Les Misérables is one of the most iconic musicals of all time, with powerful numbers not only for Jean Valjean but also for his archenemy Javert, as well as at least five other principal characters and standout ensemble moments. The story centers around a reformed convict and a law officer, both believing they follow the path of righteousness. Their roles become morally inverted as one clings to justice without mercy, while the other embraces compassion. Themes of paternal devotion—Valjean’s love for his adopted daughter Cosette and her suitor Marius—are interwoven with unrequited love, especially Eponine’s silent yearning for Marius. The narrative also includes the revolutionary students led by Enjolras, the tragic young Gavroche, and the comic yet conniving Thénardiers. It would take pages just to list all the memorable characters with fully developed arcs.

I first saw Les Misérables about 20 to 30 years ago, but after years of concert versions and the movie adaptation, I had forgotten how the original stage version truly felt. The only lingering memory was Javert’s deep voice—perhaps it was Norm Lewis? I remember loving his tone.

When I attended the Korean licensed production in 2024, I almost forgot that I had seen it before—until the cart scene suddenly brought back vivid memories. Most of all, it was the atmosphere of the live stage that struck me again, a feeling so different from any broadcast version. Sometimes, memories are awakened by the smallest cues.

The Korean production was impressively detailed, reflecting the care and precision of the West End creative team. Among the cast, both Eponines stood out. Lumina sang “On My Own” beautifully and was strong throughout, though during my second visit, I noticed signs of vocal fatigue. Kim Soo-ha delivered a heartfelt performance with a resonant tone that captured the pain of Eponine’s unreturned love.

I saw three different Gavroche actors. One had excessive breathiness that impaired diction, but overall, the children were delightful. The young Cosettes were not only adorable but sang with great skill—and even swept the stage well!

Enjolras, played by Sung-Sik Kim, had a strong upper register and led with conviction. “Red and Black” was excellent, though “Do You Hear the People Sing?” had a shaky start but finished with power and perfect pitch.

Javert was performed by Kai and Kim Woo-hyung. Kai gave a steady performance, while Kim impressed more with his lower register.

Fantine and Cosette each have vocally demanding roles. Fantine’s songs are emotionally intense and slow-paced, while Cosette must soar through high passages. Both actors handled their parts respectably.

I saw two Jean Valjeans: Choi Jae-rim and Min Woo Hyuk. Choi’s “Bring Him Home” was gorgeously sung with a clear falsetto, though I wished he had conveyed more of the emotional connection—that this was Marius, the man his daughter loved, whom he was risking everything to save. Min Woo Hyuk, on the other hand, expressed the character’s inner journey more clearly through facial expressions and physical acting. For instance, when opening the sewer gate, Choi did it effortlessly, while Min struggled as if summoning all of Valjean’s remaining strength—an effective and touching detail.

Min sang well during my first viewing but showed signs of fatigue in the second. Choi, unfortunately, contracted COVID-19 midway through the run and missed performances of both Les Misérables and The Phantom of the Opera. While Phantom was triple-cast (Cho Seung-woo and Julian Kim filled in), Les Misérables relied on Min Woo Hyuk alone during Choi’s absence. Choi had also been preparing for The Last Five Years at the time, while performing in both Les Misérables and The Phantom of the Opera, which may have stretched him too thin.

The ensemble was strong, and I appreciated how even minor characters had short solo lines. However, one female ensemble member stood out—perhaps unintentionally—for over-pronounced diphthongs that bent vowel sounds (e.g., singing “o” as “yo”), which I found distracting.

As always, the Korean translations felt a little unfamiliar at first, giving the songs a different flavor. But after a few viewings, I adjusted. The Thénardiers' lyrics, in particular, were skillfully localized and genuinely funny.

I attended the West End tour in the U.S. at the Kennedy Center in 2025 and wrote a comparative review in the Broadway Musicals section.