‘Les Misérables: The World Tour Spectacular’ takes Manila by storm

This monumental shift in venue necessitates a brilliant reimagining of the show’s visual language. Lighting designer Paule Constable, a luminary of the theatre world, explains that the arena format demands a radically different approach. “We have to make it very clear to audiences that here they’re watching a concert,” she notes. “It’s much more static: people are singing while standing at microphones.”

In a traditional theatre setting, Constable explains, they create “pictures with people on stage to tell the story: for instance, the battles in the barricades.” However, in the Arena Spectacular, they cannot do that. Instead, “without the staging of the theatre version, much of the responsibility, the dynamism and emotional scale of the storytelling now sits with lighting,” she shares.

Constable notes that they are “still creating that vital dynamism that’s in the narrative, but without people.” Despite the vastness of the arena, the creative team strives to “create space for the music to work dramatically and to bring audiences into the intimacy of a person singing, while, so to speak, turning the volume up on it.”

Musically and narratively, this is a “striking, shorter version” of the beloved epic. Yet, Boublil and Schönberg assure that it “succeeded in keeping all the emotional moments at their highest intensity in our quest to enhance the real heart of the story.”

The sweeping narrative still anchors the emotional weight of the evening. It begins in 1815, Digne, following Jean Valjean, who, after “19 years on the chain gang... finds that the ticket of leave he must display condemns him to be an outcast.” His journey of redemption, sparked when the Bishop of Digne treats him kindly, remains the soul of the production. The spectacular vividly brings to life the tragedy of Fantine in 1823, Montreuil-Sur-Mer, a factory worker with a secret illegitimate child who is utterly degraded to pay for her daughter’s medicines. It charts the unrest of 1832 in Paris, where politically minded students stream into the streets to whip up support for a revolution. Through soaring anthems, the concert format distils these complex narratives into pure, unadulterated musical emotion.

For the creators and producers, bringing this mammoth production to Manila is profoundly personal. Boublil and Schönberg confess that “The Philippines has long held a special place in our hearts.” Their deep connection with the country dates back decades; as they explain, “Through the emotional casting of Miss Saigon in 1988 and several worldwide productions thereafter, we have met and worked with hundreds of incredibly talented Filipino artists.”

Mackintosh echoes this deep-seated affection, recalling that it is “a joy to be back in the Philippines, a country that I first discovered in 1988.” It was during this time that he found “a 17-year-old Lea Salonga who came to London, then Broadway to play the role of Kim.” The creators view coming back to Manila as “always a joy”, and they note it feels “profoundly moving that our glorious international cast of this spectacular world tour of Les Misérables includes some of the finest Filipino talents.” As Mackintosh proudly states, the local reception has been staggering: “We are overwhelmed that the entire season sold out before opening night”, establishing it as a truly “thrilling homecoming for Manila.”

The Manila season is indeed a glittering homecoming for these celebrated artists, whose personal histories intertwine so beautifully with the musical’s legacy.

Leading the charge is the incomparable Lea Salonga, stepping into the uproarious and comedic role of Madame Thénardier. Having previously played Éponine at the 10th Anniversary Concert of Les Misérables at the Royal Albert Hall and Fantine at the 25th Anniversary Concert at London’s iconic O2 Arena, her return is a celebrated milestone in theatrical history.

“First it was Éponine...then Fantine...and now, much to my infinite pleasure, Madame T!” she proclaims. With a touch of her signature wit, she adds, “It’s so nice to finally not be one of the dead girls in Les Miz!” Remarkably, despite her storied history with the franchise, Salonga reveals that she has “never been part of an actual production of it in my home country...until now,” making her performance an absolute must-see for high society and theatre lovers alike.

Sharing the stage as the tragic Fantine is Rachelle Ann Go, who shares that she is “beyond excited to be back on the barricades for the Les Misérables Arena Tour!” Go, who previously played the role in the West End a decade ago, notes that “now, as a mother of two, I connect with the character on an even deeper level.” She expresses that “coming home with a show that has shaped so much of my journey feels truly full circle,” and cheekily adds she is most looking forward to “the unlimited rice and sinigang!”

Playing opposite Salonga as the scheming Monsieur Thénardier is Red Concepcion. For him, the musical’s impact is deeply rooted in local representation. “Seeing a Filipino in that production made that little boy from San Andres Bukid feel as if maybe he, too, could one day perform on the global stage,” he recalls of watching Salonga perform. Concepcion views this as an “absolutely special” homecoming, noting that “there really is something about this show that resonates with us Filipinos” and that “its themes of righteous revolution strike a chord in all of us.” He summarises his excitement with undeniable passion: “To be coming home to Manila, and in this show? I couldn’t ask for more!”

Completing this quartet of local pride is Emily Bautista as Éponine. As the “proud daughter and granddaughter of Filipino immigrants,” Bautista considers it a surreal honour to perform in the Philippines. She states, “I cannot believe we are taking this magical show home to the Philippines!” and is moved that she gets “to perform this show I love so dearly in my ancestors’ homeland.”

Besides those four, there are also other Filipino artists in the production, from the ones alternating to play Little Cosette to the ensemble to the members of the production staff.

Alongside our homegrown stars, the international cast delivers vocal masterclasses that echo perfectly through the vast arena. Géronimo Rauch, who takes on the demanding role of Jean Valjean, reflects on his long, emotional history with the show. Having first watched the “Les Misérables 10th Anniversary concert in our home in Argentina” on VHS, he is deeply moved by this tour. “Now, to be celebrating the 40th Anniversary on this World Tour, stepping back into Valjean’s shoes, feels overwhelmingly special and is something I will cherish forever”, he shares.

Joining him is Jeremy Secomb, who brings a formidable and stern presence to his role. Secomb, who previously portrayed Javert in London’s West End for two years, perfectly summarises the musical’s enduring, universal appeal. He notes that the show has a “unique ability to resonate with the human experience” and possesses a “remarkable ability to forge connections with audiences, allowing each individual to find a reflection of themselves in the characters portrayed.”

It is perhaps poetic that this spectacular run in Manila coincides with February, a month heavily steeped in the Philippines’ own revolutionary history. As the nation commemorates both the harrowing Liberation of Manila and the milestone anniversary of the 1986 People Power Revolution, the sight of students and citizens taking to the barricades on stage carries a profound, almost electric resonance. For the local audience, the struggle depicted in Les Misérables is not merely a distant slice of 19th-century French literature; it is a vivid reflection of their own heritage. As Concepcion so aptly observes, the musical’s “themes of righteous revolution strike a chord in all of us.”

Read more: EDSA Revolution: A look back at the historic 1986 People Power

Indeed, the peaceful uprising of EDSA and the arduous fight for Manila’s liberation find an emotional echo in the anthems of the young revolutionaries. The musical has long been “adopted by political movements around the world for many causes, mirroring Victor Hugo’s battle for freedom of expression in the political conflict of his own time.” Watching the cast raise the red flag and sing of tomorrow, one cannot help but be reminded of the Filipino masses linking arms in peaceful defiance. It is a stirring testament to the power of collective action, perfectly echoing the producers’ enduring mission of “letting the people sing in their battle for freedom!”

Ultimately, beyond the gunfire and the fall of the barricades, it is the indomitable spirit of hope that inextricably binds the Filipino narrative to this timeless masterpiece. Go beautifully encapsulates this sentiment, noting with certainty that the story’s “themes of love, compassion and redemption deeply resonate with the Filipino people and will bring hope, no matter what challenges they may be facing.” As the finale swells and the ghosts of the revolution join the living, it feels like a collective prayer for a brighter future, affirming Mackintosh’s rallying cry that the people will continue to “cheer and sing around the world ‘until tomorrow comes’.”

Read more: IN PHOTOS: Revisiting the 1986 People Power Revolution

This Les Misérables: The World Tour Spectacular is a magnificent triumph of scale, innovative lighting and soaring, world-class vocals. It honours the legacy of Victor Hugo’s “battle for freedom of expression” while boldly embracing the thrilling, visceral energy of a live rock concert. For the Manila audience, it is much more than an evening of entertainment; it is a profound celebration of local talent conquering the global stage, and a story whose themes of “love, compassion and redemption deeply resonate with the Filipino people.” As Boublil and Schönberg so elegantly put it, as we “dare to dream again of a more hopeful time”, there is only one thing left to say: “Maraming salamat, Pilipinas!”

NOW READ

Filipina powerhouse Gab Pangilinan cast as Mary Magdalene in ‘Jesus Christ Superstar’ Manila

Roald Dahl’s ‘Charlie and the Chocolate Factory’ comes to Manila this July 2026

A legend reborn: ‘Tales of the Manuvu’ makes for a triumphant return