On the opening night of Les Misérables in Melbourne’s Rod Laver Arena, it was clear that all those superlatives describing the Sydney leg of Cameron Mackintosh’s Arena Spectacular production were more than justified.
Literally and figuratively dazzling, it began with spotlights raking over a full Arena of some 15,000 people accompanied by music from a powerful sound system. Such a spectacular introduction boosted the energy and excitement already felt by fans of a musical loved by millions; as the person seated behind me declared beforehand, “It doesn’t get better than this”.
Initially, all was semi shrouded behind huge plank-like structures. These were lifted in a terrific visual coup de théâtre, like some kind of spaceship taking off – simply thrilling. In ingenious mechanical manoeuvres, the “planks” took on other forms such as the inn roof. All scene changes were executed with seamless precision.
We have seen performances on stage and screen – so very different in format – but the Arena concert version contained some of the best elements of both. It was live and, due to the two large screens at the side of the stage, we had an excellent view of the lead singers. Although they generally stood behind standing microphones, the projected close-ups made us forget that this was a concert version; we could home in on the details of characterization that this exceptional lineup of singer actors delivered with such skill.
When the side screens weren’t featuring the singers, they usually joined the giant screen at the back like a triptych of evocative visuals. Often displaying shifting abstract designs, and sometimes creating the settings for various scenes, they tended to be painterly and muted – a choice that contrasted with the vibrant red images at strategic moments, which made them all the more striking.
Seated just above the stairs where the action involving the larger ensemble took place, the orchestra, directed by Adrian Kirk, sounded much larger than its relatively modest size of 24 players suggested.
With music by Claude-Michel Schönber, lyrics by Alain Boubil and Jean-Marc Natel, and a book by Schönberg and Boutil, this sung-through musical premiered in Paris in 1980. The English-language version, produced by Cameron Mackintosh, has been running in London since 1985. Judging by the enthusiastic crowd at the Arena, it may well come to eclipse all other runs of a musical.
Based on the novel Les Misérables by Victor Hugo, who was inspired by witnessing the 1832 Paris uprising, the story concerns Jean Valjean’s quest for redemption. On parole after 19 years of imprisonment, he is caught stealing from a bishop, whose kindness enables him to avoid recapture and begin a new life – much to the fury of his nemesis, the self-righteous police inspector Javert. In disguise and funded by the bishop’s silverware, Valjean becomes a factory owner and mayor of the town. He rescues the orphaned Cosette – the daughter of Fantine, one of his former factory workers – from the avaricious clutches of the Thénardiers and adopts her. Some years later, Valjean becomes embroiled in the activities of a group of young idealists struggling to overthrow the government. Among them is Marcus, who falls in love with Cosette. She returns his love, and Valjean comes to value him as the son he never had. While he finds redemption, his single-minded antagonist succumbs to despair in the face of Valjean’s goodness.
The overwhelming mood of the opening scene is anger, the theme of “angry men” resonating throughout the work. Valjean seethes with anger at the injustice of his term of servitude for stealing a loaf of bread to help his sister, while Javert is consumed with hatred for him. Alfie Boe as Valjean, and Michael Ball as Javert had, from the get-go, all the snarling energy that the roles demanded. There were no surtitles needed as they spat out their mutual contempt with crystal clear diction. Both are consummate performers. Boe’s singing of “Bring him home” ended with as finely controlled use of head voice as you could wish. A Les Mis veteran – in 1985 he played Marius in the original West End production – Michael Ball knew how to shape the character, beginning with maniacal determination and ending with bewildered doubt and despair. The close-ups were most effective in displaying the violence of his emotional journey. When taking their joint “curtain calls”, their camaraderie as actors, following the intense confrontations of their roles, was surprisingly touching and attracted considerable audience applause.
Despite the excellent work of these two stars, for many, Marina Prior almost stole the show. Madame Thénardier is a gift of a role, but it does take a forceful, uninhibited personality and a strong vocal production to meet expectations. When her entrance was greeted with, “Well, look who it is”, her many fans cheered and applauded, but it was the way she embraced the role of a coarse grasping character that really impressed. She and her partner in this portrait of cynical greed and treachery, Matt Lucas, made a formidable and absolutely hilarious pair. And who knew that Matt Lucas could sing so well? Wokeness was forgotten as we delighted in these disreputable characters, clapping along enthusiastically to “Master of the House”; it was impossible to resist being swept along by their exuberance and the vitality of the ensemble. While there are double casts for Valjean and Javert, patrons are assured of seeing Prior and Lucas – alone worth the price of the ticket.
Of the other male principals, Jac Yarrow gave a creditable account of Marius. His singing was pleasant and reliable, and he gave a convincing portrait of a somewhat naïve young man full of romantic idealism – a refreshing contrast to the surrounding desperation and ugliness. As Enjolras, James D. Gish injected charismatic energy into the role of leader of the student rebellion, ably supported by other members of the student ensemble.
Rachelle Ann Go made a moving Fantine, but her mannered style of singing and exaggerated facial expressions tended to detract from the emotional impact of “I Dreamed a Dream”. With glowing serene presence, Beatrice Penny-Touré was an appealing Cosette; she did, however, experience some difficulty and thinning of tone on the high notes. As her younger counterpart, Samara Coull-Williams performed confidently, singing the popular “Castle on a Cloud” with sweet-voiced clarity.
Shan Ako was a passionate Éponine, her heartfelt portrayal of a secret and hopeless love for Marius admirable in its vocal and dramatic focus. The final song, “A Little Fall of Rain”, as Éponine dies in the arms of Marius, was particularly sensitive and affecting.
Minor roles were all embraced with gusto, but Christopher Joseph was a standout as Gavroche, his enormous smile lighting up the stage, and making his death on the barricades even more poignant.
Although scenes with the whole cast were visually remote – there were limits to how much could projected onto the side screens – the use of raised podiums and an excellent sound system ensured that the audience felt close to the action. The absence of surtitles was not a problem as diction was remarkably clear.
Billed as a “concert” performance, this spectacular production is vastly more than that; even calling it semi-staged doesn’t begin to do it justice either. The combined brilliance of Directors James Powell and Jean-Pierre van der Puy, Set and Image Designer Matt Kinley, Lighting Designers Paule Constable and Warren Letton, Sound Designer Mick Potter, and Finn Ross (Projection Realisation) have created an extraordinary setting for Les Misérables. Go and see it; you will be amazed.
Photo credit: Daniel Boud
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Heather Leviston attended the opening night performance of “Les Misérables The Arena Spectacular”, presented by Cameron Mackintosh at the Rod Laver Arena, Melbourne, on May 14, 2025.
