Displaying items by tag: Cameron Mackintosh

Tuesday, 24 February 2026 12:31

LES MISÉRABLES - Cadillac Palace Theatre - Through May 24th

Broadway In Chicago has just announced casting for the Chicago engagement of Cameron Mackintosh’s acclaimed production of Alain Boublil and Claude-Michel Schönberg’s Tony Award-winning musical phenomenon, LES MISÉRABLES. The North American Tour of the world’s most popular musical will make its final return to Chicago for a limited two-week engagement, May 12—24, at the Cadillac Palace Theatre (151 W. Randolph St.) Individual tickets are on sale now. Ticket prices range from $49 to $160 with a select number of premium seats available and may be purchased at www.BroadwayInChicago.com. Additional fees apply for online purchases. Group sales of 10+ are available now by calling (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. See below for more ticket information and the performance schedule.

More information can be found at LesMis.com, the official global website for LES MISÉRABLES.

Cameron Mackintosh said, “The phenomenon of Les Misérables never fails to astound me. No show in history has been able to continually reinvent itself and remain a contemporary musical attracting new generations of brilliant new talent, many of whom go on to international stardom. No show in the world has ever demonstrated the survival of the human spirit better than Les Miz, and it's time to let the people sing again. We are all thrilled to be Bringing Her Home to you."

Nick Cartell portrays the fugitive ‘Jean Valjean’ with Hayden Tee as ‘Inspector Javert.' They are joined by Lindsay Heather Pearce as ‘Fantine,’ Matt Crowle as ‘Thénardier,’ Victoria Huston-Elem as ‘Madame Thénardier,’ Christian Mark Gibbs as ‘Enjolras,’ Jaedynn Latter as ‘Éponine,’ Peter Neureuther as ‘Marius’ and Alexa Lopez as ‘Cosette.’ Lillian Caster and Kayla Scola-Giampapa alternate in the role of ‘Little Cosette/Young Éponine.’ Cree-Silver Corley and Rocco Van Auken alternate in the role of ‘Petit Gervais/Gavroche.’

The touring ensemble includes Kyle Adams, David Andino, Thomas Beeker, Daniel Gerard Bittner, Julie Cardia, Steve Czarnecki, Christian Engelhardt, Anthony Festa, Nicole Fragala, Kenneth Quinney Francoeur, Gillian Hassert, Randy Jeter, Danny Martin, Mikako Martin, Eden Mau, Paige McNamara, Nicole Morris, Ashley Dawn Mortensen, Sarah Pansing, Gracie Annabelle Parker, Nicholas Pattarini, Juliette Redden, Adam Richardson, Matt Rosell, Christopher Robin Sapp, Ian Saverin, Kaitlyn Sumner, Ella Tokita, and Lamont J. Whitaker.

“One of the greatest musicals ever created.” – Chicago Tribune

★★★★★ “This reborn dream of a production looks and sounds fresher than ever. Sends shivers of excitement racing down the spine - You emerge feeling stirred and exhilarated.” - Daily Telegraph

Set against the backdrop of 19^th century France, LES MISÉRABLES tells an enthralling story of broken dreams and unrequited love, passion, sacrifice and redemption – a timeless testament to the survival of the human spirit. This epic and uplifting story has become one of the most celebrated musicals in theatrical history.

Boublil & Schönberg’s magnificent score of LES MISÉRABLES includes the classic songs “I Dreamed a Dream,” “On My Own,” “Bring Him Home,” “Do You Hear The People Sing?,” “One Day More,” “Master of the House” and many more. Seen by over 130 million people worldwide in 53 countries, 438 cities and 22 languages, LES MISÉRABLES is undisputedly still one of the world’s most popular musicals.
To date, LES MISÉRABLES remains the 6th longest-running Broadway production of all time.

“The defining musical of the last 50 years.” – BroadwayWorld

★★★★★ “The mighty Les Mis is still revolutionary.” – Daily Mail

“Les Mis for the 21^st Century.” – The Huffington Post

Since Cameron Mackintosh first conceived this acclaimed new production of LES MISÉRABLES in 2009 to celebrate the show’s 25th anniversary, it has taken the world by storm continuing to enjoy record-breaking runs in countries including North America, Australia, Japan, South Korea, Netherlands, Belgium, and Spain. LES MISÉRABLES is now in its 40th record-breaking year in London's West End and to celebrate the milestone the show launched its first World Tour of the highly anticipated LES MISÉRABLES THE ARENA SPECTACULAR, playing dates throughout Europe, Australia, Taiwan, Japan, South Korea, and more destinations to be announced. Simultaneously, and for the first time ever, 11 leading amateur companies in the UK presented their own staging of the full show across the country in 2025. In 2024, the remastered and remixed Oscar-winning movie was also released again in several countries around the world.

Cameron Mackintosh’s production of LES MISÉRABLES is written by Alain Boublil and Claude-Michel Schönberg and is based on the novel by Victor Hugo. It has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and original French text by Alain Boublil and Jean-Marc Natel, additional material by James Fenton and adaptation by Trevor Nunn and John Caird. Orchestrations are by Stephen Metcalfe, Christopher Jahnke and Stephen Brooker with original orchestrations by John Cameron. The production is directed by James Powell and Laurence Connor, designed by Matt Kinley inspired by the paintings of Victor Hugo, with costumes by Andreane Neofitou, additional costume designs by Christine Rowland and Paul Wills, lighting by Paule Constable, sound by Mick Potter, projections realized by Finn Ross, Jonathon Lyle and Fifty-Nine Productions, musical staging by Geoffrey Garratt, music supervision by Stephen Brooker and James Moore, and casting by The TRC Company.

The LES MISÉRABLES associate director is Corey Agnew, musical staging associate is Jesse Robb, resident director is Kyle Timson and music direction is by Glenn Alexander II. The LES MISÉRABLES tour stage management team is led by Kenneth J. Davis with Tara Tolar-Payne and John N. Fortunato. The company management team is Chris Danner and Jordan McKey.

Connect with LES MISÉRABLES online at:
www.LesMis.com
Facebook: LesMizUS
Instagram: @LesMizUS
Twitter: LesMizUS

TICKET INFORMATION (as of 2/23/65, based on availability and subject to change)
Individual tickets range from $49 to $160 and may be purchased at www.BroadwayInChicago.com or any Broadway In Chicago box office. A select number of premium seats are available. Additional fees apply for online purchases. For groups of 10 or more, call Broadway In Chicago Group Sales at (312) 977-1710 or email This email address is being protected from spambots. You need JavaScript enabled to view it.. Subscribers may add tickets to their subscription by clicking here or by calling (312) 977-1717. For more information, visit www.BroadwayInChicago.com .

ABOUT BROADWAY IN CHICAGO
Broadway In Chicago was created in July 2000 and over the past 26 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place and presenting Broadway shows at The Auditorium.

For more information, visit www.BroadwayInChicago.com .
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Published in Now Playing

Davis and Travis Shine Brightly In The Phantom of the Opera

Derrick Davis and Katie Travis in The Phantom at the Opera

Throughout the last century, The Phantom of the Opera has taken on many forms. Originally written by Gaston Leroux and published in early 20th century France the Phantom soon found its’ way onto the silver screen right here in the U S of A with Rupert Julian’s silent film depiction. Currently however, The Phantom of the Opera is most well known for the incredibly moving musical adaptation composed primarily by Andrew Lloyd Webber and making its’ debut in 1986 London. The musical received two Laurence Olivier Awards for Best New Musical and Michael Crawford (the Phantom himself) Best Actor, paving the way for a 1988 debut on Broadway where it became an immediate classic and eventually the longest running show in Broadway history. After receiving two Tony Awards for Best Musical and Crawford again achieving Best Actor in a Musical, the Phantom of the Opera would be transcribed into thirteen different languages to be seen by over 130 million people in theaters all over the world.

Now, considering the rich history and evolution in production throughout the many tours The Phantom has undergone, I can’t help but feel my reviewing this most recent version of Lloyd Webber’s adaptation to be somewhat arbitrary. You see, until I experienced this new production by Cameron Mackintosh, my knowledge of the Phantom outside of the Las Vegas version at Venetian was limited solely to Joel Schumacher’s 2004 film depiction and because this film was written and produced by Webber himself it, of course, is a masterpiece. That being said, having only had the pleasure of witnessing only the Vegas-ized production of this beloved theatrical classic, I offer you a fresh perspective on this spectacular new production by Cameron Mackintosh.

Nostalgia filled the air that night at the Cadillac Palace Theatre as the auctioneer presented old relics of an opera house long past. Spirits rose as the enchanting melody emanated from that silly little music box where that bellhop monkey we’ve all grown to adore played the cymbal. Hearing those notes served as a firm reminder of all the gripping music that so effectually captivates the heart and delivers that sense of stirring emotion that comes with much anticipation. But as we all know, the show doesn’t truly begin until the auctioneer presents “lot 666”… as the trademark chandelier is lowered, uncovered and illuminated.

The magnificent display proves a worthy reflection of the production to follow as the stage is, to say the least, impressive. A set such as this, nearly thirty years in the making and after grossing somewhere in the neighborhood of $6 billion dollars worldwide, certainly shows its extraordinary progress in quality and an unmistakable attention to detail is visible throughout the set. The integration of tracks and mobile parts made for an engaging display. The set itself however, as impressive as it was, merely emphasized the wardrobe which brought life to each character in an undeniably authentic fashion that the audience into the romance and magic of it all. The Phantom of the Opera was brought to life in a truly striking new light and I couldn’t imagine a better venue to bare witness to such a spectacle. The Cadillac Palace offers a wide range of seating options all of which provide an excellent view of the stage and the décor, in one word, grandeur.

I soon took note that some characters added a sense of lightheartedness to this new production that caught me by surprise. Carlotta Giudicelli (performed by Trista Moldovan) and Ubaldo Piangi (Phumzile Sojola) for instance, immediately jumped out to me and the audience both, carrying an untraditionally high-spirited weightlessness that is otherwise uncharacteristic to their personalities. Even amid the wake of the ominous Phantom, Carlotta and Ubaldo’s playful touch manage to lift the audience to a blithesome state of ignorance receiving laughter and applause in nearly every appearance from Scene 1 “The Dress Rehearsal of Hannibal” to Scene 7 “Don Juan Triumphant” in the second act. There is never a dull moment while either shines on the stage.

Nevertheless, their characters serve merely as a distraction only building suspense while The Phantom (exceptionally performed by Derrick Davis) lies wait beneath the stage. Finally making his first appearance in Scene 3 “Corps de Ballet Dressing Room” while singing the masterfully conducted “Angel of Music” his voice struck me as even more than expected from the man chosen to portray The Phantom. It is only in the scenes following that The Phantom must prove his love to Christine (beautifully performed by Katie Travis) and Davis’ portrayal to the audience, for it is in these moments that one falls in love with The Phantom of the Opera. Davis taking on the roll of The Phantom and doing so as well as he has is truly an admirable accomplishment, a milestone to be proud of for the rest of ones’ life. My hat goes off to you sir, for as you led Christine deeper into the labyrinth and ever closer to The Phantoms’ lair I was no longer watching the portrayal of Derrick Davis, but The Phantom himself had entered my mind. Davis and Travis' are brilliantly paired, their chemistry a strong building block for this fervent, heartfelt and beautiful production.

We’re all aware of The Phantom’s infamous nature behind the mask, while precarious and fraught with danger at the turn of a hat, still somehow affording a mysterious and even seductive quality that continues to draw you in. However, once unmasked, I find that Davis’ portrayal elevates to even a higher realm, capturing the hurt and passion one would so desperately feel as a disfigured “phantom” who longs to be loved so badly.

From ballet dancer to center stage, Miss Christine Daaé carried the innocence of an angel. Travis’ portrayal of Christine is outstanding. Her voice did more than match that of The Phantom’s, and carried an unwavering familiarity that held true to the classic. Song and word alone could never do her justice and the nature of her performance can only be experienced firsthand. For it is only our beloved Christine, that can bring The Phantom to his knees and the crowd to their feet.

The Phantom of the Opera is playing at Cadillac Palace through January 8th. For tickets and more information, visit www.BroadwayInChicago.com.

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