Review: LES MISÉRABLES - ARENA WORLD TOUR at Oslo Spektrum

The Arena World Tour of Les Misérables delivers an experience that is as powerful as it is visually arresting, showcasing a stellar cast, impressive set design, and evocative lighting. While there are some challenges in terms of the performance format and staging, the level of talent on display is undeniable, making it a show that fans of the musical, new and old, will want to experience.

Stellar Performances and Powerful Presence

Killian Donnelly as Jean Valjean is the heart and soul of the production. His commanding stage presence and nuanced acting make his portrayal of the character resonate deeply. Although his highest notes could benefit from a less pronounced vibrato, Donnelly's vocal control and emotional depth are top level.

As Javert, Bradley Jaden delivers a near-perfect performance. Tall, imposing, and with a voice that glides effortlessly through the baritone range, Jaden's interpretation is both menacing and tragic. His portrayal of Javert’s obsessive drive for justice borders on the psychopathic, especially in his final song, which is a tour de force. Jaden's portrayal captures the character's inner turmoil in a way that makes Javert both a villain and a victim of his own unyielding principles.

Aviva Tulley as Éponine brings a refreshing energy to the role. Her vocal ability shines through, especially in the iconic "On My Own," where she navigates the emotional turmoil of unrequited love with a mixture of quirkiness and sincerity. While the pace of the song was a bit rushed—likely a result of the conductor's distance from the cast—Tulley’s performance still captivated the audience, delivering an emotional punch that was impossible to ignore.

The performances of Madame Thénardier played wonderfully by (my first London Éponine) Linzi Hateley and Gavin Lee as Thénardier were delightfully absurd and entertaining. Lee's portrayal, gleefully over-the-top, is a masterclass in comedic timing. He and Hateley shared a dynamic that was highly entertaing. Their antics added an important layer of release to an otherwise intense show.

I was cativated by Channah Herwitt's Fantine. She portrayed the essence of the struggeling woman forced to sell her locket, hair and eventually herself to save her child. Allthough she has a strong belter voice, at times, she faced some difficulty transitioning through the passaggio, yet she has a mesmerizing stage presence and a smooth, luxurious tone.

Less Focus, But Still Strong Performances

Jac Yarrow as Marius was wholesome and refreshing. His sincerity in "Empty Chairs at Empty Tables" was haunting, delivering both the song's beauty and the emotional weight of Marius’s loss. Yarrow's ability to convey heartbreak and longing without relying on the stereotypical clichés made his portrayal feel genuine and moving. Beatrice Penn-Touré as Cosette was equally impressive, despite the limitations of her role. Cosette is often relegated to a somewhat passive figure in Les Misérables, but Penn-Touré imbued her with a sense of strength and vulnerability. Her high soprano was beautifully nuanced, and her voice made full use of its mix in the upper register, which was a refreshing choice that added color and depth to the character. She brought a sense of wonder to Cosette’s innocence, which contrasted beautifully with the darker themes surrounding her. Then there is James D. Gish as Enjolras! He is the powerful leader which the role requires! I was blown away by his strong vocals and dedication.

The ensemble consists of performers that have all done much bigger parts in the show at one point or another. They are wonderful, bringing the richness of the chorus when it is needed, and they do smart acting choices in the background that makes the experience feel more real.

Conert, staged production or both?

The production itself seems torn between being a concert and a fully staged performance. While the set is impressive and the lighting design effective, the reliance on concert microphones creates a noticeable disconnect between the performers and the audience. The full-frontal nature of the staging, where performers rarely interact with each other in a way that feels organic to the drama, detracts from the emotional weight of some scenes. In a musical so rich with character interactions and complex relationships, this limitation is strongly felt. However, the clarity of the sound is otherwise excellent, allowing the performers’ voices to shine even in the expansive arena. Directors James Powell and James-Pierre Van Der Spuy have made some good, and many strange descicions here. The decision to use large screens to project close-ups of the performers also feels like a double-edged sword. On one hand, it offers an intimate view of the actors' expressions, but on the other, having the entire cast sitting in the “barricade” the entire show, makes it detracts from the immersive experience that a live production typically offers. A lot of the direction choices felt strange and confusing, unless you know the show by heart, and even though it’s well known show, one should take care include "the virgins" in the audience. Examples of this is “The Runaway Cart” being just hinted to with a projection of a wheel, but cutting the part where Javert sees Valjean use his powerful physique, or seeing Valjean carry Marius from the barricade and down in the sewer, and Thénardier interacting with what he believes are corpses and taking Valjean’s ring and Marius’ watch. Instead they have cut lyrics and plot points to make it easier for the audience to follow, but it ends up just being more confusing to those who have never seen the show before.

Final thoughts

Overall, this production of Les Misérables is a testament to the exceptional talent of its cast. It is kind of sad to know that most Norwegians in the audience will not realize that they are treated to such iconic performers as the original Carrie from the famous Broadway flop of the same name, or the very first Bert in the staged version of “Mary Poppins”, nor that the actress playing the Old Woman during “Lovely Ladies” is the real life “Jill” whose experiences inspired the wonderful television show “It’s a Sin”.  Donnelly’s gripping portrayal of Valjean to Jaden’s chilling Javert, and Tulley’s poignant Éponine, every role is performed with a level of professionalism and passion that makes the show worth seeing. However, this format, caught between a concert and a full theatrical experience, does limit the emotional depth of the production in places. But it does not overshadow the immense skill of the performers. If you're a fan of Les Misérables, you'll likely appreciate the breathtaking vocals, powerful performances, and the overall spectacle of the show, even if it's not a completely immersive theatrical experience.

This Les Misérables Arena tour is a beautiful production that offers a chance to witness some of the best talent in musical theatre today.

Photograph: Danny Kaan

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