Love Never Dies

08 Jan-01 Apr ,

Theatre reviews

First published on 22 Nov 2011. Updated on 2 Apr 2012.

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When the Australian production of Andrew Lloyd Webber’s Love Never Dies opened at Melbourne’s Regent Theatre on 28 May, 2011, the audience was blown away. There were hundreds of lights along every length of the topsy-turvy architecture. Dancers in extravagant and eccentric plumage spun around the stage on three revolving sections of the stage. Gigantic sounds emanated from the orchestra pit, soaring voices filled the auditorium, and the whole theatre got carried away with the rousing carnival atmosphere.

But probably the most appreciative member of the audience that night was Lloyd Webber himself. For the renowned composer, this production of his Phantom of the Opera sequel was the much-awaited realisation of a long-held vision.

“He was thrilled with it,” says the production’s resident director Gavin Mitford. “It’s a piece that’s extremely important to him and incredibly heartfelt to him. To see him here at opening night in tears was emotional for all of us.”

Time Out meets Mitford on the set of Love Never Dies between shows, when everything is in a state of suspended animation. The light bulbs are dormant and a couple of carousel beasties are hibernating upstage. It gives an idea of the tremendous labour that goes into bringing the production to life several times a week, but, as Mitford explains, the majority of work on the show occurred well before the show opened.

“The London production wasn’t received as well as Andrew had hoped,” says Mitford. “So the Australian creatives had the idea that an Australian team could have a crack at it.”

Under the supervision of director Simon Phillips, and with Lloyd Webber’s blessing and support, the script and the libretto underwent thorough surgery. Problems were solved, plot holes were patched over and the whole production was tightened and enhanced. Internationally acclaimed creatives were appointed – choreographer Graeme Murphy, lighting designer Nick Schlieper, costume and set designer Gabriela Tylesova – and an exceptional Australian cast, including Ben Lewis as Phantom, took to the boards.

The result, Mitford says, is immeasurably better than the London production – and Lloyd Webber, who oversaw the filming of the production for the official DVD in September 2011, would seem to agree.

What’s more, the show just keeps getting better. “The production is continually evolving,” says Mitford. “We’re constantly making it more potent, more concise, more concentrated. My job is about continuing to strengthen the quality of the show.”

But do you need to have seen the original Phantom of the Opera?

“This production stands on its own,” says Mitford, “but it is nice to know what has happened to the characters. It’s an added dimension. It’s more of the same world. And what’s wonderful is to see an iconic character like the Phantom span generations.”

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