Stream: Love Never Dies
Having seen the original show at the Adelphi in 2010 I must confess I was not too excited about watching the streaming of the filmed Australian production from the Regent Theatre in Melbourne in 2011.
Unkindly dubbed ‘Paint Never Dries’ by critics, this production went through several re-writes with Lloyd Webber bringing in Bill Kenwright to oversee. Although this production had Ramin Karimloo and Sierra Boggess as leads, lighting by Paul Constable and design by Bob Crowley, both award winning in their field, this production failed to light up the London stage. It closed after a disappointing run of less than eighteen months. My recollection was of confused storytelling, and dark and depressing staging which did not enhance the plot. However, I can clearly recollect a wonder moment when Christine at last sings the beautiful signature song, with the Phantom and Raoul either side of the wings, as the stage slowly revolved, and she stepped forward for applause. That was a magic moment.
Was I watching a different show with the same name from Australia? Was this same dull show I remembered? No, an entirely different animal. I loved the amazing Gothic set with again a movable truss bridging the stage. Gorgeous costumes evoking the Victorian pleasures of Coney Island’s Phantasma and the obsession with the bizarre and freak shows. It lacked the emotional depth and passion of the original Phantom but countered that with better storytelling. At last I understood why Christine was under his thrall, knowing that Gustave was really his son and not Raoul’s. This was soap opera with grand music and singing. Ahh, so her best friend Meg was denied her moment of glory by her return. Ahh, so Madame Giry was behind everything. Ahh, so Raoul turned out to be the bastard we always thought he was. It all made sense now. Even the reference to the contract with Hammerstein, knowing that Rogers and Hammerstein influenced Webber’s work.
Ben Lewis was a menacing figure as the Phantom and sung with depth and clarity, although his movement was static. Anna O’Byrne sang her role sweetly despite her over-white makeup. Sharon Millerchip stole the show with the lively chorus bathing beauty number and carried off the costume changes with deftness and a smile. The camera work was sometime a distraction and it would have been nice to view it at times from the audience viewpoint. However, no-one in this stellar cast and chorus could be faulted for their singing and acting performances.
Again, a surprise evening of pleasure in my own home. I understand that this production may be coming to The Curve in Leicester and the Manchester Opera House later in the year, but we shall have to wait and see. I shall certainly attempt to see it again.
