The Greatest Showman #983 - Hard to Ignore

"An irresistible play! Great script, great actors! Renly Hall's performance made every minute of the production a treat; six hours felt too short. Bold and brave, delicate and profound, brilliant and grand—this is a show no one should miss."

As a top player in the industry, Alistair Smith's authority speaks for itself.

In Stage newspaper, Alistair first gave a concise review, published on the front page as a headline comment on this high-profile production. Following that, on the commentary page, he published a detailed review of nearly 3,000 words, eloquently expressing his love and admiration for the show.

Anyone familiar with Alistair can sense the ecstasy and engagement in his writing—something that had long been absent, even in his reviews of Matilda and Jump Out of Me in recent years. Alistair's gushing praise for the Almeida Theatre's version of Les Miserables was unprecedented.

Unlike the film industry's numerical rating system, West End drama critics use a five-star system. Both Matilda and Out of My World had received four-and-a-half stars in Alistair's previous reviews, but this time, the Almeida version of Les Miserables earned the rare five-star recommendation.

It marked the first five-star rating Alistair had given in the new century.

When chatting with fellow critics, Alistair confided, "If possible, I'd give five and a half stars, with the extra half star reserved for Renly Hall. The only regret is that some of the other actors still need time to perfect their performances. Tom Holland, Charlotte Kennedy, and Michelle Dockery were all excellent, but in comparison to Hall, they still seemed lacking."

Drama critics are expected to strive for perfection, to nit-pick, and to critique every aspect of a play. Perfection, after all, doesn't exist in the world of stage performances. Each production is a challenge to exceed the last, and no show is ever "perfect."

Alistair's review alone laid a strong foundation for the success of the Almeida version of Les Miserables. Authoritative critics have the power to sway the theater community, and Alistair's influence was immense. But he wasn't alone in his praise.

Nick Morris, a seasoned drama critic for The Times and occasional contributor to Stage, is another authoritative voice in the industry, known for his sharp critiques.

"Six hours—it's really long, feels like a century! So, if you're impatient, or just looking for a show to impress a date, stay away from the Almeida Theatre; this one will not cater to that crowd."

He continued, "I can list hundreds of flaws and advise people to steer clear of the show. John Codd's artistic pursuit to represent Victor Hugo's era and recreate that history is admirable, but seriously—who cares about that old story? Audiences can't even sit through a two-hour art film, so who wants to spend six hours in a dark theater?"

However, Nick's criticisms turned to praise as he acknowledged the brilliance of the production. "The flaws, however, are mere details in the larger picture. In fact, I believe this is the best production to grace the West End in the past century."

The breakthrough, he argued, came in the form of Renly Hall, whose performance he described as nothing short of genius.

"Hall is a natural, born for this stage," Nick wrote, singling out Hall's portrayal of Jean Valjean as a career-defining performance. "From youth to old age, his performance was seamless, moving, and full of depth. My favorite moment? A wordless transition scene near the end of the play, where his subtle movements conveyed the emotional weight of the entire production. His performance is nothing short of mesmerizing."

Nick Morris's comparison of Hall to the legendary Laurence Olivier, often regarded as one of the greatest Shakespearean actors of all time, was a high accolade. Morris's praise of Hall was matched by his five-star rating, an exceedingly rare occurrence in his long career.

Nick's review in The Times was equally brief but full of energy. "Unforgettable actors, feel the ultimate shock of the performance! Excellent viewing experience! God, what are you waiting for?"

From Alistair Smith to Nick Morris, two influential critics from different spheres of the theater world had united in their praise of Les Miserables. Their reviews spread rapidly across both professional and casual circles, extending the play's influence far beyond the theater walls.

Though Stage newspaper has a more niche readership, deeply embedded in the world of drama lovers and artists, its influence is profound. A single copy of Stage can circulate among at least six readers, expanding its reach.

Meanwhile, The Times reaches a wider audience, from professionals reading during their morning commute to casual readers in cafes and offices. Their reviews have the power to spread the word even further.

As these two influential critics—Alistair and Nick—helped shape the conversation, their mighty influence began to unfold, propelling Les Miserables to even greater heights.

At the same time, other drama critics joined in, sending their reviews to newspapers, magazines, and online forums, contributing to the growing excitement. With the audience from the premiere becoming vocal opinion leaders, the production's impact was undeniable.

The audience that had waited all night to grab tickets became the first wave of people to experience this once-in-a-lifetime show—and they didn't hesitate to spread the word, answering questions like, "Is the show really as good as Alistair Smith and Nick Morris say?" and "Did Renly Hall really give top performances again?"

The answer, resoundingly, was yes.