There are moments in a theatre-lover’s life that feel seismic. For me, the first came as a wide-eyed teen when my parents took me to New York and introduced me to Les Misérables—my first Broadway show. The second may very well have come last night, seated in a packed arena in Brisbane, surrounded by thousands, yet somehow feeling like I was in the front row of the Queen’s Theatre in London.
This Les Misérables Arena Tour is no ordinary revival. It’s a grand-scale production that somehow achieves the impossible: intimacy in enormity. Despite the sheer size of the venue, it felt deeply personal—like the show was reaching out a hand and placing it directly on my chest.
Much of that can be credited to a dream cast led by two icons of the Les Mis legacy: Alfie Boe as Jean Valjean and Michael Ball as Javert. Having obsessed over the 10th Anniversary concert (where Ball was Marius to me for years) and the 25th (Boe, in all his vocal majesty), the experience of seeing them share the stage in new roles—live—was nothing short of extraordinary. Boe’s voice has an emotional purity and force that doesn’t just resonate—it reverberates. He made me cry not in the big emotional climaxes, but in fleeting, quieter moments, simply because of the way his voice felt. There is something unshakably human in the way he sings that bypasses logic and lands straight in your gut.
Ball, meanwhile, brought a weight and gravity to Javert that felt fresh—intellectually cold and yet desperately seeking control in a crumbling moral landscape. It was surreal to witness his transformation from the romantic idealist of Marius to this hard-edged instrument of law, and he made every second compelling.
The supporting cast was equally powerful. Matt Lucas and Marina Prior as the Thénardiers struck a brilliant tonal balance—comic relief with razor edges. Prior especially brought an arch menace that made Madame Thénardier more dangerous than buffoonish. Mary-Jean Caldwell, stepping in as Fantine, gave a deeply felt, aching performance, her I Dreamed a Dream raw and perfectly unraveled.
Jac Yarrow and Beatrice Penny-Touré as Marius and Cosette brought youthful earnestness to their roles, and Emily Bautista’s Éponine was all quiet heartbreak and resounding resilience. James D. Gish as Enjolras was a revelation. With a presence that radiated purpose, he embodied the firebrand revolutionary with such conviction that it felt less like a performance and more like a genuine call to arms. His voice had that rare combination of precision and urgency, slicing through the ensemble like a rallying cry you couldn’t ignore. You could feel the weight of his belief in a better world, and for a moment, you’d have followed him anywhere. Or at least I would have!
And let’s not forget the little stars: Violet Massingham as Little Cosette and Orlando Steiner as Gavroche charmed and impressed in equal measure—natural performers with enormous presence.
What elevated this experience beyond a nostalgia trip was the production design. The use of live filming and large screens allowed even those in the back to catch the flicker of a tear or the tremble of a jaw. This wasn’t just clever; it was thoughtful. It ensured that even in a cavernous venue, we saw the show up close.
The lighting design was nothing short of a masterstroke. The powerhouse rig suspended above the stage wasn’t just a technical feat—it was a shape-shifting character in its own right. At one moment, it lowered to become the skeletal rooftop of the Thénardiers’ inn; the next, it formed the bones of the barricade, looming and ominous. And during the revolution scenes, it transformed again—into a flurry of staccato light, mimicking gunfire with such intensity and pinpoint accuracy that you could feel each shot land. The way the lights sliced through the smoke and shadow was almost cinematic, turning the arena into a battlefield alive with urgency and chaos. It added dimension and drama in ways that went far beyond the usual expectations of a “concert-style” production—this was fully realised, pulse-quickening theatre. And the sound mixing? Flawless. I turned several times to gauge the crowd behind me and was stunned to see thousands of people utterly silent, collectively holding breath in moments of heartbreak or revelation.
Having seen this show more than fifteen times, I thought I knew every beat. But this arena version brought new life to old favourites. It surprised me, moved me, and reminded me why I fell in love with theatre in the first place.
If you have even a passing interest in Les Misérables—or if you’ve ever been curious about why this show has lasted decades—run. This is a once-in-a-lifetime chance to see legends of the stage deliver an emotionally towering performance in a format that feels both revolutionary and true to the heart of the original.
I didn’t expect to be changed again by a show I thought I knew inside out. But I was. And I suspect I wasn’t the only one.
Les Miserables Arena Tour, until June 1 ONLY, Brisbane Entertainment Centre, 1 Melaleuca Drive, Boondall
In her spare time, she likes long walks down the makeup aisle and performing in Brisbane theatre. You can follow her adventures on Instagram and TikTok @thebeautypalate.
