REVIEW: 'Les Misérables: The Arena Spectacular' ⭐️⭐️⭐️⭐️½
- We Talk Theatre
- 4 hours ago
- 2 min read
Review from - May 1st, 2025 (Gala Opening Night)
Ask any person to name a musical, and once they’d gotten past Grease or Hamilton, Les Misérables will likely be one of the first mentioned. For over 40 years, this masterwork based on Victor Hugo’s epic-length novel, with music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer, and book by Alain Boublil and Jean-Marc Natel, has been playing around the world nearly constantly, especially in London’s West End. To celebrate, revered global producer Sir Cameron Mackintosh has sent an Arena Tour. It’s a crowning jewel to the piece’s legacy.
James Powell and Jean-Pierre Van Der Spuy serve as co-directors, opting for spectacle over substance at some pinnacle moments. In a production on such a scale, with eye-watering admission prices, the decision to have large parts of the show stand sung to the front and others fully staged seems a little confusing. Despite that, you won’t be disappointed leaving the stadium by any means. The instantaneous standing ovation is deserved.
Matt Kinley’s set and video design is perhaps the most jaw-dropping part of the production, aided by Paule Constable and Warren Letton’s dazzling lighting design. Together they utilise every inch of the stage and the air above it to help thrust the story forward. An understaged barricade sequence is barely noticeable layered with the kinetic lighting rig and powerful sound design by Mick Potter.
Global sensations Alfie Boe and Michael Ball give a masterclass in theatrecraft in their performances as Jean Valjean and Javert respectively, helming a cast of 35 cast from across the world. In Act Two, Ball proves why he is asked to return to this role over and over again. They are joined by Rachelle Ann Go, who provides the production's sensitive soul as Fantine, along with Beatrice Penny-Touré as Cosette and Shan Ako as Éponine. Jac Yarrow left very few dry eyes during Empty Chairs and Empty Tables; his Marius is both powerful and defined.
However, the show is ironically stolen by Matt Lucas and Helen Walsh as The Thénardiers, the crooked innkeepers turned thieves. They bring comical relief and make it textured and heartfelt. Their applause was the loudest during the bows, and rightfully so.
A special mention must be made of Alexandra Szewcow as Little Cosette and Sebastian Sero as Gavroche; both have stage presence well beyond their years and hold their own surrounded by the seasoned cast.
Under the baton of Adrian Kirk, the 30-strong orchestra raises the roof of the ICC. More musicals should put the musicians on stage, not just for novelty, but out of respect.
The opening night’s audience was treated to a special one-off performance of ‘One Day More’ featuring original and subsequent Australian casts, including Normie Rowe, Philip Quast, and Nikki Webster, amongst others. It was a beautiful mark of respect for Australia’s 38-year relationship with the work.
As advertised, this production is nothing short of a spectacular, and a brilliant night in the theatre. This production plays at Sydney’s ICC May 11, ahead of a national tour.
Tickets available via lesmisarenatour.com.au
Review by Joshua Maxwell
Produced by We Talk Theatre
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