The Greatest Showman #982 - Insomnia

The premiere night of Les Miserables has come to a close. The audience's applause, thunderous and unrelenting, lasted for an astonishing 15 minutes. The crew returned to the stage five times during and after the curtain call, yet still, the cheers did not fully subside. Even after the fifth curtain call, the applause continued for nearly two minutes, only reluctantly tapering off.

It was a true interpretation of endurance—a spectacular sight that the West End had not witnessed in many years.

Entering the 21st century, the West End has found itself in a slump. Over the past twelve years, only two plays have achieved true success: the 2010 musical Matilda and another major hit, both of which center around children's perspectives. However, even these successes fall far behind the glory days of the 1980s and early 1990s. They barely manage to reach the industry's average level, falling short of the legendary productions like Miss Saigon and The Phantom of the Opera, which marked the peak of musical theater in its time.

But tonight, the Les Miserables revival at the Almeida Theatre has reignited that long-lost glory, outshining even the peak performances at the Queen's Theatre. This six-hour experimental rendition has drawn the most successful audience response in the 21st century—a feat rarely seen.

Five curtain calls! Fifteen minutes of applause! Thunderous applause throughout! This is the kind of enthusiastic reaction that stunned audiences in the 1970s and 1980s.

Of course, this is only the premiere. Audience response is merely one measure of success. While Les Miserables at the Queen's Theatre has been revered for its brilliance, and works like Out of My World and Matilda are considered to have missed the mark, true success is not determined by a premiere alone—it's about the ongoing performances and box office performance over time.

Take Out of My World as an example.

This production, which premiered in 2008, has been running continuously ever since. With multiple casts, the play has remained successful, profitable, and capable of attracting new audiences, though it has never reached the heights of its early days. While it remains a stable presence, it doesn't compare to the groundbreaking works of its peak.

Similarly, the Almeida Theatre's Les Miserables may have revived the excitement of twenty-five years ago, but the real test will come with its continued success. What will the box office, public opinion, and ongoing reviews reveal?

This brings us to the critical role of critics. Unlike the film industry, where critics' opinions aren't always the determining factor in a movie's box office success, theater is much more dependent on the opinions of professional critics. In London's West End, critics wield tremendous influence, guiding audiences to choose the most acclaimed performances.

Although there are many casual theatergoers in the West End—tourists or those seeking a night out—it's the serious, well-informed audience members who truly shape the fate of a production. These are the individuals who deeply appreciate the arts, and often, they are the same group as the critics themselves. Critics, being more professional and authoritative, hold significant sway in how a play is received.

A play that garners praise from critics can enjoy immense success, often with long runs and widespread acclaim. Conversely, negative reviews can swiftly lead to the demise of a production. It's said that the pen of a drama critic can be enough to ruin a play.

In some cases, theater managers have even tried to delay bad reviews, offering critics incentives to hold off negative assessments. Personal rivalries and grudges between critics and performers have also been known to influence reviews, affecting an actor's future in the industry.

However, in today's world, with the rise of the internet, critics' power is somewhat diminished. Audiences now have a wider array of opinions and discussions available to them online, giving them more options than solely relying on the critics' judgment.

Now, the Almeida Theatre's Les Miserables must face this very test: how will critics respond?

After the performance, Alistair-Smith didn't rush home to write his review. Instead, he took a walk through the cold, lively London streets at night, letting his mind settle. The six-hour play had been a whirlwind of emotions, and he needed time to reflect, digest, and find the right words to capture it all.

The longer he walked, the more he appreciated the essence of theater—the kind of artistry that seems increasingly rare in the fast-paced, internet-driven world of today. By the time he returned home, he poured himself a glass of red wine, sat on the sofa, and let the ambiance of the evening fill him. He savored the moment and the performance.

As the clock struck three in the morning, Alistair finally began to write.

"I've been searching for the right words to describe this play, but I find myself falling short.

This is not just a work of art; it's a portrait of an era. It depicts a time of suffering, when lives were shattered and morality decayed. It paints a picture of those who lived through such a time. It is a grand, beautiful, and profoundly moving work—a work so powerful that words fail to capture its full magnitude.

Without a doubt, this is a masterpiece. Is it perfect? I'm hesitant to make that call, but I am willing to give this work the highest level of respect. Perhaps 'perfect' is the right word after all.

John Codd has truly mastered this adaptation. From the script to the stage, everything has reached its peak. Starting with small characters who bear the weight of the times, and ending with them breaking free, Les Miserables paints a picture of rebirth through the struggles of everyday people.

As Charles Dickens wrote: 'This is the best of times, this is the worst of times; this is the age of wisdom, this is the age of foolishness; this is the age of faith, this is the age of doubt.'

Just as Dickens sketched the industrial age in London and Paris with profound strokes, Victor Hugo captured the essence of Paris in his works. Now, John Codd has brought those eras to life once more and brought the spirit of Hugo's and Dickens' words to the stage.

There's no question that this artistic achievement is a monumental success.

This may very well be the most significant show in London's West End in 26 years since the debut of Les Miserables at the Queen's Theatre.

If anyone still doubts the impact of this six-hour play, let me offer you one reason you can't refuse: Renly Hall.

At just 22 years old, Hall delivers a performance so powerful and moving, seamlessly blending emotion, character, and story. He becomes the soul of this production, breathing life into every moment. His performance is a true symphony—soft and majestic, harmonious yet full of passion—an eternal light on the stage of Almeida Theatre.

I can't describe it fully with words. The experience is something that can only truly be understood by seeing it live.

For those who have yet to witness it, I urge you to visit the Almeida Theatre and experience this six-hour masterpiece. You'll soon discover that six hours is far too short."