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"There is much to enjoy in Andrew Lloyd Webber's new musical. The score is one of the composer's most seductive. Bob Crowley's design and Jack O'Brien's direction have a beautiful kaleidoscopic fluidity. And the performances are good. The problems lie within the book, chiefly credited to Lloyd Webber himself and Ben Elton, which lacks the weight to support the imaginative superstructure...In short, the show has much to commend it and the staging is a constant source of iridescent pleasure. But, as one of the lyrics reminds us, 'diamonds never sparkle bright unless they are set just right'. Although Lloyd Webber's score is full of gems, in the end a musical is only as good as its book. With a libretto to match the melodies, this might have been a stunner rather than simply a good night out."
Michael Billington from The Guardian

"Dismally implausible plot...The blogosphere has been teeming with views of Lloyd Webber’s long-awaited Phantom II. For some, Love Never Dies is 'Paint Never Dries', and for others the composer is at his musical best. I tend to agree with both factions....Bob Crowley (Designs] successfully evokes much of Phantasma, helped by projections of spooky horses on carousels. Yet that’s all rather cursory, as is the choreography, which doesn’t amount to a lot more than the inevitable bathing beauties bouncing about on the beach. "
Benedict Nightingale from The Times

"Lloyd Webber’s finest show since the original Phantom, with a score blessed with superbly haunting melodies and a yearning romanticism that sent shivers racing down my spine....The show may ultimately prove too strange, too dark, too tormented to become a massive popular hit, but I suspect its creepy allure will linger potently in the memory when frothier shows have been long forgotten. "
The Daily Telegraph

"What is in no doubt is the technical excellence of Jack O'Brien's seamlessly fluent, sumptuous (and sometimes subtle) production, or the splendour of the orchestra which pours forth Lloyd Webber's dark-hued, yearning melodies as if its life depended on them."
Paul Taylor from The Independent

"It doesn’t really smoke into life until the 20th minute and even then it splutters for a while. Finally, the singing and the ingenious staging combine to show the Lloyd Webber orchestration to its full glory, but, boy, it takes an age."
Quentin Letts from The Daily Mail

"While Lloyd Webber’s music is at times lavishly operatic, the tone is uneven. There are no more than a couple of songs that promise to live in the memory, the duets don’t soar, and the ending is insipid. Admirers of Phantom are likely to be disappointed, and there’s not enough here to entice a new generation of fans."
Henry Hitchings from The Evening Standard

"Sets and special effects cannot be faulted, the singing is terrific...a stunning ending. But phantastic? Afraid not."
Bill Hagerty from The Sun

"Musically, it is pleasing enough...Visually, the show is stunning in places."
Matthew Hemley from The Stage

"This is an elegant and clever sequel to Phantom...It is a great night out."
Paul Callan from The Daily Express

"While lushly orchestrated (by David Cullen with Mr. Lloyd Webber), the score is, for the most part, so slow that you have time to anticipate Mr. Slater’s next leaden rhyme. Each of the songs — which range from bathing-beauty frolics to power-chord operetta ballads — spins a single tune until it loses its tread."
Ben Brantley from The New York Times

"The musical is impressive and enjoyable, even with its heavy hokum and creakiest of plots."
Warwick Thompson from Bloomberg News

"It is unimaginable all the people required to make a production like this but a thank you goes out to all involved for making such a remarkable and history-making musical. Bravo. Andrew Lloyd Webber must be very proud seeing this idea finally come to life."
Ann Kamran from Stagetalk.co.uk