'Phantom of the Opera' sequel, 'Love Never Dies,' well, dies in the U.K.

Love-Never-Dies

Image Credit: Catherine Ashmore

The London production of Love Never Dies, Andrew Lloyd Webber’s follow-up to his über successful Phantom of the Opera, will shutter on August 27 after only 18 months, according to Variety. The musical — which takes its main character from a Paris opera house to the Coney Island fairground — opened in March 2010 to mostly scathing reviews (our critic called it “a rehashed parade of pastiches and throbbing crashing chord melodies”) and low sales, but trundled on despite having to close for four days for a quick retooling.

The Broadway incarnation, which was first scheduled to open in November of last year, was delayed until spring of 2011 due to Webber’s struggle with prostate cancer. Months later, it was postponed indefinitely. No word yet on the fate of the $9 million Australian production, which opened on May 28 to better reviews, and is reportedly significantly different than its English sister.

Comments (12 total) Add your comment
  • Alyssa

    can Sierra Come back and Play Ariel for the National Tour of ” The Little Mermaid” then. OMG, I would die and love that so much. She left Mermaid to do this so…we want her back, she is the perfect Ariel.

    • Meg

      She’s about to open in the revival of Master Class on bdwy with Tyne Daly

  • Brian Wallace

    Maybe there can be some international trade worked out. England sends us “Phantom of the Opera: Love Never Dies” and we send them “Spiderman: Turn Off The Dark” in return.

    Brian

    • JML

      LOL!!!! I love it!

  • kim in kentucky

    heard a selection on Pandora – at first didn’t even know what I was listening too – then skipped it – wasn’t worth listening to

  • Love Should Die

    You report the Melbourne production opened to “better reviews, and is reportedly significantly different than its English sister.” We beg to differ.

    The Australian production still opened to mixed reviews. Everyone was excited with the new sets and costumes, but the same old plot and music were present. If you read every review (London and Melbourne) you’ll notice a reoccurring problem everyone reports: the plot, the lyrics, and the music.

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