Review – Les Miserables, the all star staged concert ****

It says something for the quality of Les Miserables that this concert version packs all the emotional power of the fully staged version that fans expect. The added attraction is, of course, the star power of the cast.

Alfie Boe reprises the role of Jean Valjean which first brought him to widespread attention when he performed it at the 25^thanniversary concert. Then he was, for most people watching – me included – an unknown, so that added to the effectiveness of his performance. Uncluttered by any image of his own, he was then a pure channel for the character as written by Claude-Michel Schonberg, Alain Boublil, and Herbert Kretzmer. Now he is, of course, a star and brings that to the stage along with his interpretation of the part. The good news is that the power of his performance is undiminished. If anything it works even better in the intimate setting of the Gielgud Theatre rather than the vastness of the O2 arena.

Michael Ball, an original cast member, returns to the show in a new role for him – Valjean’s nemesis Javert. Delighting in playing against type as the baddie, Ball pushes his twinkly and charming public persona way out of sight as he relishes the hunt for prisoner 24601.

Joining them, another graduate from the 25^thanniversary concert, is Matt Lucas as innkeeper Thenardier. His comedy chops are in no doubt and he fully exploits the comic potential of this much loved role.

The whole show feels like an event. There was a palpable sense of excitement and anticipation in the air. The age range was wide and it was obvious many were devoted fans. But the great thing about Les Miserables is its ability to survive these different incarnations. For its 25^thanniversary concert at the O2 it was bigger than ever before, with a vast chorus and orchestra, the likes of which would never be seen in a theatre. And yet that massive increase in scale felt absolutely right. Likewise this concert in the much smaller setting of the Geilgud also feels absolutely right.

So what these versions are showing us is that Les Miserables is a show whose power comes almost solely from the writing. It is not so intimately bound-up in its staging as, say, Phantom of the Opera. This bodes well for its continued success when a new staging (well, a version of the current touring production) takes over back at the refurbished Queens Theatre later in the year.

In the meantime this is a bold and brilliant way to keep the Les Mis flag flying on Shaftesbury Avenue.

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