Dear Sir Andrew.....

Sir Andrew Lloyd-Webber

C/o The Really Useful Company

22 Tower Street

London

WC2H 9TW

Dear Sir Andrew,

You don't know me, but I have been a loyal follower of yours since my mother bought home the original London Cast recording of "Evita" when I was barely 6 years old (You know the one?where the lady playing the title role gets second billing to David Essex?). I also doubt I am the first one to say that your musicals inspired me to become involved in theatre. Living in a relatively small city you probably haven't heard of (it's called Adelaide, in Australia. Google it if you're not sure) I have found myself conducting and taking part in the vibrant theatre scene here. This has meant conducting your shows and watching several more. We have some pretty talented people down here who often have some great ideas for pepping up older shows (just keep an ear out for an upcoming production of "Superstar" where the leads may or may not be female. No I'm not kidding. Jesus as a female. Think about that for a moment.....) so I'd like to think that I could help you with "Love Never Dies".

Now I must say from the start that I'm not going to slag it off. I don't mind it all (and that's without seeing the show) but I do feel that there are some corners and problems that maybe you and your production team might want to reconsider should you decide to take the show back to the workshop (so to speak) ahead of the Broadway and Australian runs. Now I'd never pretend for a second that I know more about what makes a good show than you do- you're the one with the knighthood and rather posh house after all- so whether you regard these suggestions or not I leave entirely up to you.

Firstly, this show is set 10 years after the original "Phantom". When Michael Crawford first performed the role he was 44. Ramin Karimloo was 31 when he premiered in "Love Never Dies". Oh, I know he also sang in "Phantom" to great acclaim, and I'm quite happy to accept that Phantom might be in his mid-thirties in "Phantom"...but surely it would be amazing to have someone sing the Phantom who actually LOOKS like he's had the life experience and sounds it. Did you see Anthony Warlow in "Phantom" recently??? He'd totally own Karimloo in "Love Never Dies" and he'd pull off the role with enormous punch. Can't wait to hear him sing "'Til I Hear You Sing Once More". On that same point, why does Christine STILL sound like a young and naive teenager? Surely she's had slightly more experience after ten years of marriage to Raoul? Yet again, you pick someone extremely young to play her in the show (both Sarah Brightman and Sierra Boggess are/were around the same age when they premiered their respective Christines). I think you seriously needed to get older people in these roles. Maybe think back to great Phantoms and Christines of the 90's and see what they can do? On the plus side, it's great to see Meg Giry get a much meatier role this time around and play, along with her mother, such a vital and important role.

As far as the music itself goes I generally found the music to be melodic and well written with two exceptions. Your song "The Beauty Underneath" sounds like a cast off from "Whistle Down The Wind"- not really in the same style as "Phantom". Why you quite chose this style for this particular number in this particular show I'll never quite know. I'll also never quite know why you chose to musically end the show the way you did. To have a flute line that just peters out to nothing (and not even on a tonic note) seems a really bizaare way to bring the curtain down. Mind you, given your track record of ending shows like Superstar, Evita and Woman In White- and indeed the original "Phantom"- on a quieter and unfinished chord it perhaps shouldn't be too surprising. I can't help but wonder if you're paving the way for a third and final entry? Believe me Sir Andrew, I have defended your musical honor more times than I care to imagine. I still believe your scores for "Aspects of Love" and "Sunset Boulevard" are two of the finest compositions you have ever written and musically as rich as anything written by Broadways finest.

In conclusion- as I know you are an extremely busy person, as is your publicity person who'll probably be the one who actually reads this- I hope you take the time to tinker with this show. There is a lot more to recommend this show than others might have you believe. I'm also quite happy to waive any rights, fees or royalties for my services today- think of it as a tiny thank you for all the years of enjoyment your shows have given me- and hopefully will continue to give me.

Yours,

Rodney