Melbourne Reviews

Based on Victor Hugo's 1862 epic novel of the same name, the musical incarnation of Les Misérables by French collaborators Claude-Michel Schönberg and Alain Boublil began life in the early 1980s. After concept albums and a staged production in France, a recording found its way to theatre producer Cameron Mackintosh in 1983 who was subsequently encouraged to foster a version for British audiences. After two years of development with the Royal Shakespeare Company, a production with English lyrics by the late Herbert Kretzmer was staged at London’s Barbican in 1985. Soon after, the show transferred to the West End where it’s played ever since and is now the world's longest running musical. Remarkably, and unlike any other, this show has been seen by over 130 million people in 53 countries and been translated into 22 languages. 

On January 26, 1989, 125,000 people filled the lawns of the Domain in Sydney to watch a concert version of Les Misérables; a relatively new musical back then featuring many of Australia’s most famous stage performers at the very beginning of their careers. The overwhelmingly positive response to this one-off performance not only delighted Cameron Mackintosh but demonstrated the musical’s extraordinary adaptability for success beyond the theatre. In 1995 the 10th anniversary of Les Misérables was marked with a concert at Royal Albert Hall in London – full of original cast members and an incredible spray of theatrical talent, another massive success of the concert format led to multiple milestone incarnations. In 2010 the show celebrated 25 years at London's enormous 02 Arena and then in late 2019 while its West End home underwent refurbishment, an all-star concert version ran for an extended season notching up over 200 performances. Mackintosh has said of the show that “You could do it with worklights on an empty stage and it would still succeed.” Back in the Domain in 1989, it’s hard to imagine that even he could have foreseen the enormous popularity of his show in concert form now taking on a life of its own and almost cannibalising the stage original.

And so, 40 incredible years in the making, Les Misérables – The Arena Spectacular has arrived in Melbourne. 

Given that a review offering a plot summary of Les Miz would be an absolute affront to anyone anywhere who has ever hummed a show tune, a story of love, redemption and hope rich in universal themes underpinned by an uplifting and powerful score will suffice for the brief. Without doubt, Les Misérables will continue to captivate and exhilarate for generations to come no matter what the format but for established fans and the uninitiated alike, this Arena Spectacular version is both event and celebration in equal measure; a heart soaring live tribute to the show itself delivered with meticulous professionalism by some of theatre’s creative and technical best.  

Far more elaborate than just a mic stand sing fest, what strikes so powerfully on first sight is Matt Kinley’s extraordinary set design that’s been specifically geared for large venues and to host a cast and orchestra of over 65. Impressive in its originality and versatility and yet recognisably evocative of previous designs, this is Les Miz at incredible scale – enormous shards of wood magically, beautifully and ominously shift and share space with Parisienne walkways and streetlamps, beautifully lit by Paule Constable and Warren Letton, the seemingly impossible has been achieved, moments of incredible intimacy within such a vast arena.   

This tour is rammed full of incredible talent, international and local, but given the star of the show is the now the show itself, its players can be somewhat overshadowed. Debate amongst aficionados will always be robust in matters of ‘definitive’ but Alfie Boe as Jean Val Jean has absolutely ascended. From apprentice car mechanic to the great opera houses of the world, Alfie Boe is now firmly lodged in the show’s DNA having played the role in the West End, on Broadway, the 25th Anniversary concert at London’s O2 and most recently, the All-Stars Concert version. Boe’s presence is astounding and his voice magnificent particularly in that shift from a more conventional musical theatre sound to operatic powerhouse. Rich and commanding in garnering moments of incredible silence in stadiums the size of Rod Laver is testimony to 'how it's done' and we are the absolute beneficiaries of his entrenched familiarity with this role and show. Val Jean is one of musical theatre’s greatest and most challenging roles and it will be a sad day indeed, for Boe as well no doubt, when this is no longer a marathon he wishes to run.  

As it is with politics, balance comes with good opposition and Les Misérables is ostensibly a tale of a tussle between two men. Opposite Alfie Boe is Michael Ball as Javert. When thinking of this character; steely, unwavering and stoic in relentlessly upholding the law, Michael Ball is not an instant come to mind, however, he genuinely surprises. This is a clear and well considered interpretation of a role that can often feel gruff and rigid. With this lighter approach and real clarity in delivery comes an arc that derives empathy. Ball has a huge voice, always has, but he cleverly limits it here to genuinely powerful affect, with reflective measure, his Javert feels explained in a way that would be lost were he to over sing it.  

Perhaps it was hometown advantage but the increasingly fabulous Marina Prior pulled off what feels like a genuine comedy coup and out ‘funnied’ the very funny Matt Lucas. Prior’s career runs pretty much in tandem with Les Misérables in Australia, first appearing in the show as Cossette in the original Australian production and now, like a marvellously demented hybrid of Mrs Lovett and Catherine Tate’s Nan, she gives us her Madam Thénardier. Virtually stopping the show with her first line "now look who's here,” Prior delights in this ghastly departure from more conventional expectations. Lucas of course has played the role many times to great acclaim and has clearly run with the free reign afforded to the show’s comic antagonists, evident given some of the very ‘off book’ asides this pairing deliver. Performing just for the Australian leg of this world tour Marina Prior was a masterstroke of casting and she almost runs away with the night.

The size and calibre of this company is incredible but to make mention of so many stand out moments and performances would substantially and unnecessarily lengthen this review, but what can be said is that all on stage come together magnificently to deliver one of the greatest ensemble works of musical theatre, full as it is with fantastic character roles, solid stage time and opportunities to belt out some of the most recognisable stage anthems ever written. It well may be that this Arena Spectacular is bigger and possibly more complex than perhaps first intended but it’s good; it’s really really good. Feeling closer to a theatrical production over previous concert versions, this ambitious fully realised triumph is the very definition of unmissable.