Les Misérables: The Arena Spectacular is playing at Melbourne’s Rod Laver Arena until May 25 before heading to the Brisbane Entertainment Centre from May 28.
Tickets and more information via lesmisarenatour.com.au
Based on the 1862 novel by Victor Hugo, Les Misérables tells the story of ex-convict Jean Valjean who is on the run from Inspector Javert for breaking parole. Starting his life anew, he adopts an orphan named Cosette. The musical, set in France during the nineteenth century, also sees a group of young idealists attempt to overthrow the government at a street barricade in Paris.
Having opened in 1985 at London’s Barbican Theatre, Les Misérables, now the world’s longest running musical, is celebrating its incredible 40th record-breaking year. The arena production premiered in September 2024 and has played to sold-out arenas across the UK, Europe and Sydney.
The Arena Spectacular format works incredibly well as the musical itself features minimal dialogue, making it easy for even those unfamiliar to follow the story. Being in an arena, the sheer size and height of the stage is impressive from the moment you step into the arena. It also has the luxury of a protruding catwalk which is utilized by the performers and doubles as the entrance into the sewers. Clever overhead screen projections by Finn Ross help establish locations and inform the audience of important plot points that aren’t told through song, such as Jean Valjean (Alfie Boe) lifting up the broken wagon.
The staging also works thanks to Matt Kinley’s rich set design, which is layered, including a large overheard bridge and balconies with brass stair railings either side, as well as cluttered broken chairs, wheels and other woods. Kinley’s neutral pallet works in contrast against Andreane Neofitou’s original costume design made up of bright, vibrant colours and textured fabrics.
The performances are universally strong, with many reprising their roles from earlier productions, enabling them to have a deeper connection with their characters. You need an experienced, world class cast to be able to project their voices towards the back of a big arena and every single cast member, including the ensemble, were remarkable. Boe’s voice was the best at this, especially with his long-held notes which permeated across the floor. Although saying that, his voice drowned out Michael Ball‘s during The Confrontation, one of my personal favourite songs as you really get to learn a lot of Javert’s backstory. But you really feel that grand intensity and booming sound, thanks to the onstage orchestra conducted by Adrian Kirk, especially during the musical’s big group numbers like Look Down, One Day More and Do You Hear the People Sing?
Paule Constable and Warren Letton’s stunning lighting design must be mentioned too. Their use of overhead light fixtures as the barricade against the barrage of pin lights, representing bullets that fire out into the audience, was stunning. It was especially impactful as the lights stopped on each character as they are gunned down. The lights then dimmed, followed by an instrumental score of Bring Him Home, as the projection showed the blood washing away in the streets. It was simple, yet beautifully and poignantly executed.
The only downside to the overhead light fixtures is that sometimes they blocked the side projection screens which predominately feature the performers. It isn’t too often but it’s notable in what is an otherwise flawless production. For those seated in the centre, only a small percentage, won’t have that issue.
Getting to see Boe and Ball as the leads was incredibly special. Their history with this musical is legendary, with Boe having played Jean Valjean in the 25th Anniversary Concert of Les Misérables at the O2 in London in 2010 and Ball, who made his West End debut playing Marius in the original London Production in 1985 and again in the 10th Anniversary concert. The duo has teamed up for a slew of album releases as well as regularly selling out concert tours together. Additionally, Ball recorded I Dreamed A Dream on his musical theatre album of the same name in 2003, while Boe released his musical theatre album, Bring Him Home in 2010, which also features Matt Lucas (Thénardier).
Please note: Boe and Killian Donnelly share the role of Jean Valjean and Ball and Bradley Jaden share the role of Javert depending on the night of performance, further information can be found via ticketek. However, the appearance of any artist is not guaranteed and is subject to change without notice.
The standout performance for me was Marina Prior. As only one of the few Australian performers (and the only one in the main cast), she really holds her own against the largely UK cast. Having played Cosette in the 1987-1990 Sydney and Melbourne productions of Les Misérables, Prior completely chews up the scenery as Madame Thénardier and genuinely looks like she’s having the time of her life. She has great comedic timing alongside her on-stage husband, played by Lucas, who also played the role of Thénardier in the 25th Anniversary Concert at the O2, before starring in the West End stage production.
The roles naturally allow for a degree of flexibility and ad-lib, and Lucas, who is no stranger to playing comedic roles most notably in Little Britian (2003-2006) and Bridesmaids (2011), is in top form as Thénardier. An obvious favourite from the beginning, especially when he interacted with the audience, his ability to switch between goofy and calculating was remarkable to watch. He and Prior are even gifted an additional song to show off their obvious chemistry.
The child actors on opening night – Christopher Joseph (Gavroche) and Scarlett Sheludo (Little Cosette) – were also brilliant. A confident Joseph flipping the bird to Javert earned a spectacular laugh from the audience. Sheludo’s vocals during Castle on a Cloud were as impressive as the smooth handover from child to adult Cosette, that’s to say it was masterfully done.
Other favourites included Earl Carpenter as the Bishop of Digne (who played Javert in the Les Misérables 25th Anniversary Production), Abel Law (Montparnasse) and American up-and-comer, James D. Gish as Enjolras.
I didn’t like Shan Ako as Éponine at first as I thought she could have flirted a little more with Marius (Jac Yarrow) and shown more jealously towards his love for rival Cosette (Beatrice Penny-Touré) but her breathtaking rendition of Own My Own was my favourite solo song on the night.
If you’re a Les Misérables fan, this is a really special way to experience it. Apart from performing straight out to the audience, there are some minor edits. The removal of young Éponine impacts her jealously towards Cosette; Marius’ letter is delivered by Éponine and not Gavroche; and what usually is the shocking death of Gavroche is completely glossed over. Some extra physicality would have been nice but understandably this is a different kind of show.
I am admittedly not the biggest Les Misérables fan. While I’ve seen the stage musical several times (as well as the 2012 film of the same name) and have always been impressed, this rendition was my favourite by far.
4.5/5 STARS
Images by Danny Kaan & Daniel Boud // Used with permission
TINSEL and TAP SHOES 