The world’s favourite musical thrills once more in this lavish, talent-packed concert that completely lives up to its “Arena Spectacular” title.
Part of a World Tour that began in September last year, Les Misérables the Arena Spectacular celebrates the 40th anniversary of this most epic and emotional of musicals. First presented in London in 1985, the much-loved music of Claude-Michel Schönberg and lyrics of Herbert Kretzmer (from the French text by Alain Boublil and Jean-Marc Natel) have been continuously performed around the world, enjoyed by millions both on stage and in cast recordings.
Produced on a grand scale, Les Misérables readily holds up to the luxurious treatment of this arena spectacular, shining all the more brightly with the meticulous and insightful direction of James Powell and Jean-Pierre van der Spruy. Nuanced direction is particularly impressive given the high-level of familiarity of the work. Scenes are performed straight out to the audience rather than being more traditionally acted, but it is the myriad details of passion and expression that really set the performance apart.
A particularly fresh addition is the cheeky asides of the Thénardiers, who each have very funny “ad libs” throughout their scenes. A minor edit is the removal of Young Eponine, although that does remove the impact of the reversal of fortunes of Eponine and Cosette as they grow up. A more jarring edit is the absence of the scene for Gavroche’s death, traditionally one of the most affecting scenes in the whole musical.
Presented as a concert, the grand stage holds the generously sized ensemble and orchestra, with lead performers appearing as required. The combination of set design by Matt Kinley and lighting design by Paule Constable and Warren Letton sees massive overhead elements create the sense of locations. Three rear screens hold artful projections by Finn Ross, the two outer screens often switching to a high definition feed of featured soloists.
Conducted by Adrian Kirk, the 26-piece orchestra has the sumptuous sound of a symphonic performance. Mick Potter’s sound design blends instrumental and vocal performances to perfection, also adding heightened drama with the scarily immersive sound of gunfire at the barricade.
Long associated with the role of Jean Valjean, Alfie Boe continues to mine the drama for affecting details. A sterling example of this approach comes in a small scene at the beginning of act two when Valjean reads the letter written by Marius to Cosette, delivered by Eponine. Boe has Valjean’s voice crack with emotion as he reads the letter, powerfully setting up the whole second act, in which Valjean goes to the barricade to protect Marius, carries Marius’ injured body through the sewers, and gives the children his full blessing for their union.
Boe achieves particular power by underplaying Valjean’s reactions, justly relying on the expressive power of his voice and the extraordinary impact of his soaring high notes.
The portrayer of Marius in the very first performance, Michael Ball continues in Les Misérables, now in the role of villainous baritone Inspector Javert. While a devilishly driven role does not play to Ball’s strength of warmth and humour, Ball nonetheless cuts a fine figure and brings clarion vocals to Javert’s big ballads.
Joining the international cast for the Australian leg of the tour is renowned leading lady Marina Prior, who has the distinction of having played Cosette in the Australian premiere season of Les Misérables. Pairing with comedian Matt Lucas to portray the fiendish Thénardiers, Prior delights with her finely honed comic chops. Prior and Lucas set off sparks with their comic chemistry, performing their “ad libs” with infectious glee.
The young adult roles are played by an immaculate set of rising stars, each with a depth of experience that belies their age.
Rachelle Ann Go portrays the harrowing descent of Fantine with a blend of delicate grace and well supported vocal power. Beatrice Penny-Touré captures the sweet innocence of Cosette, singing the role with requisite sweetness while still bringing something of a backbone to the precious young woman. Shan Ako garners the full impact of tragic heroine Eponine, firmly underpinning the plucky character’s bravado with a precarious vulnerability.
Jac Yarrow makes for a dreamy Marius, singing the role beautifully and glowing with the character’s love and respect for those around him. James D. Gish rounds out the lead cast with splendid singing as part of a supremely dashing portrayal of fearless student leader Enjolras.
On the Melbourne opening night, Scarlett Sheludko performed Little Cosette with endearing frailty and tender vocals. Playing precocious street urchin Gavroche, Christopher Joseph readily matched his adult counterparts with confident vocals and bravura acting.
There would not be a Melbourne musical theatre lover who has not seen Les Misérables at least once, if not multiple times. Fans of the musical will be richly rewarded by attendance at this very special presentation.
Les Misérables the Arena Spectacular plays at Rod Laver Arena, Melbourne until 25 May 2025. For tickets, click here.
Les Misérables the Arena Spectacular plays at Brisbane Entertainment Centre 28 May – 1 June 2025. For tickets, click here.
Photos: #1, #2, #5 Daniel Boud; #3, #4, #6 Danny Kaan
Categories: Music Theatre, Reviews
Man in Chair 
Another great review of a great performance.
Keep up the good work.
Was this a spectacular and memorable Les Miz ? …..yes !!
Was this the best production of Les Miz that Australia has seen ?……..a resounding …….no !!
The cavernous and unforgiving Rod Laver Arena venue resulted in a ‘sepia’ interpretation of this iconic musical. Unlike the amazing microphone technique and sound palette exhibited in Melbourne’s current Jesus Christ Superstar, the performers in Les Miz seemed restricted and isolated both physically, musically and emotionally by the static sound system. Marina Prior seemed the most comfortable in using the limited performing space and in navigating the ‘arena’ technology to project her character beyond the footlights.
The gorgeous harmonies in the duets of Marius and Cosette and in the finale death scene were poorly defined.
The deletions in the book that you have mentioned and some dramatic scenes weakly realised resulted in a very shaky narrative that Les Miz newbies next to me found difficult to follow and understand.
Casting too that relegates Daniel Koek to the chorus is questionable.
As always, the core of Les Miz is so strong that it manages to shine through dodgy venue and casting choices but I hope the next time we see it in Australia that it is securely within a proper theatre proscenium.
Glad you had the chance to see this production, Edward.
I was sitting relatively closely so that may have boosted my engagement with the performances.
I definitely agree that it is time for a fully staged theatre tour of Les Misérables. Time for a new generation of local stars to shine!
In the souvenir programme notes for the Les Miserables Arena Tour Edward Seckerson comments on the One Day More Act One finale :
“….a ‘wall of sound’ advances inexorably towards us, the like of which no musical has ever attempted or achieved before.”
I’d have thought that the Les Miz model he mentions had already been presented in the Quintet from West Side Story or even the quartet from Rigoletto ?
Am I missing something ?
Good point, Edward.
The act one finale of West Side Story is a definite precursor for “One Day More” in Les Mis. I suppose, though, it could be argued that the entire company of West Side is not the Tonight Quintet as the four adult characters are not on stage whereas the full company of Les Mis is there.
Meanwhile, a great many operas have already employed the same concept to timeless effect.
I guess musical theatre is sometimes considered a world unto itself!