These Canadian theatre stars stormed the barricades of ‘Les Misérables.’ Now they’re sharing their tales

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. I have a friend who says, “Louise, I love when you sing in English. But when you sing in French somehow it feels like it’s coming from farther away.” And I have to agree with her. There’s just more history there. 

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. For that show, he came up and waved the Quebec flag. 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.

What people don’t remember is there was a real anti-feeling against the show. People felt like we were degrading a great masterpiece of French literature. There was nasty sniping going on, which all got forgotten after the show became a hit.

My then boyfriend, who’s now my husband, attended the first preview and said, “This is going to be huge.” It’s got the reputation as the butch boy musical because there’s guns and fighting.

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. “Bring Him Home” was added during the rehearsals, because they needed a lull in the fighting. And it’s gone on to be sung at Veterans Day and Memorial Day services.

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!”

I remember Patti LuPone coming in one day during rehearsals saying, “I want to do this thing (in the song ‘I Dreamed a Dream’) where on the word ‘shame’ I sing ‘sha-a-a-ame.’ I myself stuck in some high notes, like the top C at the end of Act 1 and the floated high notes for which I am cursed worldwide. The role of Cosette has been cut down to nothing. When the show went to Broadway they cut her number, “I Saw Him Once.” These days, I don’t think the role is often sung very well — it’s become Disneyfied, shallow and ugly. Actors try to make her sassy, flouncing around. She’s a convent girl.

The show was absolutely life-changing 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. Early on in rehearsals, it was funny because everybody knew the part but me. If I missed a line, people could fill it in. The good thing is I didn’t have any other performances in my head.

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. 

New Yorkers love their musicals. 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. The show was nominated for several Tonys. 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 high-fived you as you came off. I’m not much of a gung-ho fella, but it was quite something. 

David Mucci, ensemble member in the original Toronto production and later 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. I was in my late 20s, still relatively young, and it was thrilling to be in that company.

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, when that happens, you have to make an announcement to the audience. 

When the show starts, you’re behind a scrim as convicts and there’s almost nothing between you and the audience, although they can’t see you. 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.

It was one of those memories that’s an amusing story I like to tell because Michael was a big star and a really good friend of mine.

“Les Misérables” runs until June 1 at the Princess of Wales Theatre, 300 King St. W. Visit mirvish.com or call 1-800-461-3333 for tickets and more information.