Les Misérables – The Arena Spectacular

As a teen, I loved collecting cast albums of new musicals. I first encountered the Les Misérables original London cast album at Brash’s music store when I was 15. Listening on the headphones the sweeping, cinematic score and stirring and unapologetic lyrics astonished me. Returning home I regretted not buying the album. However, many of the melodies lingered in my mind causing a very sleepless night. I had to hear these incredible songs again! The next day I returned eagerly to the store to buy the ‘double cassette’. To me this album became the touchstone of modern musicals and indeed changed the future of theatre forever. The majesty of the music and the emotion in the storytelling is, in my mind, still unparalleled. Within weeks I could play every song on the piano and recite every word from memory. Funnily, I had Marius’ line from ‘One Day More’ stuck in my head incorrectly as ‘My plane is here, I fly with you’. I never would have imagined in my wildest dreams, that I would be reviewing a World Tour of my favourite musical four decades later!

Cameron Mackintosh’s production of Boublil and Schonberg’s Les Misérables is the longest running, and one of the most treasured musicals of all time. It has been seen by more than 130 million people worldwide in 53 countries and in 22 languages. The initial Australian run, starting in 1987, lasted a staggering four years. A free concert version at Sydney Domain in 1989 attracted an audience of over 125,000. The Australian love affair with Mackintosh’s theatre productions (including monumental hits like Cats, The Phantom of the Opera, Miss Saigon and Mary Poppins) has been a longstanding one. Les Misérables has remained a perennial favourite among amateur and school groups.

This Arena Spectacular draws inspiration from the acclaimed staged concert in the West End and features an elaborate new design tailored for larger venues and stadiums. Whilst the Australian leg of the world tour includes only 37 performances, over a quarter of a million people will see the show due to the large venues in Sydney, Melbourne and Brisbane.

The production is directed by James Powell and Jean-Pierre van der Spuy, seasoned professionals with extensive credits including work on Les Misérables, Miss Saigon, and Phantom of the Opera. They bring a distinct perspective, emphasizing collaboration with the local cast to craft a production that is original and specific to the performers, rather than merely replicating prior versions. Like updating a Gilbert & Sullivan libretti for a different demographic, there are jokes meant only for Australian audiences that had me nearly falling off my chair.

Matt Kinley’s impressive set and image design, with projections realised by Finn Ross, draw inspiration from the personal artworks of Victor Hugo. Above the massive stage two lateral screens with close-ups of the performers enable us to catch every subtlety, expression and movement, while a central screen showcases stunning visuals that effectively establish the setting and temporal context.

Towering wooden beams dominate the overhead space, and their shifting movements evoke the ominous tripods from The War of the Worlds. The set is in a constant state of transformation, depicting various locations throughout Paris - such as lamp-lined streets, a bridge over the river, the ABC Café, and the Sergeant's at the Waterloo Inn, which is owned by the Thénardiers. The stage is dominated by a monochrome permanent structure that includes lookout posts, bridges, staircases, and the infamous barricades, assembled from chairs, tables, wagons, wheels, boxes and other quotidian items. At key moments the cast congregate unobtrusively on the set allowing swift transitions to their next performance or rapid costume changes.

Lighting Designers Paule Constable and Warren Letton, together with Sound Designer Mick Potter, expertly blend elements of theatricality and rock concert aesthetics within the arena. The vibrant colours, intricate blends, focused spotlights, shimmering starlight, and laser beams that evoke the imagery of gunfire and cannon blasts create an electrifying atmosphere that touches every edge of the arena. On multiple occasions during the battle scenes bursts of white light, paired with immersive sound effects, nearly propelled me out of my seat.

The group of 26 musicians, under the direction of Adrian Kirk, plays a crucial role in the production, consistently providing outstanding performances. Each musician deserves acknowledgment for their skill in managing this challenging nearly three-hour score. It is a pleasure to see them on stage and receive the recognition they truly deserve.

More than 300 visually stunning costumes, initially designed by Andreane Neofitou, with subsequent contributions from Christine Rowland and Paul Wills wow us at every turn. These include specific modifications in colour, styles and additions aimed at maximizing their visual effect in such a large performing space.

While elaborate dance routines may not be a hallmark of Les Misérables, the production's true power resides in the compelling vocal delivery and the dynamic vitality of the cast, which flourishes effectively within a more physically restrained setting. Nevertheless, the 'Master of the House' number was notable for its spirited, boisterous choreography. Similarly, the ‘Wedding Scene’ offered an engaging spectacle for the audience as the ensemble participated by clapping along with the orchestra, skilfully navigating intricate rhythms and even incorporating a few unexpected Mexican waves. During the curtain call the entire cast began waving goodbye to the audience. So overwhelmed with emotion, I felt compelled to reciprocate until they had all exited the stage. This light-hearted and inspiring moment served as a charming conclusion that ensured I departed the arena feeling ‘less miserable’.

West End and Broadway Royalty Alfie Boe, a highly acclaimed tenor, was first recognized by Baz Luhrmann and made his Broadway debut in La Boheme, where he won a Tony Award, establishing himself as one of the most in-demand tenors globally. His evolving portrayal of Jean Valjean (since 2010 at the 25th anniversary of the show) profoundly captures the character's deep internal struggles and his path to redemption. He encapsulates his character to the degree that it feels like we are watching the real Jean Valjean and not Boe, the performer. The audience was completely silent during his powerful and possibly the definitive rendition of ‘Bring Him Home’. The enthusiastic applause and cheers reflected the admiration that the audience holds for Boe – UK's favourite tenor.

Michael Ball has been a stalwart performer in the West End and on Broadway for over three decades. Who could forget his no. 2 UK chart topping signature tune ‘Love Changes Everything’ from Andrew Lloyd Webber’s Aspects of Love. However, his breakout role as Marius in 1985, featuring on the London Cast recording, catapulted him onto the global theatre scene. Notably, his rich baritone voice and emotive performances of ‘A Heart Full of Love’, 'Empty Chairs at Empty Tables' and the poignant declaration, 'My place is here, I fight with you,' from ‘One Day More’ have become ingrained in theatre lore, touching the hearts of countless millions. Ball made his notable entrance as Inspect Javert during the 2019 All-Star staged concert held at the Gielgud Theatre in London. His widespread appeal played a crucial role in establishing the live cinema broadcast as the most viewed streamed concert in UK history. Ball's depiction of Inspector Javert is a strong and imposing performance, bringing a sense of coldness and sharpness to the character, while also conveying vulnerability and emotional depth. The relationship between Ball and Boe is unique, and is marked by deep friendship, mutual respect, and complementary acting styles that enhance the emotional impact of the story they tell together on stage. Both actors have noted that every performance offers new insights into their characters. They approach each show with fresh perspectives based on life experiences, which keeps their portrayals vibrant and engaging. Ball's performance of Javert's signature song, 'Stars', is mesmerizing, holding the audience completely enthralled, and built to a powerful climax met with thunderous applause.

At certain performances Killian Donnelly and Bradley Jaden will perform the roles of Jean Valjean and Inspector Javert respectively.

Australia’s leading lady Marina Prior is a surprise choice for Madame Thénardier, but right on the money! She is famous for originating the role of adult Cosette (and covering the role of Fantine) in the 1987 Australian production of Les Misérables. Prior says, ‘it is a joy to embrace the complete contrast, wickedness and fun of Madame Thénardier’ and her mischievousness is infectious and a welcome relief during this sombre story. Her demeanour, expressions, attire, and wigs all contribute to the comedic nature of this outrageous character. ‘Master of the House’ and the ‘Wedding Scene’ are stand outs where her comedic timing and adlibs bring the house down. A favourite moment of mine in the wedding scene is when Madame is singing some rather high notes and her husband says, ‘this isn’t Phantom of the Opera!’. A great Aussie theatre in-joke for those that know Prior’s important role as Christine Daaé in the original Australian production of The Phantom of the Opera. A significant departure from Christine’s sweet and ethereal soprano voice ,this role requires a mezzo-soprano voice that is not only powerful enough to convey a strong stage presence, being adaptable enough to incorporate comedic aspects of the role, and to still sing on pitch. Bravo to Miss Prior!

British comedian, and star of Little Britain and Come Fly with Me, Matt Lucas first starred as Thénardier in the production of Les Misérables at London's O2 Arena in October 2010. His naturalness, magnetic personality, and comedic timing is impeccable. Although he is quite charming when it suits him, Thénardier's character remains static and incurable in his selfishness and cruelty particularly to Cosette and Valjean. Thénardier’s signature tune ‘Master of the House’ was quirky and light-hearted whilst ‘Dog Eats Dog’ was devilish, dark and gritty. Lucas and Prior share a dynamic chemistry reminiscent of a long-term couple; they exhibit both affection and irritation towards each other. Their playful banter adds a refreshing lightness to the show, providing much-needed comic relief that is greatly enjoyed by the audience.

Jac Yarrow and Beatrice Penny-Touré are exceptionally well-suited for their roles as the infatuated youths Marius Pontmercy and Cosette. Their harmonious duet, ‘A Heart Full of Love’, captures the quintessence of youthful romance along with its inherent challenges. Yarrow’s tenor voice is rich and expressive, allowing him to articulate the emotional nuances and idealistic fervour characteristic of his character. His poignant rendition of ‘Empty Chairs at Empty Tables’ left the audience visibly moved, with many in tears during this heart-wrenching moment.

Similarly, Penny-Touré’s performances of ‘In My Life’ and ‘A Heart Full of Love’ showcase her vocal prowess, blending delicacy with strength as she effortlessly reaches extremely high notes. Her interpretation of Cosette reveals a profound blend of vulnerability and resilience.

Rachelle Ann Go’s portrayal of Fantine brings a refreshing dynamism to the stage. Her flawless execution in this demanding role requires a singing style that is both powerful and emotionally resonant, reflecting Fantine's harrowing journey filled with suffering and sacrifice. Her renditions of ‘I Dreamed a Dream’ and ‘Come to Me’ were breathtaking and at the same time heartbreaking.

Shan Ako's portrayal of Eponine is a richly layered interpretation that embodies the complex themes of love, selflessness, and societal inequities. Her performance of the song “On My Own” stood out as one of the most impactful moments of the evening, infused with emotional depth, strength, and an underlying sense of optimism. Additionally, her duet with Marius in “A Little Fall of Rain” is profoundly moving, evoking tears through its heartfelt delivery.

James D. Gish is one of the most incredible performers I’ve seen portray Enjolras, the passionate and charismatic leader of the student revolutionaries. His vocals on ‘Do You Hear the People Sing?’, ‘Red and Black’ and ‘One Day More’ are powerful, resonant, and imbued with a sense of urgency and conviction. Earl Carpenter’s calm and soothing vocals are amiably suited as the Bishop of Digne.

Gavroche, the street urchin and sibling of Eponine, was portrayed exceptionally by Christopher Joseph. His vibrant character and precise performance for such a young actor was commendable. This talented young man is poised for a promising career ahead. The role of Gavroche will be shared with Sebastian Sero, Orlando Steiner and William Steiner.

Little Cosette (whose character envisions a world brimming with happiness, free from suffering and struggle) was played delightfully tonight by Scarlett Sheludko. Her rendition of ‘Castle on a Cloud’ was natural, heartfelt, full of innocence and joy. The role of Little Cosette will be shared by Samara Coull-Williams, Violet Massingham, and Alexandra Szewcow.

Other notable roles include Jonathon Bentley (Combeferre), Harry Grant Smith (Feuilly), Andrew Maxwell (Courfeyrac), Caleb Lagayan (Joly), Connor Jones (Grantaire), Geddy Stringer (Lesgles), Louis Emmanual (Jean Prouvaire), Abel Law (Montparnasse), Michael Burgen (Babet), Shaun Dalton (Brujon), Owain Williams (Bamatabois/Claquesous), Olivia Brereton (Innkeeper’s Wife), Adam Robert Lewis (Factory Foreman), Mary-Jean Caldwell (Factory Girl), Rebecca Bolton, Amelia Broadway, Beth Curnock, Charlie Geoghegan, Zabrina Norry, Jo Stephenson (Factory Workers), Helen Walsh (Madame), Jill Nalder (Old Woman), Lisa Peace (Wig Maker) and Daniel Koek (Warnings). Jade Davies, Jonathan David Dudley, Harry Dunnett, Georgie Lovatt and Ciaran Rodger (Swings).

Les Misérables includes many theatrical masterpieces such as ‘I Dreamed a Dream’, ‘Master of the House’, ‘Stars’, ‘Do You Hear the People Sing?, ‘On My Own’, ‘Bring Him Home’, ‘Empty Chairs at Empty Tables’ and the leap to your feet Act One finale ‘One Day More’.

If you’re looking for one of the best theatrical experiences of your life don’t miss out!

Featuring over 40 actors, 26 musicians and 174 loudspeakers, this arena spectacular is indeed a ‘rock concert’ experience.

This epic production must be seen to be believed!

Les Miz Rocks!

Jonathan Cox

Photos: Daniel Boud and Danny Kaan