Matthew Warchus gives the stage an old-fashioned injection of thrill, while trying to avoid the clichés.
Tony Kushner brings his characteristic profundity, although delivering it in bite-size pieces.
Luscombe brings the Globe a dose of slapstick, plain and simple.
Both touching and irreverent, this look at Henry VIII's era takes a much different path than Shakespeare's.
Critics on both sides of the pond have been less than generous with the Phantom sequel, but in reality, Love Never Dies is quite good.
Playwright Anya Reiss steps on the scene with an impressive debut, especially considering she wrote it when she was 17.
Elliott Levey comes out swinging his bloodthirsty sword as Robespierre.
The Globe manages to capture the gritty essence of Shakespeare's original attention and present it on a modern stage.
In what is not Andrew Lloyd Webber's best musical, the louder the emotions get on stage, the less they hit their mark in the audience.