“Love Never Dies” sees the Phantom (officially named “Mr Y”) opening an extravaganza titled “Phantasma” to complement and surpass the variety of other attractions on offer in this thriving entertainment centre of the 1900’s. He has been aided in his undertaking by Mme Giry – ballet mistress at the Paris Opera in the original Phantom – whose daughter, Meg, is the star of the show. But the Phantom’s obsession with Christine is as desperately felt as ever, and he arranges for her to be invited to appear at Phantasma to perform his latest masterpiece of an aria. Christine’s arrival wakens turbulent emotions and dramatic events, as various rivals now come face to face: Christine and Meg are the competing stars, Christine’s childhood sweetheart Raoul (now a drunken wreck) and the Phantom still vie with each other for her affections, and even Mme Giry finds that she has an unlikely challenger as the probable heir to all the Phantom has amassed.

As a story on its own this all holds up pretty well, though in many respects the characters and scenarios do not seem consistent with who and how they were ten years earlier. In Love Never Dies, the air of “mystery” that surrounded the Phantom is gone – we see Mme Giry, Meg and even servants charging in and out of his quarters with confidence and ease, a far cry from his Paris “lair” which few seemed able and prepared to enter. Mme Giry’s earlier restrained respect when speaking to the Phantom has given way to outspoken resentment when they now come face to face. And somehow Raoul has lost all of his former loving qualities and become a one-dimensional unprepossessing drunkard who makes one wonder why Christine has even stuck with him.

In „Love Never Dies“, narrative comes at the expense of character, with many lyrics providing exposition rather than highlighting personalities. So the Phantom and Christine’s opening duet simply recounts their last encounter – an important event in the light of ensuing events – rather than focusing on their emotions at this, powerful, moment. Glen Slater’s words thereby frequently come across as being, though effective, functional rather than inspired or even illuminating, and sometimes the overuse of a underwhelming lyrical hook – “Beneath A Moonless Sky”, “Devil Take The Hindmost” – ends up grating.

Much of the music does make up for this. There are some splendid numbers that will make any Lloyd Webber fan’s head brim with melodies on leaving the theatre. Stylistically it seems that the Lord has endeavoured to give most of the major tunes in the original Phantom a counterpart here. So the operatic counterpoint of Prima Donna becomes the glorious tongue-in-cheek quartet Dear Old Friend; like the title song in the original, there is a roaring, pulsating rock number that comes out of nowhere in this sequel (The Beauty Underneath); and motifs from that first score pop up throughout. As befits the new theatrical setting of Phantasma (as opposed to the Paris Opera House) jovial and catchy burlesque pastiches replace operatic interludes, which provides a new and successful musical colour.

“Love Never Dies” is pretty much through-composed, and although the audience is treated to some great numbers, many of the passages of recitative prove rather less inspired, especially the more narrative-driven numbers, with the opening of the second act suffering especially, with Raoul’s shallow lament “Why Does She Love Me?” being followed by the somewhat mechanical “Devil Take The Hindmost” (which is even reprised later).

Where „Love Never Dies“ unquestionably succeeds is in the performances. Ramin Karimloo sings and acts the role of the Phantom to perfection, investing all of his songs with emotion and meaning, and proving capable of singing with sonorous beauty as well as really “rocking it up” when required. Sierra Boggess as Christine possesses a beautiful soprano voice with which she conveys all of the passion and drama her role demands. Amongst the other parts Summer Strallen really shines as Meg Giry, who is given a more significant role in proceedings than in the original, and who gets to perform a multiple quick-change routine during her number “Bathing Beauty” that is sure to have the unexpecting theatregoer open-mouthed in amazement.