Love never dies.
Love will continue.
Love keeps on beating.
When you’re gone.

It was a bold move from Andrew Lloyd Webber to create a sequel to possibly the greatest musical of all time but in the past, Love Never Dies has been met with criticism. So, as someone who had never seen this show, how did it fare against the mammoth Phantom of the Opera? Seriously, it can’t, but allow for a few minor niggles (and one major) and you have an incredible show. That is, if it is done well. I am, therefore, happy to say that West Bromwich Operatic Society (WBOS) did exactly that.

A few months ago, I was in the same theatre watching the UK tour of Jesus Christ Superstar. This was better by far. The sheer professionalism and quality from those who don’t get paid for doing their craft was out of this world. I’m trying not to use a cliche here, but seriously, you could not deny that this production was West End quality. And I see an awful lot of shows a year to make that claim.

The plot. Ten years after the events at the Paris Opera House, Christine Daae travels to New York with husband Raoul, and young son, Gustave. There they are reunited with Madame Giry and her daughter, Meg. It was these two who aided the Phantom in escaping all those years ago and now together, run Phantasma, a Coney Island amusement park.

Let’s get those negatives out the way. The opening is slow, and you have three numbers in the first fifteen minutes before anything happens. Also, some songs, such as Bathing Beauty, however good, have no relevance. Then the biggest gripe. The Phantom, once an epitome of mystery is normalised into humanity. Despite this, the show does stand well on its own merits, and I enjoyed it. To be honest, I found it even darker (if that can be possible) than Phantom.

As The Phantom himself, Dan Smith gave a five-star performance, particularly in ’Til I Hear You Sing. An amazing voice and equally so in stage presence. Matching that was Molly-Anna Riley as Christine who excelled during the title song, Love Never Dies. Tye Harris was Raoul, now married to Christine and he also played his part to perfection, especially during Devil Take the Hindmost with Smith’s Phantom. But there has been addition to the events of Paris in Christine’s ten-year-old son, Gustave. What can I say? The performance of Elijah Critchley was out of this world in voice and acting throughout, most clear during The Beauty Underneath.

The Giry’s were portrayed superbly by Holly White (Meg) and Sarah Moors (Madame), and they duetted well in Only for You and Mother, Did You Watch? Rounding off the principals were a trio of oddball characters who were the definitive of creepy. These were Adam Partridge (Gangle), Tasheka Coe (Fleck) and Connor Welch (Squelch) whose Coney Island Waltz was outstanding in leading the ensemble.

And it is those often unsung (forgive the pun) performers in the ensemble who also gave it all. Each time they featured, scenes were full of quality and every move mattered. This is a credit to the production of Simon Pugh (Director), Ian Room (Musical Director) and Claire Flavell (Choreographer). Of course, there will have been far more involved in bringing this show so successfully to the stage, and they can all be proud of the result. A perfect production in all departments.

Cheers.

Antony N Britt.

*Photos taken from social media.