The Greatest Showman #986 - Pre-sale Frenzy

The Times reported, "In just five minutes and thirty-six seconds, the three-month pre-sale of tickets for Les Misérables at the Almeida Theatre sold out, setting the fastest ticket sales record since the online ticketing system was introduced to London's West End."

On May 21st, at 9:00 AM, Les Misérables officially launched its three-month pre-sale for all tickets—but it lasted only five minutes and thirty-six seconds before every ticket was sold. This not only set a historic record but also ignited a sensation. Everyone was stunned, unable to believe it, even though it had really happened.

Despite the astonishing turn of events, it was still hard to wrap one's head around.

Just a day earlier, The Times had cautiously suggested lowering expectations. The next day, however, it admitted that Les Misérables had injected new life into London's West End and might signal a turning point for the theatre industry.

In 2012, the British performing arts scene still adhered to the strict traditions of academia—much like the royal family's customs. British actors held onto old-fashioned, deeply ingrained values. For an actor to establish themselves in the industry or gain recognition, they needed to pass through three stages:

Academic Training – A professional performance education, whether at any recognized drama school or later on, after fame.Polishing in the West End – Beginning with peripheral roles or minor parts in major productions.Challenging Roles – Breaking through the comfort zone with roles that reverse their image or present intense, transformative characters.

This progression was virtually universal among British actors—except for the idols.

Hence, almost every prominent British actor has returned to London's West End at some point. Whether big or popular, no one was exempt.

Actors like Tom Hiddleston, Andrew Garfield, Daniel Radcliffe, Keira Knightley, and Carey Mulligan have frequently returned to the West End. They leave the film industry temporarily—not because they can't land new projects, but because they've gone back to the stage.

Yet, the kind of ticket-selling phenomenon seen here had never occurred before. No actor had ever generated such a frenzy, attracting both professional critics and general audiences. No one had ever pushed the West End into the limelight in such a way.

Until now.

The pre-sale of Les Misérables sold out in five minutes and thirty-six seconds, a feat that would normally take several days or even weeks. This unprecedented momentum shocked everyone. The Almeida Theatre, stunned by the overwhelming response, immediately issued a statement, thanking the audience for their incredible support. They promised to give their best in rehearsals and performances.

Despite the three-month ticket run being sold out, calls for additional performances began circulating online. Audiences who couldn't secure tickets were already asking for more, hoping the show would continue in London.

This was a surprise—perhaps too early, given that the play had only been running for three days. If the three-month season were ending and people requested more performances, it would be a clear sign of the play's success.

But this enthusiasm was, in part, a result of Renly's popularity.

While the Almeida Theatre took this support seriously, they had to proceed cautiously. The pressure was immense, as any misstep could cause a collapse of word-of-mouth. The West End was unforgiving, and every detail had to be meticulously managed.

Amid this excitement, Renly appeared before the media. As reporters swarmed around him, he couldn't help but laugh at the familiar chaos. "I thought the West End would be quieter," he joked.

This lighthearted comment was met with laughter, and a reporter shouted, "Renly, you need to get used to it!" The room erupted with more laughter.

Renly, smiling, responded, "Of course, I'm incredibly grateful for the audience's support. Otherwise, if the attendance were too low, we wouldn't know what to do. But I sincerely hope the audience comes to see this play for more than just the hype or to be part of a trend."

He remained calm in the face of the pre-sale frenzy. Unlike the film industry, where success is more easily quantified, theatre was a different world, and it required a deeper understanding.

"First of all, be prepared for a six-hour show. Second, even if you don't have time to read the original material, at least skim the Wikipedia synopsis and our official brochure. Finally, enjoy the magic of the stage—what makes the West End unique is the connection between actors and audience."

Renly's comments weren't just thanks—they were an invitation for the audience to engage with the experience thoughtfully.

The Almeida Theatre's version of Les Misérables was just the beginning for Renly. He hoped that after this, the audience would gain a deeper appreciation for live theatre, expanding their interests to other productions and making the West End a regular part of their cultural life.

"Every actor in Les Misérables is doing their best for a top-tier performance. We welcome everyone to come and challenge us to keep improving," Renly said sincerely. "But now, I must go rehearse. If the performance goes poorly tonight, everyone will demand refunds, and that wouldn't be good. I think refunds are free now, right?"

With that, Renly smiled and walked back into the theatre, leaving the reporters laughing behind him.

The stage was an ever-evolving challenge. Unlike films, which only require a single, definitive performance, theatre is a new creation each day. The pre-sale success was both inspiring and burdensome. For all the actors, especially the young ones, the pressure was immense. Would they be able to handle the weight of such expectations?

No one could say.

However, the buzz surrounding Les Misérables was undeniable. Coverage poured in from The Times, Stage, The Guardian, The Independent, and even the Financial Times, which usually caters to elite groups. This had become the hottest topic in May.

This news was a source of frustration for George Hall.

In his eyes, the Financial Times represented the last remaining bastion of pure high culture—a small but influential audience capable of shifting the country's direction. Now, even this newspaper had covered the West End's boom. There was nowhere to hide.

George clenched his muscles, trying to calm his emotions. He folded the newspaper and set it on the table, just as someone entered.

With a polite smile, George stood to greet the newcomer. "Good afternoon, Marquis Richard."

The Marquis smiled and gestured to the waiter. "George, this isn't a formal gathering. No need for all the solemnity." He turned to the waiter. "Can I get a brandy? This drizzle is unbearable. I need something to warm me up."

Looking back at George, he asked, "Any good news lately? Oh, and I just heard an interesting tidbit. Almeida Theatre's new version of Les Misérables has become the talk of the town. Have you heard?"