"Love may never die, but Andrew Lloyd Webber's eagerly awaited sequel to The Phantom of the Opera never flies, either. (The show opened at London's Adelphi Theatre; a Broadway production is scheduled to open on Nov. 11.) Already retitled ''Paint Never Dries'' in some online quarters, Love Never Dies inevitably invites comparisons with its predecessor, a global phenomenon that is still running in London after 24 years, remains the longest-running show in Broadway history, and has become the highest grossing entertainment of all time (outstripping even Titanic and Star Wars)."

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TELEGRAPH REVIEW:

"I must admit I attended Andrew Lloyd Webber’s long-awaited sequel to his world-conquering Phantom of the Opera with a degree of trepidation. Sequels often prove pale shadows of the original work that inspired them, and trail a disagreeable odour of the opportunistic cash-in. More ominously still, many of Lloyd Webber’s most fervent admirers appear to have turned against the new show. "

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THE GUARDIAN REVIEW:

"There is much to enjoy in Andrew Lloyd Webber's new musical. The score is one of the composer's most seductive. Bob Crowley's design and Jack O'Brien's direction have a beautiful kaleidoscopic fluidity. And the performances are good. The problems lie within the book, chiefly credited to Lloyd Webber himself and Ben Elton, which lacks the weight to support the imaginative superstructure."

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