Les Misérables in Concert: The 25th Anniversary

Every performance was impeccable. Many of the performers rival and in some cases surpass those of the 10th Anniversary Dreamcast. Seeing the show on the big screen with a bigger sound system really make the nuances of the genius score come to life. What is so great is the way they made use of soft split screens to be able to watch multiple performers' reactions and "dialog."

Norm Lewis, whose subtle facial expressions and genuine passion commanded the stage/screen, sang Javert with such power and depth that I actually, for the first time, empathized with his character. Alife Boe's Val Jean was brilliant, with an operatic quality. Samantha Barks shined as Eponine with a stunning vocal performance. Ramin Karimloo was a standout with his brilliant portrayal of Enjolras. I didn't quite understand the decision of casting Nick Jonas as Marius. He really gave it his all and had some nice moments in the sweeter songs, but lacked the vocal fullness and attack for the more powerful songs. It was adequate but uncomfortably contrasted by his much stronger, seasoned cast mates.

The occasional cut to various instrumental highlights was a wonderful addition and seamlessly included the orchestra as an important part of the ensemble. The encores with the original cast, backed by a chorus of hundreds was breathtaking. If you're a Les Mis fan, this movie is a must.

I saw this at the cinema three times and I am counting the hours until I get the DVD.

If you are a fan of Les Miserables, this is not to be missed.

I believe it is even better than the 10th Anniversary Concert. More of the actual musical is included, such as The Robbery. Lovely Ladies is in a more complete form. A lot of the little verses between songs is included, for example, Garvoche's introduction of the Thenardiers and the conversations between Maruis and Eponine. It isn't complete, however, some verses have been cut, most noticeably, Dog eat Dog, which in my opinion is no great loss as it is my least favorite song anyway.

The performances are all fantastic, although, Marius is a little weak. The little urchin who plays Garvoche is very impressive. The look of contempt on his face when he exposes Javert is priceless. Matt Lucus brings humor as Thenardier. Jenny Galloway reprises her role from the 10th Anniversary Concert and I think gives a better performance in this version. It is hard to limit discussion, as everyone was brilliant right from Jean Valjean to Jarvert to Cossette (Collette?).

I cannot recommend this enough.

More than anything, as far as entertainment goes, 2012 will be the year I discovered Les Miserables. Anne Hathaway impressed me in Rachel Getting Married, so I found out about Les Mis through hearing she would be in it. So I gathered more and more interest for it as the months went. I then read the novel to prepare myself for the film adaptation of 2012. By the time I saw the film, I was in love with the music, and so this was the first real musical version I saw besides the new film. Yes, I saw it on Youtube, but what a beautiful, magical event. I feel like it's so much a part of me now. It's such an emotional experience that nothing I say can describe what it is to watch it for the first time.

In my opinion, no previous Jean Valjean or since have or will ever come close to performing this role with the unparalleled dynamic, powerful and heart breaking perfection of Alfie Boe. If I had rated this production on his performance alone, out of a possible 10 I would have given it the maximum allowed by IMDb's system. I give him 1,000 stars for the look, the voice, the acting ability, everything. I'll never understand why they didn't cast him in the recent movie version, as I didn't understand the casting of Anne Hathaway and good god...Russell Crowe??? First and foremost this is a musical, and as such, calls for top notch voices, not just pretty faces and box office powerhouses.

My exception to that rule is Matt Lucas and Jenny Galloway. As the Thenardiers they were a joy to behold. So talented and witty. Their tongue in cheek portrayal of those two scoundrels was right on target. They deserved at least a 20 out of ten.

What can I possibly say about Lea Salonga as Fantine that has not already been said by just about every critic since her career began? I place her on a par with Mr. Boe in this production and always have loved her in anything she has done. As far as I'm concerned she can do no wrong.

Norm Lewis was wonderful as the always threatening antagonist Javert, hell-bent on hunting down Jean Valjean to the ends of the earth. He has a huge presence on the stage here, as he has on Broadway and television. Very talented and powerful performer.

Now, we come to why I did not give this production a solid 10 stars. First, let me say I take no pleasure in making negative comments. I prefer to accentuate the positive whenever possible, BUT the absurd choice of inserting boy band 'singer' (and I use the word singer loosely) in such a pivotal role baffles the mind. In my opinion Nick Jonas doesn't have the singing chops, the acting chops or the physical appearance this role begs for. If he didn't have his pre-teen fan base and had auditioned to be one of the hundreds of singers in the massive chorus, I don't believe they would have selected him even for that!

Every time I became immersed in the experience of watching and listening to this production, this miss-cast kid would pop up and *poof* the spell would be broken and I would think WHY would the producers of this monumental, prestigious event prostitute themselves and the integrity of this masterpiece of musical theater, a tribute to the artists who created the words and the music and those who so brilliantly participated in it over twenty-five years, by casting this role so badly? Bottom line; I would rate his performance minus 100 stars and bestow (if I could)a minus 1,000 stars for those who cast him in it.

So, there you have it. But for Nick Jonas, I would have given this production a solid 10 stars and the only reason I didn't rate it lower than 9 stars was out of respect for everyone else involved.

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.