laureldf-1 Like most Americans, I first saw the 25th on PBS. I had read the book and seen the road show in Chicago many years before. When it first aired, I was distracted and it barely registered. But the second time, I wandered into the room as Alfie Boe began "Who Am I?" stopped dead in my tracks and didn't move for the next three hours.Alfie Boe is magnificent, he may be the best Valjean in Les Mis' thirty year history. (That includes the movie too). His voice is angry, vengeful, baffled, pleading, commanding, tender and loving. Boe has a bright tenor voice that snarls or rings out with all the nuance of speech. Les Mis is a tough sing that would tax any tenor, but you never worry if he'll hit a high, only wonder how stunning it will be. The four minute standing ovation (cut down to one minute on the DVD) for "Bring Him Home" was completely deserved. The song is a prayer, and you feel Boe isn't singing a prayer, he's praying on stage.The other cast members are equally impressive. Norm Lewis' Javert is all menace and malice. He despises this peasant and thief, and will wipe out the one blot on his record. Norm's baritone can be completely chilling, and "The Confrontation" is practically a duel. Another singer might have drowned against Boe, but each meeting is tense and powerful.Lea Salonga and Samantha Barks as Fantine and Eponine are each heart breaking, doomed by fate and love. They pour themselves into "I Dreamed a Dream" and "On My Own" and bring down the house. Ramin Karimloo is a passionate, charismatic Enjorlas. Matt Lucas and Jennie Galloway seem like comic relief until you see the sinister charm behind them, very well done.Much has been written about Nick Jonas and Katie Hall. Nick was only 17yo for the 25th, and their voices blend well. Nick can't quite keep up with the older, more powerful singers, but he makes "Empty Chairs, Empty Tables" his own. They are sweet lovers here.A show this big deserves big encores. They bring on the Queen's Theater cast, the 25th Anniversary Touring cast, and the original 1985 cast. And the crowd goes wild, with good reason. The rewritten "Bring Him Home" for the four Valjeans (and the key change), is almost worth the price of the DVD by itself.A huge orchestra and choir, a massive stage, spectacular lighting and effects, three screens for a crowd of 17,000, cameras everywhere, costumes, and sensitive editing. Les Miserables as it should be done.

bh_tafe3 For a person who grew up with musicals, went to see local productions, big Sydney and Melbourne touring productions and spent a lot of my childhood watching musical films with my father, it's a little surprising that I'd never got around to seeing Les Miserables until it was turned into a feature film. I was quite impressed with the film, but assured by people the songs could have been performed a lot better, so I saw this on sale and decided to check it out. Suffice to say I was thoroughly entertained and very impressed.But the start is a bit shaky, the first two performers to sing solo during the "Look Down" opening had me wondering what I'd got myself into, but once Alfie Boe (Valjean) and the enjoyably hammy Norm Lewis (Javert) get on stage I knew I was in good hands. Boe's singing is magnificent, with Valjean's soliloquy and Bring Him Home two of the highlights of the show. Lewis is having the time of his life, shouting his name with gusto and giving a great rendition of Stars and a passionate soliloquy of his own. Their moments together are brilliant, but I especially love their confrontation as Fantine dies.Speaking of Fantine, played by Miss Saigon herself, Lea Salonga, her "I Dreamed a Dream" is the absolute high point of this show. She makes you feel everything that her character is feeling during the song while belting out the tune beautifully and receives a well deserved standing ovation at song's end.Matt Lucas makes a truly disgusting Thenadier (which I mean in a good way), his relative lack of singing ability is well and truly compensated by a great character performance and of course having stage veteran Jenny Galloway with him in most scenes.Nick Jonas as Marius does not appear to have a strong enough voice to be part of an ensemble, though he was not awful singing Empty Chairs and Empty Tables on his own (this was aided by the very effective lighting behind him to make his dead friends look like ghosts as they stood behind him). Katie Hall is a little hamstrung as Cossette because she spends a lot of her time having to try and sing more softly than Jonas, but she appears to have a nice clean voice.Ramin Karimloo, who I've always thought had a great voice but never really rated as a good Phantom of the Opera, is excellent as Enjolras. He sings with power and passion, and despite not being a big man, has a presence about him that is appropriate to the role and his rather large, unrestrained voice.Samantha Barks is good as Eponine and it's impressive she was able to play the role equally well in the film version. There's a lot of power in her voice.Overall I really loved this show and it helped give me a greater appreciation for the musical part of Les Miserables, but I think seeing the film first really helped as I knew what was happening in the story and so could just sit back and enjoy the singing, Nick Jonas aside.

Solamortis My first experience with the Musical Les Mis was the 10th anniversary concert in 1995 which was broadcast on PBS. I fell in love with it. I bought the CD of the concert and even went to see the US version of the show when it came to my town.You would expect a 25th anniversary special to be huge with a great cast. I just finished watching it and a huge disappointment is how I would describe it.First the Pros: Alfie Boe has a good voice and while not as good as Colm Wilkinson he is one of the better singers in the cast. Samantha Barks has a beautiful voice and was a credit to the roll of Eponine. Ramin Karimloo in the roll of Enjolras has a strong voice and is well suited for the part. The singers making up the supporting members of the ABC group also did well in their rolls. Jenny Galloway returned to sing the part Madame Thénardier and as before was perfect.For the most part that's all the good I can say. Let move to the Cons: The first thing I noticed were the changes they made to the songs. While in some cases they did help the story, in many cases they made the songs seem jumpy and chaotic. Nick Jonas in the role of Marius was absolutely awful. He did not have the vocal strength or emotion for the role. Why Matt Lucas was picked to be Monsieur Thénardier I will may never know. The role calls for energy and the ability to provide comedic relief through gestures and voice. Mr. Lucas had neither and his voice was worse. Robert Madge played the role of Gavroche and his voice was OK at best. The weird looks he gave the audience while singing were ridiculous and overall he was not believable. Lastly the Part of Javert was sung by Norm Lewis. His voice again lacked strength and emotion. In some cases it was almost as if he was singing in a monotone manner or reading his lines.As a final note, at the very end, the original cast appears and puts this new cast to shame.

Mr_PCM Les Miserables is, quite simply, the finest musical ever made, and this special anniversary performance encapsulates exactly why.It had been many years since I saw 'Les Mis' on stage in London, and other than listening to it on CD semi-regularly, I hadn't had much experience of the show until receiving the 25th anniversary concert on Blu-Ray. Prior to then, 'Phantom' was by a mile my favourite musical, with no others close. Les Miserables blows them all out of the water.The story is simple enough. A paroled man tries to rebuild his life with adopted daughter Cosette, against the backdrop of student rebellions in France. Meanwhile Marius, one of the students, and Cosette fall in love. Yet the plot is little more than something to drape the music around, and for that it serves its purpose admirably, giving depth, context and emotion to the magnificent music. Much has been written about the plot's simplicity, which needs little more than a couple of captions and video clips to drive it on, and the similarly simple staging also needs little analysis. Both serve to focus all attention on the music, adding to the raw power of the show.The music ranges from the comedic (Master of the House) to the tragic (On My Own) to the operatic (Bring Him Home) and the simply spine-tingling (One Day More). No other musical has the power to raise hairs and bring goosebumps throughout, and at the same time bring entire audiences to tears – look out during the standing ovation (one of many) towards the end for a lady with mascara streaming down her face from tears, demonstrating the emotional power of the music. In any other musical, ask fans to name their favourite song, and they will usually all pick from the same few. But with Les Miserables, fans would be hard-pressed to limit their choices to a top 10, with 'I Dreamed a Dream', 'Stars', 'Do You Hear The People Sing', 'One Day More', 'On My Own', 'Bring Him Home' and 'Empty Chairs' not even half the regular list of favourites! The casting is near-perfect. Having seen much of the original cast in the 10th anniversary production way back in my school days, and all but worn out the CD of the original cast recording, I never thought anybody could surpass Colm Wilkinson's definitive performance as the hero Valjean. Yet Alfie Boe does that superbly. His vocal range and emotion invested into the music equals that of his legendary predecessor, but he is also able to bring a power and resonance that gives operatic scale and strength to his performance. His dramatic renditions of solos such as 'What Have I Done?' and 'Who Am I?' are spine-chilling, thanks to the strength with which he is able to hit and hold the big notes, while his 'Bring Him Home' is quite simply awesome. Yet he is not alone. Norm Lewis's Javert is virtually his equal in emotional range, and Ramin Karimloo as Enjolras and Katie Hall as Cosette are also excellent. Matt Lucas, in a slightly leftfield casting choice, is surprisingly entertaining as the roguish Thernadier. While never claiming to be a first-rate singer, Lucas makes up for this by enjoying what obviously is a long leash given to him to put his own spin on the character, really hamming up the comical villainy and providing some genuine hilarity amongst all the weepies. Special mention must be made of the performance of Samantha Barks as the feisty Eponine. While Frances Ruffelle was excellent as the original, Samantha Barks sets a new benchmark, bringing a genuine heart-wrenching pitiable quality, leading audiences to virtually want to beat Marius over the head for not seeing her true feelings, and her haunting solo in one of the show's signature songs – On My Own – becomes a real tear-jerker.Which brings us to Marius. The casting of Nick Jonas, of Jonas Brothers fame, is little more than a casting publicity stunt, and one which almost backfires catastrophically. Quite simply, Jonas is leagues out of his depth, and his voice has not the power nor range to do justice to the role, and he comes across as a typical boy band singer, and a barely adequate one at that. His voice seems small and tinny next to the emotion of Barks or the raw power of Boe. Even his facial expressions come straight from Backstreet Boys 101! He is clearly there as a blatant stunt to draw in younger fans who would buy this just on seeing his name in the cast, a move which comes across as cynical and could cost the performance a star on its own. To be fair to Jonas however, by the time Marius's signature number of 'Empty Chairs at Empty Tables' arrives, he seems to have grown into the part somewhat and sings it reasonably well. Yet when Michael Ball comes onstage for the encore with the rest of the original cast to belt out 'One Day More', you cannot help but feel 'now that is how it should be done!' But even Jonas' potentially disastrous performance cannot prevent this spectacular production of the world's longest running musical from achieving full marks. The music is out of this world, the singing is almost universally phenomenal and the setting of the O2 is suitably grand. It is impossible to fully articulate the raw power of the emotions stirred by the spectacular songs of Les Miserables, but I defy anybody not to be moved to near tears, left breathless and feel a chill throughout the show, and if you are not moved, then you are either lying or dead inside, particularly given the extra treat of seeing the original cast reunite for 'One Day More' and the four Valjeans singing 'Bring Him Home' – a wonderful bonus.Many musicals encompass a range of emotions, but none run the whole gamut with quite the same power as Les Miserables. Awe-inspiring. Perfect.