‘This is going to be huge’
From choking up in song to ‘the largest recorded groan in the Canadian theatre industry,’ these Canadian stars share their stories of ‘Les Mis’
For nearly four decades, many notable Canadian artists have stormed the barricades of the theatre warhorse known as “Les Misérables.” Here, in their own words, are some of their fondest memories of performing in the show in Toronto, New York, London and Paris. There are many reasons why it’s one of the most beloved musicals of all time.
Louise Pitre, Fantine in the original Toronto production, Montreal and Paris
I had auditioned for the show in Toronto and got a “Thank you very much,” with no callback, nothing. Then I did a show called “Blood Brothers,” which got great reviews, and the “Les Mis” team was back in Toronto for more auditions and called me in again, and I got the part. I’m convinced “Blood Brothers” helped get me the part.
I did one year in Toronto. Like a fool I thought that was long enough to be doing a hit show. Later they asked me to go do the show in Montreal and, even though I had grown up there, I’d never worked there. I was the only cast member outside of Quebec and we did five shows a week in French and three in English.
I still remember the day composers Alain Boublil and Claude-Michel Schönberg showed up in Montreal with new French lyrics. They called me in, because I knew the music and the songs in English. Singing Fantine’s death scene I got so choked up I had to stop. Schönberg asked me what was wrong, and I told him that French was my mother tongue and somehow it was more heartbreaking than it had been before.
In Paris, we performed at the Théâtre Mogador, where Edith Piaf had sung, so it was a big deal for me to step onto that stage.
The last performance of the Montreal production fell on Saint-Jean-Baptiste Day. In the final number, when we all sing “Will you join in our crusade?” one of the ensemble guys comes up and waves a big French flag behind everybody. The entire audience went insane. To this day it’s got to be the longest standing ovation I’ve ever witnessed. We all stood there, bawling our eyes out.
Rebecca Caine, original Cosette in London
I came to the show a bit late, because they hadn’t yet found a Cosette. Director Trevor Nunn saw me at Glyndebourne, where I was in the chorus. It wasn’t a very long rehearsal period, about six weeks. I remember recognizing two actors in the company and, when I showed up, they said, “Oh, darling, it’s absolute s--t. We’ll be done by Easter.” Next year it will be 40 years since the premiere and it’s still playing.
My then boyfriend, who’s now my husband, attended the first preview and said, “This is going to be huge.”
A helicopter pilot told me a lovely story. He flies the wounded in and out of battles. And he said they’re all big fans of “Les Mis.” When they fly into places to pick up wounded, they sing “Do You Hear the People Sing?” on their headsets. And when they fly them out, they sing “Bring Him Home.” That’s so moving.
At the end of the first act, while we were still at the Barbican (before it transferred to the Palace), the scrim came down and I remember seeing a man in the audience jump to his feet and throw his arms into the air shouting, “This is the greatest musical I’ve ever seen!”
The show was absolutely lifechanging and I’m so proud of it. I respect it as a piece of work, which I don’t about some of the other things I’ve done.
Cliff Saunders, Thénardier in the 2013 Toronto revival and subsequent Broadway production
I didn’t know the show before — somehow I’d never seen it — so I approached the role of Thénardier like any other part. Maybe it was different from what the producers were used to.
In Toronto, I had a routine. I would find a secret little nook where I’d watch Melissa O’Neil sing “On My Own,” because she was so good. And I always watched Ramin Karimloo sing “Bring Him Home.” They’re such unique talents. I’m an actor who sometimes sings, but there are people who have a special gift for being able to act in and through song.
Two days after we opened in Toronto, they asked me to join the Broadway production, which was really nice.
Before the first preview of the show at the Imperial Theatre, in our dressing rooms we heard people singing “Can You Hear the People Sing?” out on the street as we were getting ready. They practically closed off the street, they were so excited that the show was coming back.
Another great memory was the night of the Tony Awards. Not only was it thrilling performing at Radio City Music Hall, which seats up to 6,000, but it was being broadcast live to millions. We were doing “One Day More” and, although the Thénardiers don’t do a lot in that number, I kept thinking, “Don’t screw this up.” Backstage, though, there was such a huge feeling of love and support as other companies lined up to go on, and they highfived you as you came off.
David Mucci, ensemble member in the original Toronto production and later the understudy for Jean Valjean
When I first started, I played Montparnasse and was an understudy for Enjolras. What I remember about that time was the group of people.
Later on, Graeme Campbell, who played Thénardier, died. So then I assumed the role of the actor who replaced Graeme, playing the factory foreman and understudying Thénardier and Jean Valjean.
One night in Ottawa — I think it was 1992 — I was at the centre of the largest single recorded groan of disappointment in the Canadian theatre industry.
Michael Burgess, who played Jean Valjean, never missed any shows. But he couldn’t do a show one night at like 7 o’clock and I was tagged to go on.
So then the announcement starts: “Ladies and gentlemen, at this performance the role of Jean Valjean will be played by …”
And then there was this massive groan of disappointment while I was standing back there, ready to go and thinking, “Oh my God.” People drove all this way and Michael had become a star with “Les Mis” and here I was having to go on. So I ended up over-singing the first half of the first act, but it ended up being fine, because the show is so powerful on its own.
“LES MISÉRABLES” RUNS UNTIL JUNE 1 AT THE PRINCESS OF WALES THEATRE, 300 KING ST. W. SEE MIRVISH.COM FOR INFORMATION.