JosephReviews

That is now stunningly articulated in the tender, heartfelt rapport between Karimloo’s Phantom and the shimmering, simmering beauty of Boggess’s Christine. Joseph Millson also brings a dramatic poignancy to the character of Raoul. Just as Raoul cannot compete with the allure of the Phantom, neither can this show ultimately shake off the associations of the masterpiece that it has come from but then again, nor should it. It cannot compete. Instead, it now provides a wonderful, powerful continuation of its potent legacy that is as dramatically alluring as it is musically magnificent. The Express

The principals shine, Ramin Karimloo a threatening and unpredictable Phantom, Sierra Boggess, a troubled Christine who makes the title song a showstopper, and Joseph Millson, bruising and bruised as her drunken husband. Lloyd Webber's score is one of his best, not just in the romantic sweep of the title song and at least one other, but in the range of musical styles... ...It's a good musical that has got better and rewards a second viewing. The Independent

...the second act is superb. Joseph Millson's Raoul is allowed some heart... ...as Karimloo and Millson circle round Christine, Bob Crowley's design pared back to a striking mix of blackness and gilt, the songs finally get you in the gut...so Lloyd Webber's music impresses in the first act, transports in the second. The Times

Joseph Millson’s powerful Raoul, a dejected drunk, becomes the new thwarted Phantom... ...The dramatic quality of performance has improved and deepened - Liz Robertson is a forbidding Madame Giry, Millson superb in the Hopperesque night bar. The Stage

Some self-styled "phans", fixated on the original show, are outraged that Lloyd Webber has rejigged the love triangle. Personally, I don't give a monkey's. Why not take a new slant, with romantic hero Raoul morphing into tetchy husband (top-class actor Joseph Millson, who also has a fine singing voice). While Raoul hits the bottle, Sierra Boggess's Christine – yearning for a second brush with the dark side – is drawn into eerily echoing duets with Karimloo. Undeniably, Lloyd Webber can write a haunting melody, and everyone's going to come away from this show with earworms – tunes that just won't go away. Kate Bassett - The Independent

...the British composer has delivered a sequel in "Love Never Dies" that is as handsome as the original and filled with infectious melodies, startling images and wonderful performances... Millson, Robertson and Strallen also have their moments to shine as Lloyd Webber shakes up the musical tone with lively dancing girls and even some prog-rock... The Hollywood Reporter

Ramin Karimloo and Sierra Boggess sing superbly as the Phantom and Christine, with a real spark between them. Boggess is especially fine in the soaring title song, and Karimloo deftly combines menace and vulnerability throughout. Meanwhile Joseph Millson memorably captures the self-destructive Raoul. The Telegraph

So when this now highly successful soprano and irreplaceable Muse of the Phantom fetches up for a singing engagement at Coney, with her hard-drinking, disaffected gambler of a husband, Raoul (excellent Joseph Millson), it is with the Phantom's own 10-year-old son in tow... Paul Taylor - The Independent

The Dead 2: India 2013

The story this time revolves around an American electrical engineer, Nicholas (played to perfection by Joseph Millson) who finds himself stranded miles from anywhere when outbreak of the undead strikes. BritFlicks

The Ford Brothers are not covering new ground with this film, although it has to be said the ground they do cover is strikingly photographed. The wind farm sequence when Nicholas (Joseph Millson, the convincingly compassionate action-hero) looks down on a slow-motion zombie attack, a nightmarish motorbike ride through the dark wilderness and a field of freshly dug graves being notable visual highlights. Flea Pits and Picture Palaces

For the most part, the performances are really strong too. Millson doesn't have much more to do than react to things happening around him, but the pain of not being able to see his pregnant girlfriend (which is helped by some forced backstory) comes across in every one of his actions. Flickering Myth

A very charismatic and watchable Joseph Millson (Casino Royale, Holby City) is Nicholas, an American engineer installing wind farms in India. Live for Films Here, the Ford Brothers expand upon the idea of a love story/familial ties beyond a rumpled family photograph as seen in the original and have delivered a more charismatic leading man in the form of Millson... Screen Jabber.

Actor Joseph Millson carries a majority of the film, and thankfully he is an actor that is not only up to the task; but is one who has the ability to do so. It’s a wonderful cast overall, but these two actors in particular deserve a special mention, they were both just such a pleasure to watch and the connection is there right from the beginning. Creep Show Radio

Talk To Me (2007)

"The cast are all fantastic...Millson is an actor I’m not to familiar with but he does a great job as Woody especially during the scenes where he learns of his wife’s betrayal with his best friend. Each character is well fleshed out and is given time to cement individually there own story arcs. Talk To Me was great viewing, fast-paced, intriguing, funny, and sexy and had me gripped throughout. A welcome surprising change from a group of people to watch out for in the future". Eye For Film

"Joseph Millson as Woody is fabulous as he discovers the affair between his best mate and his wife."  TV Times

Sarah Jane Adventures (2008)

"However, full honours have to go to Joseph Millson as Maria's dad, Alan. He's been an amiable if slightly dim presence throughout the series but here, Alan does a lot of the dramatic heavy lifting and crucially, moves forward. 'New Who' has been regularly and justifiably criticised for being a show where apocalyptic world events pass unnoticed and everything remains exactly as it was before. This story, for the first time, changes that and it'll be fascinating to see how the relationship between the characters, and the change in Alan's world view, affects it. Plus, top marks must go to all involved for the best skateboard action sequence in years." Firefox.org

And an amusing thought from The Scotsman... "The young actors are charming and the show so far has resisted any inappropriate boyfriend/girlfriend stuff, making it a nice change from the vast majority of modern children's TV drama which seems intent on making young adults out of them too soon (and with that sentence, I have officially become very old - oh well). Mind you, if Russell T Davies and company did want to go there, perhaps they could reward Sarah Jane for all her years helping to save the universe by hooking her up with a toyboy in the form of Maria's adorably uncool, yet endearingly protective, skateboarding dad." The Scotsman

"Kudos also go to Joseph Millson as Maria's recently separated father Alan, and Juliet Cowan in the unenviable role of the grating Chrissie, Maria's mother." IGN

Campus 2009

The standout was Joseph Millson's quite stunningly lazy English Literature lecturer and letch, who regards sleeping with his female students as a perk of the job and awards marks by randomly firing arrows at a target: a bullseye means they get a First. When a male student asks for help with an essay, he's told to go and Google it "and next time, be a girl". Millson is great fun in this role, "a little bit Clooney, a little bit Basil Brush", as he describes himself. The Scotsman

Macbeth 2013

Here at the Globe in London, it’s Joseph Millson and Samantha Spiro starring in Eve Best’s utterly absorbing, unusually amusing staging, which shows us a loving couple whose souls blacken as marriage frays... ...Millson is remarkable: clubbable, capricious, enjoyably sarcastic, frenzied, but always emotionally legible. They give performances to relish of clarity and intimacy... ...This journey to the dark side has rarely been so refreshing. The Times

Rocket to the Moon 2011

Angus Jackson’s atmospheric, moody production maintains our interest thanks to a particularly compelling performance from Joseph Millson, who is one of the most versatile and interesting stage actors around today. He has leading man stature - as demonstrated by his beautiful comic turn as Benedick in the RSC’s last Much Ado About Nothing - but he also has a rare quality of being able to animate blank, underwritten characters like Raoul in the original production of Love Never Dies (and he can hold a note, too). Here, he ideally captures an apparently settled man, resigned to his life and fate, the foundations of whose life are so powerfully shaken. The Stage

• Love Never Dies 2010/11

...her hard-drinking, disaffected gambler of a husband, Raoul (excellent Joseph Millson)... The Independent

• The Priory 2009/10

...Daniel – a delicious study by the ever-excellent Joseph Millson of a kindly, rather anal gay man... The Independent

• Judgment Day 2009

And Joseph Millson's perfomance, as the stationmaster Thomas Hudetz, is phenomenal. There is a touch of the automaton about him, as if doing a job reliant on clockwork had affected his own inner workings. It is painful to behold his stressed, placatory smile. Something fundamental is wrong – even before he goes completely off the rails. The Independent

• The Fairy Queen 2009

You can't fault the acting either, and Joseph Millson's gracefully sinister Oberon and Oliver Le Sueur's unusually sympathetic Demetrius are outstanding. The Guardian

• Every Good Boy Deserves Favour 2009

Joseph Millson is similarly convincing as the shaven-headed Alexander wrestling with the lunacy of his own predicament – that he is a sane man who, in a Catch 22 situation, will only be released when he admits he is mentally ill and denies that sane people get locked up in mental institutions. Going by the programme photos, Millson has lost considerable weight during rehearsals, painting a gaunt and deeply distressing portrait of a man horrendously mistreated and yet fervently standing up for his principles, even against the anguished entreaties of his son who begs him to lie to escape the asylum. The Daily Express

• Hamlet 2008

Joseph Millson’s Hamlet is outstanding. His descent into apparent madness is played with rare energy and surprisingly effective humour, alternating instantly between jester and tragic victim of his uncle’s evil wiles. He delivers a truly multi-layered character, accessible yet unfathomable. Millson’s mesmeric performance is strongly supported by Louise Jameson as a regal, vulnerable Gertrude and Kellie Shirley as a beautifully fragile Ophelia. Christopher Saul is perfectly cast as the pompous Polonius, as is Fergus O’Donnell as the solid Horatio. The Stage

• Cinderella (2007/8)

Joseph Millson moves from heroic roles at the Royal Shakespeare Company to make a square-jawed Prince Charming... Financial Times

• King John (2006)

"She also elicits from her cast verse speaking of the highest clarity, not least from Joseph Millson, who has already triumphantly proved in this season's Much Ado that he is handy with an iambic pentameter." Evening Standard

• Much Ado About Nothing (2006/7)

"I have seen actors from Alan Bates to Matthew Macfadyen play Shakespeare’s Benedick, but – although Mark Rylance in 1992 certainly did something more strangely miraculous with the role – Joseph Millson’s performance in the new RSC production strikes me as definitive. Handsome in voice and in person, he can carry the audience on his roar and draw it into his hush. The elements of wit, anger and vulnerability are thrillingly mixed in this actor: you feel them all when he says of Beatrice “Every word stabs”. He easily lets us laugh at him, so that he clowns the famous eavesdropping scene to the hilt, but next he can be so romantically stunned that, left alone, he can hardly walk a straight line. And it is he, in love, who learns best here to transcend wit: “A college of wit-crackers cannot flout me out of my humour . . .  or man is but a giddy thing”. The Guardian

• Pillars of the Community (2005)

Lesley Manville and Joseph Millson as the outcast relatives shine particularly brightly. The Telegraph

• Richard II (2005)

"He is never any match for Joseph Millson's Bolingbroke, who manages to blend passion with dignity even whilst the actor pays lip-service to Berkoffian stylistic excess." Financial Times

• House Of Desires (2005)

I particularly like Joseph Millson's Don Carlos; his aristocratic certainty, second only to his aristocratic looks and bearing, is constantly undermined by his hilarious mental contortions convincing himself that his lover is really totally pure and faithful (which of course she is but he doesn't know it.) Reviews Gate

• Pedro, The Great Pretender (2004)

In particular, Joseph Millson was outstandingly funny in his two roles as a scurrilous, blind con-artist who is outdone by Pedro, and as the king torn between his infatuation with a beautiful gypsy and his queen's uxorial jealousy. Curtain Up

• Dog In The Manger (2004)

"The secretary, too, given a strong, sexy performance by Joseph Millson, is much more complex than the conventional ardent lover." The Telegraph

• Cold Meat Party (2003)

Joseph Millson has all the best lines and delivers them with aplomb and expert timing. Glenmeads

• As You Like It (2003)

Add in the unusually sexy Orlando of Joseph Millson, and one had an "As You Like It" with a rare and real erotic heat alongside a pulsating melancholia. Variety

• The Clearing (2002)

Joseph Millson is a fine Preston – amorous, then confused and finally horrified at the widening gap between himself and his wife. The Independent

• Mill On The Floss (2001)

"Though both the crippled aesthete played by Michael Matus and the self-confident stud played by Joseph Millson could easily become comic caricatures, both actors imbue them with a human reality that is touching and convincing." Theatre Guide

"Though both the crippled aesthete played by Michael Matus and the self-confident stud played by Joseph Millson could easily become comic caricatures, both actors imbue them with a human reality that is touching and convincing."

Theatre Guide London  Gerald Berkowitz 2001  

By contrast, Maggie will eventually meet Stephen, who boasts that going into Parliament might just be worthy of his considerable talents (Joseph Millson, giving a frighteningly up-to-date performance... ).

This is Oxfordshire  Archive 2001

The acting is phenomenal.....Joseph Millson makes up this fine company

London Theatre  Darren Daglish April 2001

But the adaptation and production combine in a powerful telling of Eliot's story of a young independent-minded woman trying to find her way on a life that doesn't allow her the freedom she requires; this version even solves some of the problems often felt by readers of the novel.

Ian Shuttleworth April 2001

The Shanghai Centre Theatre was packed last Wednesday when the Shared Experience Company from Britain presented the Shanghai premiere of "Mill on the Floss," a play adapted from the George Eliot novel, according to China Daily on July 2.

People's Daily (China) July 2001

It's a joy to watch this eight-strong cast working together, moving together, transforming together, as Eliot's epic is compressed into buoyant and seamlessly integrated episodes. This may be a period piece, but it's not remotely genteel or fusty.

The Independent April 2001 Brian Logan