"A play you can't refuse! Great script, great actors! Ranley-Hall's performance made every minute of the work a pleasure, and six hours was too short and too short. Bold and brave, delicate and profound, brilliant and magnificent, this is a play that no one should miss. ”

As one of the top names in the industry, Aristair Smith's authority needs no saying.

On the "stage" newspaper, Aristere first made a short review in concise language, which was published on the front page of the front page, giving a review of this high-profile work, and then published a detailed review of nearly 3,000 words in the in-depth drama review section at the back, expressing his love and admiration in a free way.

Any reader who is familiar with Aristair can deeply feel that the ecstasy and dedication of this drama critic is really a long time ago, and even the "Matilda" and "Jump Out of My World" in the past few years have not been able to make Aristair so out of shape, let alone other drama critics in the industry.

Unlike the film's scoring system, which is rated by critics in London's West End, "Matilda" and "Out of My World" both received four and a half stars and recommendations under Aristair's pen, while this time the Almeida Theatre version of "Les Miserables" won a five-star recommendation.

This is the only five-star in Aristair since the beginning of the new century.

Not in the newspapers, but in a chat with fellow critics in Aristair, he said, "If I could, I would give five and a half stars, and the reason for the extra half star was given to Lanli-Hall." The only regret is that the other actors in the work still need time to polish well, Tom Holland, Charlotte Kennedy and Michelle Dockery have excellent performances, but they are still inferior compared to Lan Li. ”

Excellence, even nitpicking, is the job of a drama critic, who needs to pick and choose a play from all sides. There is no such thing as perfection in this world, and this is especially true of stage plays, where different performances of the same play may have different levels and states, each performance is challenging perfection, and each performance is surpassing the perfection of the previous one.

With just one review of Aristair, the Almeida Theater's version of "Les Miserables" has laid the foundation for success, and in theater circles, authoritative critics have such appeal, not to mention that this time, there are not a few critics outside of Aristere who have expressed their approval.

Nick Morris, a longtime drama critic for The Times and occasionally for The Stage, is another authoritative critic in the industry known for his sharp style.

"Six hours, it's a long time, it's like a century, so those who don't have patience, or who want to pretend to be with their female companions, can stay away from the Almeida Theatre, and you'll hate the show for not even giving you time to sleep.

If I were to list the shortcomings, I could list hundreds or thousands of them and advise every audience member to stay away from the play.

I know John Cord's artistic pursuit, his desire to present Victor Hugo's era, to recreate that history, that society, those tasks, but, Jesus Christ, it's the twenty-first century, who cares about such an old story? The audience can't even bear a two-hour art film, who wants to sit in a dark theater for six hours?

I also know John Cord's artistic processing, he does capture the essence of the original book, and really shows the grandeur of society, but it is so dull and boring, and Cord seems to have lost his ability to interpret it, and is only refining the original book, without any opinions and opinions of his own, which is even worse than Cameron Mackintosh.

Look, minus, minus, or minus. That's art. Every art has a different way of interpreting, and every reader and every viewer can interpret their own things in their minds, and this is the greatest thing about art. So, is the Almeida Theatre version of 'Les Miserables' really terrible?

No, quite the opposite, I think it's the best work since the West End millennium. Not one of them.

Lanley Hall, that's the answer.

This actor is only twenty-two years old, he is a genius. He seemed to have been born for this stage, standing on the stage, every move, every smile was natural, everything was so natural, it contained a huge amount of energy, through the skin and the shell, and really shocked the soul.

Playing the role of Jean-Argent, from youth to old age, Hall's performance is easy to come and do. Wonderful, that's the only interjection. Of course, Hall's monologues show the best of the West End, but my personal favorite is a transition scene with no lines.

Towards the end of the play, the play reaches a moment of sublimation and depth, and Hall only needs to get up, move forward, and pause, and the flowing performance distills the weight of the whole work. The actor's performance is full of spirituality and weight, unpolished, yet free and unrestrained, and dazzlingly beautiful.

God, I really like this actor.

Since the death of Laurence-Oliver, we have not found such a talented actor for many years, the lines, singing, body, body, expressions, and even eyes, the kind of soul energy that bursts out from the inside out, is addictive.

How many reasons do you need to like a play? For me, I only need one. ”

In his long review, Nick did not hesitate to send all the praises, and continued his usual tricky and demanding style, clearly stated his personal feelings and attitudes, and more interestingly, in terms of ratings, he also gave the highest rating of five stars -

Even in a longer career, Nick has given only a handful of five-star reviews. However, this is not unusual, because in the comments, he has already compared Lan Li to Lawrence Oliver.

Lawrence Oliver, one of the greatest Shakespeare actors in English history.

Lawrence's understanding and mastery of Shakespeare's plays and stage performances is the pinnacle of legend, spanning London's West End for nearly 60 years, and later entering the field of cinema, not only receiving many recognitions above the Oscars, but also for his performances, he has been loved by ******, and has been awarded different knighthoods three times, the highest of which has reached the level of baron, to show his respect.

Incidentally, George Hall is the baronial title.

In 1984, the UK's highest award for theatre and musical theatre was named the "Oliver Awards" to recognize the legendary superstar's place in film history, and now, the British Olivier Award and the Tony Award in the United States are tied for the highest awards in the theater industry, even surpassing the Oscars in the field of film.

In addition, after Lawrence's death in 1989, he was buried in Westminster Abbey.

Now, Nick brings up Lawrence Oliver in his review. Any language pales in comparison, and this analogy alone is enough to see how much Nick admires and loves.

But, that's Nick. Hates to the extreme, loves to the extreme, always has such ups and downs, and is not worried about the possibility of recruiting black for himself and Lan Li.

On top of The Times, Nick also wrote a short review, "It's hard to ignore the actors, feel the extreme shock of the performance! Great viewing experience! God, what are you waiting for?"

The concise words were tinged with a hint of ridicule and excitement, and familiar people could even picture Nick's roaring and excited face in their minds, as if his eyes were round, and he exclaimed in surprise and excitement, "What are you waiting for?"

From Aristair Smith to Nick Morris, these two authoritative drama critics in the industry started from two different audience levels and spread the excellent reputation of "Les Miserables" for the first time.

Comparatively speaking, the influence of the "stage" newspaper is more limited to real professionals, and only stage theater lovers and art practitioners will subscribe and pay attention. However, despite the narrow audience and low sales, the circulation rate is very profound, according to the survey, after each newspaper is sold, it will be circulated in the hands of at least six audiences -

To put it simply, a theater lover bought today's "stage", and at afternoon tea, after reading it, his friends would also take it and flip through it. That number is at least six.

It can be seen that the depth of influence of the "stage" is incomparable.

The Times, on the other hand, has a much wider reach, and for most of the general audience, it's one of the newspapers that must be read every morning, on the subway, in the office, at breakfast time, and so on. They may simply be habitually flipping through the newspapers, then reading reviews of the latest plays, and then getting attention.

In other words, the breadth of the Times' influence is second to none.

But when these two parts of the audience intersect, the influence of the two pundits, Aristair and Nick, is further revealed, and it begins to spread out in a vast way.

At the same time, in addition to the "stage" and "The Times", other drama critics also sent their professional reviews for the first time, in newspapers, magazines, on the Internet, and at the same time spread to the audience who participated in the premiere, the preciousness of the 350 tickets, and at this moment finally waiting for the moment of return-

The audience who queued up all night to grab tickets was not only the first audience to watch the show, but also became a minority of opinion leaders on the Internet:

They were able to answer other netizens' questions, "Is the work really as good as Aristere Smith and Nick Morris?" "What kind of experience is it like to watch the play up close?"

Answer: Yes.