Things to look forward to in 2012

Here are a few of the top musicals, art exhibitions and plays I am looking forward to in 2012...

MUSICALS

1. Master Class, Vaudeville Theatre, from 21 Jan


2. Singin’ In the Rain, Palace Theatre, from 4 Feb


3. Sweeney Todd, Adelphi Theatre, from 10 Mar


4. Top Hat, Aldwych Theatre, from 19 Apr


5. Wah! Wah! Girls, Peacock Theatre, from 24 May


ART

1. Lucian Freud Portraits, National Portrait Gallery, 9 Feb-27 May

2. Damien Hirst, Tate Modern, 5 Apr-9 Sep

3. Picasso and Modern British Art, Tate Britain, 15 Feb-15 Jul

4. David Hockney RA: A Bigger Picture, Royal Academy of Arts, 21 Jan-9 Apr

THEATRE

1. The Madness of George III, Apollo Theatre, from 18 Jan


2. Hay Fever, Noël Coward Theatre, from 10 Feb


3. All New People, Duke of Yorks Theatre, from 22 Feb


4. Wild Swans, Young Vic, from 13 Apr


5. Mark Rylance at the Globe, from 7 Jun

THOROUGHLY MODERN MAN: Cinderella, Tabard Theatre

What a magical show! The Tabard Theatre in Chiswick has been journeying to exciting places over the past few years. At a time when many fringe venues are strapping down on budgets and sacrificing quality, the Tabard is continuing its steadily upward incline.

Recent shows such as 'Ruddigore' and 'You're a Good Man, Charlie Brown' have extended the capabilities of the small stage, and it is clear that designers and directors are becoming more strategic in their utilisation of the space. Their new production of Rodgers and Hammertein's 'Cinderella' is the finest I have witnessed at the venue, and is one of the best pieces of fringe theatre I can remember seeing in London.

The show itself is a real gem from Rodgers and Hammerstein, with a terrific score featuring songs such as 'Do I Love You Because You're Beautiful?', and 'There's Music in You', plus fast-paced and witty passages of dialogue which pose an entertaining and tongue-in-cheek slant on the Cinderella story, whilst never dumbing it down.

But why is it so rarely performed? Well, it wasn't actually written for the stage, but for a one-off live American TV broadcast, starring Julie Andrews (107,000,000 people tuned in to watch it). It was later adapted for the theatre but did not receive extended runs, and has not been seen on the London stage since 1958. Cinderella is a show with so many potential pitfalls: it has to avoid being seen as a cheap imitation of a pantomime, the key characters could easily come across as plastic versions of themselves: the Prince could be played as wet-flannel royal, and Cinderella as whiter-than-white plastic doll. And then there is the fact that everyone knows the story of Cinderella inside-out and backwards, and will bring pre-conceived expectations to the show. We all know, for example, that the transformation scene concludes the first act, and has to set hearts fluttering into the interval. How can a London fringe theatre above a pub possibly match the magic of major pantomimes with vastly disproportionate budgets?

But the director Alex Young, and designer Christopher Hone have pulled off a superb achievement. The set is sprinkled with wonderful ideas: a chandelier is surrounded by lit lanterns (later to become pumpkins), which rise and fall from the ceiling, a miniature emerald palace stands high up on a raised level, from which a curving staircase descends, thrones appear from behind fire-places, banners unfurl at the click of a finger, circular segments of wall swivel to reveal royal family portraits. Cats, mice and birds are expected to drift in and out of scenes, and this is done beautifully with effective and graceful puppetry: the transformation of the mice into horses is a moment of genius.

All this could have been wasted were it not for a strong cast who avoid falling into the pantomime trap of caricature. Cinderella (Kirsty Mann) is sparky, quick-witted, and not merely a dreamy wife-to-be of the Prince. In the garden scene (shortly before the clock strikes twelve) she isn't always overly-impressed with the heir to the throne, actually pulling away when he initially leans in to kiss her. She is less Disney princess, and more Middleton-esque girl-next-door, ready to break it off with a prince if he's not what she's looking for. The relationship between servant and Prince is beautifully done: there is warm and natural chemistry between Mann and Vlach Ashton (Prince Christopher). Matt Elson's choreography for the second act waltz is beautifully done, making light of the height difference between the pair.

Helen Colby ensures that the energy of the show never drops. She has a pivotal role, playing both Cinderella's Stepmother and the Fairy Godmother. Those familiar with Rodgers and Hammerstein's works will know that darkness is never far from the seemingly tranquil surface: the racial tensions of South Pacific, Nazi invasion in The Sound of Music, and the lecherous Jud in Oklahoma.

It is Colby's Stepmother who performs this role in Cinderella. Her comic touch in dealing with her frightful daughters is balanced with flashes of true, sinister venom towards Cinderella. Her stepdaughter is a victim of domestic abuse (Colby carries a whip for most of the opening scenes), and this adds an unexpected edge to a story we all thought we knew. The show is being sold as a family show by the Tabard and it helps that Colby switches into a breezy, motherly, cockney Fairy Godmother, in order to off-set any worried children in the audience - Colby's performance is both sides of a coin, helping to redeem the bitter widow so full of loathing for the girl who serves as a daily reminder of her late husband.

If any of this sounds a bit deep it is because I have barely touched upon the performances of Lydia Jenkins and Kate Scott as the two Stepsisters, Grace and Joy. From the start they put to bed the conception of 'the ugly sisters', for neither is remotely ugly in anything but personality and demeanour. They must have had such fun in bringing these quirky characters to life, developing almost reptilian walks, and spoilt 'Made in Chelsea' accents: their Act 2 'Stepsisters' Lament' is a gem of a number.

A mention must go to Josh Carter who is so convincing as the colourful Prince's aide, Lionel. He makes so much of a role which could easily have been forgettable: the early scene in the Royal Parlour between him and Vlach Ashton is so effective in its ease and simplicity.
Brendan Matthew and Sarah Dearlove make the most of their roles as King and Queen, particularly in their charming song, 'Boys and Girls Like You And Me' - originally written for Oklahoma.

A word, too, on the band, who bring a wonderful score to life with energy and a rich texture - impressive from such a small ensemble. Credit must go to Musical Director, Eamonn O'Dwyer and Assistant Musical Director, Jody Robinson.

This has raised an already high bar for future shows at The Tabard theatre. If you only see one piece of London Fringe theatre this Christmas, make it Cinderella!

Continues until 8 January 2012, book here.

Written by a Thoroughly Modern Man, Alex Knox.

Backbeat, Duke of York Theatre

Backbeat is the story of the Beatles, unarguably the most popular band of all time. The show is a cross between historical documentation and retrospective musical compilation, which predominates I still can’t work out. Following Ian Softley’s 1994 film of the same name, the production is rocking the Duke of York’s Theatre in the West End.

The show centres around the ‘Germany years’ in the early 60’s when the Beatles were starting out, an unnoticed Skiffle band. Aside from the brilliant Beatles songs, this show manages to fit in some rock’n’roll classics by other artists; Chuck Berry’s ‘Johnny B Goode’and Isley Brother’s ‘Twist and Shout’ were two of my favourites.

The cast is stellar, a tight knit ensemble of muso-actors, who sing and play and act with equal vigour, I was very impressed. The stand out performance for me comes from Andrew Knott as the sarcastic but loyal John Lennon. Knott is completely committed to the role and is a joy to watch perform on stage. Nick Blood also gives a shudderingly good performance as the dark and distracted Stuart Sutcliffe, he comes across as a suitably tormented artist.

Having watched Ruta Gedmintas in the TV series Lip Service (I had a bit of a girl crush on her), I was delighted to see her strutting her stuff on stage as the femme fatale of the show, Astrid Kirchherr. She certainly has attitude and an instant magnetism, perhaps thanks to her steely good looks and piercing green eyes. Gedmintas is a good actress but her faltering accent led my concentration to stray a frustrating number of times.

The show resembles the format of ‘Million Dollar Quartet’ and ‘Jersey Boys’; giving an insight into a world famous band. For me it was a revelatory history lesson to learn more about a group of musicians who have always intrigued me. Aside from that, it was great fun, and with musicians this good they give the real Beatles a run for their money!

BACKBEAT continues until Saturday 29th March, book here.

Rock of Ages, Shaftesbury Theatre

New musicals are cropping up all over the West End, some more alluring than others. Rock of Ages is similar in structure to ‘We Will Rock You’ – a vague narrative created around a list of hit songs. It is certainly a fun night out - in fact, I’m not sure I can remember laughing so much at the theatre; whether this was the producer’s intentions though I’m not sure.

Set on the famous Sunset Strip, a typical love story emerges amidst the grungy Rock scene. The 80s nurtured some of the greatest and most successful rock artists of all time and their legendary music is brought back to life by this energetic and passionate cast. It stars Justin Lee Collins and X-Factor winner Shayne Ward among the celeb singers, both exceeded my expectations, singing, dancing and acting with professionalism and wit. A tiny Amy Pemberton takes on the role of Sherrie, bubbly and cute she certainly looks the part, but the Rock genre doesn’t bring out the best in her voice. The other half of the love interest is a handsome Oliver Tompsett playing Drew: though slightly wet and weedy, vocally he is great.

I was a little disappointed that this show made fun of itself so much, rather cheapening the production and the overall effect. Everyone was given complimentary lights on entry and to be held aloft, much to our entertainment, during the slower ballads. Visually the team have gone all out, it is hard to know where to look - the auditorium transformed with the elaborate set, outrageous costumes, and fabulous glitter and confetti showers.

During the crazy ‘Don’t Stop Believing’ finale we decided that this is the perfect show for a hen or stag night - I guarantee you’ll walk out smiling, but if you are after a more impressive musical theatre experience, there are better shows out there to choose from.

Visit ROCK OF AGES website here to book.

Napoletango, the Latin Neapolitan musical, London Coliseum

With summer comes the arrival of foreign touring companies, ready to delight London audiences with their best material. It is a chance for us to see something a little different. A few nights ago I was invited see Napoletango, the Latin Neapolitan musical, on the great Coliseum stage; the European company had a big task to fill the famous auditorium. After acclaimed performances at the San Carlo Theatre in Naples, and a sold out run across Italy, I was excited to find out what is so special about this show.

The story is quite simple: the Incoronato family are a travelling troupe of twenty entertainers, all have a passion for Tango and hope to achieve their dream to perform on Broadway. The production includes every aspect of the group’s journey from street to stage. Embracing individualism and celebrating the human spirit, the group is made up of very different characters, in an effort to show that anyone, with passion and determination can dance the tango.

It is the scenes from everyday life that are the most touching. We watch the company sleep in a squalid tavern, shower naked (!), even cook an Italian dish on stage - it is endearing and affecting, and seemed to immediately capture the hearts of the Coliseum audience.

The show is often mad and completely chaotic, and at times I was completely lost... it doesn’t help that much of the spoken conversations on stage are not translated. However the musical is imaginative and sensual, and I personally always enjoy experiencing something completely new even if I leave feeling a little perplexed. Every member of the large cast seems completely devoted to their role and and contributes to the magical spirit on stage. In the curtain call one girl seemed to be crying with pride, so chuffed by the audience's standing ovation and rapturous applause.

Of the cast, only two are professional tango dancers. Pablo Canaro is the most spectacular, moving with elegance and charisma across the expansive stage. Originally rejected and mistreated by the Incoronato family because they don’t understand the dance steps, he is eventually accepted and gives a staggering final performance in the Argentinian Tango.

Sadly Napoletango only visited London briefly with performances at the beginning of August, but it is worth checking out the website here to find out more about this exceptional and truly unique theatre company.

http://www.teatroeliseo.it

'Lend me a Tenor' at The Geilgud Theatre

I am still not really sure what to make of ‘Lend me a Tenor’, the vintage farcical musical that has just opened in London’s West End. I went to the press night last week with an old school friend, both of us tired and sweaty after a long day’s work... we arrived to discover an audience dressed entirely in black tie - not a few eccentric oddballs - but everyone in ball gowns and bow ties. It was totally perplexing.

This audience, which I felt very un-part of, clapped at every opportunity, so much so that I began to feel I was amongst an enthusiastic cult group. The whole production is super camp and kitsch, but needs to be to make the humour work. The action is set at the Cleveland Opera House in 1934, and a production of Verdi’s Otello is in full swing. Tito Morelli, the star of the show fails to arrive on time for the rehearsal jeopardising the evening’s performance, sending the crew and cast into a panicked frenzy. Morelli eventually appears but is unable to perform after falling into a pill-induced deep sleep. The narrative only really gets going when the substitute tenor gets into costume, and the real tenor awakes, also in the Otello outfit, both claiming to be the genuine Tito Morelli.

It is a fun show, but unfortunately Brad Carroll’s music just isn’t good enough to keep the action interesting. Every song sounds the same, and even this reworked melody isn’t very memorable. One aria stood out however - the witty parody sung by stroppy singer Diana (the company’s Desdemona), an impressive collage of the most familiar opera divas: Tosca, Mimi and Carmen amongst others. Sophie-Louise Dann was zesty as Diana and gave a tremendous performance in this song particularly, throwing herself into the funny impersonations and still managing to sound in tune.

The audience loved it when Matthew Kelly strode on as the stressed company manager, Henry Saunders. Better known as a TV presentator, Kelly overdid it here, scowling and shouting so much it began to give me a headache. The unlikely hero, Max Garber is played by a very competent Damian Humbley. I thought he really excelled on the night, holding the cast together with a balanced and powerful performance.

The highlight for me in ‘Lend me a Tenor’ was the tap dancing waiters. Fast paced routines that were well executed by Nick Butcher and Ryan Pidgen on the night. I wished there was more dancing as it added another dimension to the otherwise rather samey show.

Lend me a Tenor continues until 19 November 2011.

Beauty and the Beast in Barnsley

A weekend out of town can be very soothing for a manic Londoner like me, so when I was invited to go up north to see a friend starring in Beauty and the Beast at the Barnsley Lamproom Theatre, I grabbed the opportunity. Five of us squeezed in the tiniest of cars, buzzing up the motorway to the beat of latest fave band Everything Everything.

We arrived in good time, 5.25 for a 7.15 start, and wanting to find a suitable bouquet for our performing friend, we went to suss out Barnsley’s best flower boutiques. Turns out there are none, and any shops we did find were shut. I kind woman directed us to Morrisons, where we spent a good twenty minutes picking out the least tacky bunch.

Battling with the ferocious wind, we walked through the town to the theatre. After stopping for a quick platter of snacks, we took our seats. We all studied music together at university so it felt familiar sitting waiting to watch a friend sing. The lights dimmed and a musky smoke began laboriously puffing across the stage.

Hannah came on, auburn hair glowing and dressed in a sweet blue dress, not dissimilar to a John Lewis school uniform, the prettiest Belle in Barnsley. I felt instantly at ease watching her effortlessly perform the familiar Disney melodies but with a renewed charm to the character that far surpassed the animation. To our left a single red rose sat, brooding in its own melancholy. Gradually as the night went on the petals fell, with perfectly ridiculous comic timing much to the audience’s delight. The chorus pranced about, everyone just seemed pleased to be taking part. It wasn’t just Hannah we were there to watch, this production was quite a family affair... her enviously sophisticated mum as the wardrobe and her hunky cousin as the handsome villain, Gaston. Clearly theatrical talent is something this family don’t lack!

A buffet greeted the hungry cast members and guests, exhausted from the day’s events we all left to drive back to Hannah’s house, our gorgeous accommodation for the night. After some much needed gossip we retired to bed, dreaming of talking clocks and dancing candlesticks.

The 25th Annual Putnam County Spelling Bee at The Donmar

A spelling bee is a very American phenomenon, so it is questionable whether the Donmar’s new production of ‘The 25th Annual Putnam County Spelling Bee’ will resonate with a British audience. This stylish one act musical comedy, with music and lyrics by William Finn, is a short show about a fictional spelling bee, with a distinct lack of storyline despite originating from Rachel Sheinkin’s witty book. Much like Million Dollar Quartet, which I saw last week, it is a musical about one special event on one day.

The Donmar Theatre is a gem in the centre of Covent Garden, whose productions regularly receive critical acclaim. It is not unusual to see queues of hopeful punters waiting to try and snatch the few remaining day tickets hours before a performance. After hearing the music of this American revue at University I booked well ahead of time to secure my seat.

Along with the six wacky contestant characters, the actors are joined on stage by four willing and brave audience members who must actively take part in the spelling competition. I wasn’t feeling 100 percent on the night so didn’t volunteer myself, as I normally would. The poor participants have to suffer as the judging panel call them up to spell, announcing them with hilariously cruel introductions. The words given are unrecognisably tricky, so when one audience member correctly answered three words the improvising actors had to stifle a giggle wondering what to do next... for us watching it was eye-wateringly funny.

It is a chirpy piece and I really enjoyed it, though I can understand why some are not so keen on its cutesy agenda, it does seem a strange programming choice for the Donmar after the prestigious production of King Lear. The music is fast and furious with snappy witty words. As I said before, there is little action, and the songs mostly involve the characters singing about their feelings, on a very superficial level.

Christopher Oram’s school gymnasium set is perfect and immediately creates the scene. Of the six geeky kids, it is David Flynn as rotund and repressed William Barfee that stands out for me. Utterly hilarious he brings his own quirks to the role, becoming a startlingly convincing teenager. There are brilliant performances throughout, Ako Mitchell is absolutely fantastic as the counsellor on standby to comfort losing contestants, he has a nonchalance that is very natural on stage and a stunning voice of gold. Iris Roberts is great as the enthusiastic lisping girl who is eager to please and Steve Pemberton thrills as the creepy principle.

A silly show with a real feel-good factor. Book here.

Woody Sez at The Arts Theatre

Calling all folk fans and musicians... this show is for you! In fact I think anyone who appreciates music will enjoy Woody Sez at the Arts Theatre. This new musical explores the life and music of folk icon Woody Guthrie. Known more often as the man who inspired and mentored Bob Dylan, we now meet Guthrie as a legend in his own right, which is how he deserves to be remembered.

I took a module on Guthrie and Dylan at university, probably my favourite topic the whole three years I was there. The intrinsic link between music and history makes Woody’s music magically moving and very real. I went to see the show on a Monday, not the most popular night for theatre trips. Sadly the auditorium was half empty; such a waste considering the massive surge in folk music's popularity recently. Perhaps this is a result of little advertising - had I not poked around I too would have been oblivious to this gem of a show.

It is the four passionate performers that make this production outstanding. Aside from being very talented multi-instrumentalists they have a Guthrie wisdom and an infectious joy that make the audience immediately feel at ease; consequently it is impossible not to listen to and enjoy their journey. The stage is simply set, with a backdrop of Woody photos and instruments of all shapes and sizes lining the sides of the platform, I counted twelve in total.

There is a real fluidity about the show: the performers frequently switch characters and yet the whole story is effectively united with a long list of songs. Woody is played by the musical director and writer David M Lutken. Lutken is obviously a specialist in the subject and a very charismatic performer. The script features thirty-four Guthrie songs, but with intros and encores the final number is more like forty! Lutken sometimes sings and occasionally speaks the lyrics almost like a monologue. Every song is performed with an energetic bounce and a kind of humour, it is beautiful to see and hear. Darcie Deaville and Helen Jean Russell are wonderful as the female cast members. Folk music lends itself to harmonising and they create wonderful nuances with their voices. The flaws in a performer’s voice can be what makes it most beautiful. Music was definitely much more emotional before auto tune was invented!

David Finch (Andy Teirstein’s alternative) was hilarious as the fourth cast member. He played everything from classical violin to spoons - which I have never been lucky enough to see before - let me tell you it is quite staggering to watch. He plays various characters through Woody’s travels, and to each part brings a new personality, it was great fun to watch.

At 9.30pm on Saturdays (after the evening performance) they hold a jam session in the foyer for everyone and anyone. I was quite honestly blown away by this show, and urge you to visit this musical tribute before its limited run is over. Woody Sez introduces a cast not just of performers but of devoted musicians, their verve made this show one of the best off-West End productions I have seen in a long time.

Woody Sez continues until April 2^nd at the Arts Theatre, book tickets here.

Love Story at The Duchess Theatre

Love Story was, for me, an emotional marathon, completely draining and yet enjoyable. This musical play has recently transferred from Chichester Festival Theatre where it made its debut earlier this year. This stage version is inspired by Erich Segal’s best selling novel which was later made into the famous film.

There’s not really much to the storyline, girl and boy meet, fall in love, girl dies... sorry to be blunt. We are told of Jenny’s sad fate at the start of the show and then spend the rest of it painfully waiting for it to happen. There are a few happier moments, for instance when the besotted couple cook pasta and tomato sauce together on stage... singing joyfully as they chop the garlic and onions. What a sensation to smell cooking food in the middle of a stage play.

Before the performance started we were alerted by one of the producers that the electricity supply had been cut off and so the show would have limited lighting. A strange experience it was sitting in the illuminated auditorium watching a play in the same slightly clinical light. Occasionally the bulbs would flicker, almost like the faltering life of the girl on stage. The lack of lighting variation meant the actors had to create atmosphere and tension without any help, and they succeeded admirably.

Howard Goodall’s music is the best thing about this adaptation. The band is visible on stage throughout, and they are a complete pleasure to watch. Goodall’s music is romantic without being sentimental and there are some powerfully lilting melodies, which were, incidentally the culprit of my aching tear ducts.

The acting is mostly convincing, although by the end I did feel myself getting rather irritated by the loved up duo. Emma Williams as Jenny Cavilleri and Michael Xavier who plays Oliver Barrett IV have great chemistry on stage and seem very comfortable together. Both also have very promising voices, like much of the cast. Peter Polycarpou is endearing as Jenny’s father, Phil; it is genuinely moving watching him grieve for his daughter.

Love Story continues until 26 February 2011, book tickets here.

Closer than Ever at The Landor Theatre

The Landor Theatre in Clapham is one hell of a cool haunt. Recently refurbished, this venue has never looked better. The theatre is above the Landor Pub, a friendly space with an expansive beer garden perfectly convenient for interval drinks. Artistic Director Robert McWhir keeps the focus on housing musical theatre.

This production marks the 21^st Anniversary of Closer than Ever. The show is an award-winning musical revue, featuring 25 memorable songs by composers Maltby and Shire. The show, which contains no dialogue, was described by the writers as a ‘bookless book musical’. It presents the lives of four friends, and through self-contained songs tells of diverse real life topics like: mid-life crises, working couples, unrequited love, aging. The intimate nature of the theatre space means you are just a metre or two away from the actors on stage all the time. I could see every little expression and gesture making the show a lot more believable and affecting.

The cast is made up of experienced West End stars – Clare Burt, Michael Cahill, Ria Jones and Glyn Kerslake. Ria Jones was, for me the most striking, but then again she has all the best numbers. ‘Miss Byrd’, which is surely the most well-known song was delivered with devilish charm and cheek and was a complete pleasure to watch. I also loved ‘Patterns’ in the second act, a stark realisation about life and its inevitable let-downs.

The West End is evolving slowly with familiar classics like The Sound of Music and Cats making way for new musicals like Legally Blonde and Sister Act. I was hugely disappointed to see Spring Awakening come off the stage early here, and knowing the brilliant score well, can’t believe it didn’t interest audiences enough. It is great to see a new American musical making an impression on London audiences, hopefully Closer than Ever will get the recognition it deserves.

Closer than Ever runs at the Landor Theatre until Saturday 9 October.

The Phantom of the Opera and Love Never Dies - Does the sequel succeed?

Phantom of the Opera premiered in London on 9 October 1986, and is now one of the world’s favourite musicals. The creators Andrew Lloyd Webber and Cameron Mackintosh originally conceived the idea as a tongue-in-cheek farce, and so the overwhelming success was quite unexpected. Nearly 35 years on and Lloyd Webber introduces us to ‘Love Never Dies’ the sequel production to Phantom. Earlier this week I went to see both shows on consecutive nights to see if they warrant all the hype and to decide if Love Never Dies lives up to the legend that is Phantom of the Opera.

As a music and drama graduate I will be honest that I am cynical about Lloyd Webber’s music, but none can deny the accessibility of this composer’s work bringing the musical to the masses. Phantom impressed me and definitely exceeded my expectations - a talented cast, grand set and costumes and exciting technical stunts make it visually magical. Phantom has many operatic qualities, including an orchestral power, a sense of luxury and a true classical style of singing from some of the lead roles. The huge success of the show is due to the hit songs that thread through the action. I recognised the numbers: ‘The Phantom of the Opera’ and ‘Wishing You Were Somehow Here Again’, and this made me feel instantly involved in the narrative.

Love Never Dies is an epic show. The story is mostly coherent; the music is just about bearable at times. The only aspect that excels for me is the spectacular circus scenes and clever use of projectors and lighting. This show is set in America, and so loses all the classic European elegance that Phantom displays, and sadly the operatic idea is mostly gone too, replaced by a garish psychedelic circus show. If you go to the theatre to see a spectacle then I can recommend Love Never Dies but for me the plot and music are far fetched and uninspiring.

So it seems the sequel has failed again. Without its popular predecessor I doubt Love Never Dies would be attracting large audiences. However one thing is for certain; The Phantom of the Opera deserves its status and is truly a masterpiece of the musical theatre genre.