Les Misérables - Sondheim Theatre

That's a bad policy. I think if people are specifically trying to avoid holiday dates (or purposely going to see a specific understudy), they should have the right to know. It's one thing to demand an exchange or refund if someone is sick and an understudy shows up, but I think people are entitled to know if it's a scheduled holiday.

^ Whilst that is a completely fair point about publishing understudy dates, I think those who *are* understudies, more often that not, like to spread the word about when they'll be on, I guess mainly because it allows friends and family time to book to see them in a principal role. I should think they'd also be pretty excited and proud to be, for maybe one night only, a principal part in a West End show and will want to shout it from the rooftops! I'm not sure whether your co-worker comparison carries as you being on holiday and a client being told would be more like the audience being told who is operating the revolve tonight. It's a bit more "behind the scenes", whereas an understudy is far more public and they should be allowed the right to tell who they so wish, as opposed to being forced to keep quiet, as if being an understudy is something to be ashamed of.

With the issue of a stalker, them being a principal role or in the ensemble doesn't change the fact that they will still be on stage and will come out of stage door etc. Unless it's a swing who is not normally in the show - but of course definitely not something to completely dismiss!

"A possible stalker scenario".

I really don't see this. We are talking about understudies here, who are present at the theatre every day, just in different roles. If a person would like to see that actor in a leading role, he/she can buy a ticket and sit in the audience, but I would not consider that stalking. Waiting at stage door or following them or whatever stalkers do, they can do it every day with any castmember.

Awful policy. Hope the backlash changes it.

Bit of a stab in the dark, but maybe it's to do with the safety of the performers? I suppose making understudy dates publicly available tells people when certain actors are going to be out of the house/on holiday all week, same reason why people are advised to not post when they're going on holiday on Facebook, or potential thieves know when the house is empty and can rob it. Just a thought, not sure how valid 😄

This all does seem weird. I remember Hollie O'Donoghue revealing her Eponine dates on Twitter early on in their run, as well as Sophie Reeves telling a few fans that she was on for Fantine in early August. It's been quiet since then, though. I wonder why.

JOJ was the best Valjean in my opinion. Pure perfection in every way. I wish he was in the film version. That would have been a highlight in the history of musical-filmmaking. I feel that JOJ has a very filmic finesse, which focuses on the small details. Hugh Jackman was way too theatrical and loud.

I think they've both been off this week, or both extremely recently, so I would imagine they would be back on next week.

Saw this tonight and thought it was fabulous (as ever?). I've seen it so many times over the years (teens, 20s, 30s, mid-30s!), and I have to say it was very tight and well done. Standby Valjean was good, Rachelle Ann Go was gorgeous as Fantine, and Eva has a British accent. All in all fabulous, powerful and a stunning orchestra.

Btw, I'm glad you got to see Rachelle and Eva as you wanted!

I was there Wednesday night (centre of row C, stalls, £45 from TKTS bought at 2pm).

I should just preface this review by outing myself as a massive fan of this show - it is my favourite musical - so if I seem hung up on any minutae then I do apologise! I have seen the West End production in excess of fifty times, including every cast for the last 15 years and the tour three times, and this performance truly ranked up there among the very best of them. So much so that I'm bothering to review it! Because of this, I'm going to focus on the cast and performance rather than the material which obviously has been covered a zillion times.

I last saw the show in Jeremy Secomb and Rachelle Ann Go's second week and came away somewhat disappointed, in truth. They were clearly still finding their feet and the show felt a bit lacking, despite outstanding performances from Carrie Hope Fletcher (who I luckily got to finally see before she left - she'd been off every visit prior) and the outrageously good Enjolras, Bradley Jaden.


What an absolutely outstanding performance I attended - and on a matinee day! The cast (and audience) were absolutely electric - the cast were feeding off the audience and the whole thing - from the Prologue onwards - never slipped in quality or intensity, which is rare for this particular show.

The Good:


Adam Bayjou covers Wednesday nights and makes an excellent Valjean. Whilst vocally he is strong enough, but nowhere near many before him, his acting choices are exactly how I love the role to be played. He plays the role with calmness, pathos and humanity and never once feels as though he is trying too hard with the whole saintly analogy. He is, from memory without checking all my programmes etc, the only Valjean I've seen NOT to do the 'Valjean'/Colm Wilkinson 'voice'. He simply sings the role in his natural (London?) accent which is such a breath of fresh air. His solo highlights were an electric Soliloquy and Who Am I, but he was at his absolute best when NOT singing out full belt. For example, he actually THINKS about the words in 'The Well'. He even cracks a smile when greeting Cosette ("Don't cry, show me where you live") something I don't think I've ever seen before. And then when meeting the Thènardiers, he quietly explains to the Thènardiers that Fantine has died, rather than belting it at them at full volume;

(quietly) "Now her mother is with God"

*beat - Mme. Thènardier looks confused and mouths "I don't understand"*

"...*gesturing towards Cosette*... Fantine's *beat while he searches for the right word* suffering is over"

*Mme. Thènardier "gets" it*

It's these small touches which add humanity to the character, rather than just an actor singing the lines as powerfully as they can without thinking about the scene. He has a couple more lovely moments like this, such as in the Final Confrontation, "look DOWN, Javert, he's standing in his grave". It's hard to describe but it's truly as though each word he sings has actually been considered for its inflection, meaning and intensity. Sometimes less is more and Bayjou nails it. I suppose the opposite of this type of Valjean would be Simon Bowman, David Shannon, Mike Sterling - that kind of extremely melodramatic performance.

Rachelle Ann Go has improved immeasurably since my last visit. Her "I Dreamed a Dream" is beautifully sung and her death genuinely brought a tear. Really helped by having a reactive Valjean, their chemistry was absolutely lovely. Definitely in the top percent of Fantine's I've ever seen, with Celinde Schoenmaker and Carmen Cusack.

The Thènardiers (David Langham and Katy Secombe) are over the top, hammy and hilarious. Loved the new Master of the House direction as it is a scene in which I usually switch off. He is certainly a comic type of Thénardier, more alike Stephen Tate or someone like that than a nasty one like Ashley Artus or Barry James.

Craig Mather looks and sounds awfully like Rob Houchen before him and he obviously fits the current vogue of casting this part. Young, blonde, handsome and vocally adequate. His performance is strong and feels sincere though. It's a shame I've only seen him in two incredibly wet roles (Marius and Anthony in Sweeney Todd) as he probably has more in his locker.

I really wasn't sure about Johnny Purchase, covering Enjolras, but I grew to rather like him as the performance went on. He initially had a bit of an understudy 'feel' about him, (ill fitting wig, vocally quite safe) but again, impressed with his acting more than anything. He really felt like the leader of the students, his diction was great and had lovely interaction with Grantaire and Marius. He had a quite annoying vocal habit on longer notes though which I sort of got used to "before we cut the fat ones down to sooooooize, before the barricades arrooooooooooize". It's unusual as singers are taught to make an 'ah' sound and on both of these words with an 'ah' sound he makes an 'oh' sound. Weird. Still, I ended up quite liking him!

Eva Noblezada sings with an attempt at a cockney accent. Now, I say attempt because it takes a real tour around Europe, North America and Australia to reach the East End. She has a strange habit of screwing her face up and looking like a bratty teen who isn't getting her own way (she also did this as Kim in Miss Saigon). Vocally, she clips notes short and, probably hindered by the accent, makes some weird vowel sounds which sound like she's gurgling. Then "On My Own" and "Little Fall of Rain" happen and all is forgiven. The former feels as polished and perfect as though she's been singing it in front of a mirror for 15 years, it's powerful, she DOESN'T cheat the finale and 'pretending', and earnt a rapturous ovation. No sign of the strange accent to be found, she sings it beautifully. A Little Fall of Rain likewise, and she actually acts this well. At the interval I was ready to 'rank' her in my mind as one of the poorest I'd seen.


The less good:

Zoë Doano is a bit annoying as Cosette (I know they all normally are, but she was noteworthy for it), she singing is a bit too shrill and shrieky for my tastes and she only has one expression. BUT, she had some nice moments at the end of 'In My Life' with Valjean, but I feel this is perhaps despite her rather than because.

The kid playing Gavroche... not good. Weak voice, bad diction, seemed extremely nervous (is he new? Little blond lad) and couldn't even throw the bullet bag high enough - pah)

Adam Pearce is very, very distracting with his over-the-top gurning and improvisation. His Bamatabois is just about tolerable as it suits the character, but he does it as EVERY character and it's so noticeable because he has such a distinctive face. I'm sure he's a lovely bloke, etc, etc, and it's nothing personal but I really wish he'd just fall in line and stop trying to upstage all of the time. I remember hating his Thénardier too.


The absolutely bloody fantastic:

Jeremy Secomb is a force as Javert. When I saw him just after he started I was a little disappointed in earnest. He had been great as Sweeney Todd and I'd seen his Phantom a few times over the years and loved it each time. He seemed to be acting within himself and playing it very cautious. Well, all that has changed! He completely dominates the stage every time he's on it. His Stars brought the house down and was the highlight of the whole evening. He was absolutely manic by the suicide without ever becoming cartoonish or ridiculous (I'm looking at you Jerome Pradon). I really can't rave about him enough. It is true that he barks most of his lines - which can make him come off a bit shouty ala Philip Quast/Mike McCarthy/Earl Carpenter but it is so appropriate for his characterisation. He was completely in the moment and the audience were rapt.


Also a special word for the audience, who were absolutely electric. A spontaneous standing ovation on the final 'One Day More' happened around me, which I have never experienced before the lights have come up for the curtain call. I can't wait to go back, the only thing is, if I do it will probably disappoint.


I've seen this show at death's door (circa 2004 with Sean Kingsley as Valjean) playing to bored 2/3 full houses and rumours of closure. It's had dips and highs, as all long-runners do, but right now is the best it has been since John Owen-Jones/Hans Peter Janssens over ten years ago. If you ever needed an excuse to go back, now is the time.