SIMON Phillips' extravagant production of Love Never Dies infuses new energy into Andrew Lloyd Webber's Phantom of the Opera sequel.
With its vivid design, eccentric characters and mystical imagery, this is a ravishing spectacle that captures the dark mystery of a perilous fairground (circa 1907) and should convert even a die-hard Phantom fan.
The Phantom (Ben Lewis), 10 years after his abduction of Christine (Anna O'Byrne), is now a wealthy impresario running a Coney Island attraction. He lures Christine, her husband Raoul (Simon Gleeson) and son, Gustave (Kurtis Papadinis) to Manhattan.
Lewis is formidable as the Phantom. With his velvety tones, superb range and consummate acting, his performance rivals former Phantoms. His opening rendition of 'Til I Hear You Sing is thrilling and no song that follows meets this level.
O'Byrne's beautiful soprano is a perfect match for Lewis in their duets (Beneath A Moonless Sky, Once Upon Another Time) and her version of Love Never Dies is affecting. The Beauty Underneath is a surprising rock number sung by Lewis, Papadinis and the distinguished ensemble while Sharon Millerchip, as Meg Giry, is delightfully cheeky performing Bathing Beauty.
Gabriela Tylesova's heroic design supplies soaring gantries, a giant Phantom mask and occult imagery while the period costumes are high gelati in colour, evoking both freak shows and Edwardian elegance.
Phillips saturates the stage with sideshow freaks, acrobats and impish dancers (performing Graeme Murphy's choreography) and sometimes it's so busy, it's hard to know where to look.
Lloyd Webber's score (conducted skilfully by Guy Simpson) intermittently and elegantly reprises the original Phantom, connecting the two stories but several songs, with trite lyrics, lack punch. A bigger problem is the unsatisfying story. There are unnecessary red herrings and too many villains. Madame Giry's (Maria Mercedes) role in the tale keeps changing, Meg's jealous rage is surprising -- even unlikely -- and there is little evidence of any history of love between Raoul and Christine. A duet for the couple is sorely missed.
Gustave could be in greater danger here and the centre of bitter rivalries but that thread unravels. The stakes are not high enough and the final tragic scene loses impact without a clear narrative structure.
While Love Never Dies sets a visual design standard that will be difficult to surpass, it is disappointing that the narrative and music fail to reach the same lofty heights.
LOVE NEVER DIES, Regent Theatre
Opening night review, May 28
Melbourne accommodation: Metro Apartments on Bank Place
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