Love Never Dies Star Celia Graham on Her Phantom History and Broadway Dreams

Love Never Dies is now well into its second year at the Adelphi, where Celia Graham has replaced Olivier nominee Sierra Boggess as Christine Daae. Graham, a 35-year-old from Glasgow, has been with the production from the beginning, which means participating in the transition as Andrew Lloyd Webber’s sequel to The Phantom of the Opera changed directors (Bill Kenwright in, Jack O’Brien out) and choreographers (Bill Deamer in, Jerry Mitchell out). Being part of a show in flux, as well as reprising a character Graham had played before in the first Phantom, were among the topics aired in a chat with Broadway.com.

You’ve taken over the role of Christine before in the first Phantom and now here you are doing it again in the sequel. How have the experiences compared?
With Phantom 1, as we call it, Sarah [Brightman] solidified the character, along with Hal [director Harold Prince], of course, so there was no changing, no messing. When we came in to play Christine, we were told where to stand because there was a formulaic characterization that they wanted to try and keep. That was a challenge in its own way, whereas with this, there’s been a real element of freedom. Jack and Jerry came in and we were so excited by what they produced and the changes with the two Bills coincided with my takeover, so ultimately it felt like going into a different show.

How is it to play this part opposite [co-star] Ramin Karimloo as you did in Phantom?
Ramin and I know each other from way back, so as soon as I stepped on stage for Love Never Dies the first time, we fell back into a routine we had when were younger in the other show; that show was so intense!

Does Love Never Dies pose less of a challenge? There is no officially named alternate for Christine in this production whereas there is in the first one.
Yes, but the part really is such a huge sing in Phantom, and in order to maintain the voice, it works well having a cover. It’s not necessarily that the Christine in Phantom is a harder sing; it’s more that you have to be younger in the role, and the younger you are, the harder it feels and the older you are, the stronger your instrument becomes. Also, the first Phantom moves more as a show, which makes [the part] physically exhausting as well as vocally. Christine in Love Never Dies is very refined. She’s an adult now; there’s not so much running about.

A lot of people continue to be surprised at Christine’s fate in Love Never Dies. 
I have to say that I was surprised by it at first. I remember not knowing anything about the twists and the turns of the plot, and then I was confronted by this massive final scene which was a surprise for a while. But I figure it really is the only way for the story to resolve itself; it’s the most dramatic way to go.

Did it make a fundamental difference with this role that you were in the first Phantom?
It made the world of difference! She’s very much the same character and this is very much a sequel—the story continued, if you will—and Christine has gone through so much by the end of the journey in the first one. And now here she is after 10 years of being in a relationship that has been flawed to begin with between her and Raoul where she’s raising a child on her own, not very supported by her husband. There are moments in Love Never Dies where you see a flicker of the girl she was in the first show even though at other moments she is very much a grown-up facing a new set of uncertainties. I feel like I have a real understanding of the character and her journey because of the first show.

And you get to sing the ravishing title song, “Love Never Dies!”
I’m always aware of the anticipation that is attached to that moment on behalf of the audience. I feel a real responsibility to make sure and get it right and tell the story and within the context of the show try not to make it sound too self-indulgent. What’s important is to try and keep the tempo going and the momentum of the story without it sounding too “sung.” The best compliment I’ve had is where people say, “I forgot you were singing; I was just listening to what you were saying.” I like it when things aren’t too sung.

You’ve fielded a bravura array of soprano roles on the West End, from Maria in West Side Story through to Cosette in Les Miserables and now the two Christines.
Yes, Maria was my first role; I was 21 and left college early because it was an incredible opportunity at the right time. But, you know, I’ve never been really good at foreseeing things, and whatever the logical step is next for the young soprano is not jumping out at me. I’m keeping my options open. [Graham is contracted through September.]

What about New York, not least so you can visit Coney Island [where Love Never Dies is set]?
I’ve never been to Coney Island or New York [laughs]! I’m a bit scared to go over to Broadway because I’m sure I will never want to come back!