It is a powerful, poignant and underrated part of the Lloyd Webber catalogue, brilliantly restored here.
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Despite the performances, this tale of passion, madness and murder comes across as competent rather than thrilling...this isn’t the resurrection that Lloyd Webber’s musical requires.
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Despite some well-judged tweaking this musical dramatisation remains flawed, especially in the narrative flow of act one.
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The problem is, that it exists without the robust surrounding dramatic architecture necessary to make it fully resonate...there’s enough to satisfy Lloyd Webber completists.
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As enjoyable as Southerland’s production is though, it feels like this cast and creative team are wasted on this mediocre material.
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The gothic chills and spills in Andrew Lloyd Webber’s musical are slow in coming. The narrative is clogged and the staging looks cramped.
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It’s good to see a musical where the female characters drive the story. Marian and Laura do (and risk) far more than the self-pitying Walter to expose Sir Percival, in a situation where the men have all the power.
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Lloyd Webber's music and Trevor Nunn's assured and fluent production, with its dizzying whirl of video projections, impart an authentic spookiness to the encounter.
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