#rené van Kooten

[aspirin-under-the-mistletoe]

The Demon Barber of Thneed Street

[anastasiamusicalupdates]

René van Kooten as Gleb in The Hague, Netherlands.

[de-meerpeen]

Komend weekend grote namen op het podium bij Musical Melodies  

Er op uit: 'Komend weekend grote namen op het podium bij Musical Melodies'

DEN OEVER – Vrijdag en zaterdag wordt het Vikingschip in Den Oever gevuld met musicalmuziek. Het is inmiddels een traditie dat Meerpeen Theater elke twee jaar een groot musicalconcert geeft. In de vorige editie werden Edith Numeijer en Michelle de Jong bijgestaan door musicalsterren Marcel Visscher en Stanley Burleson. Samen met de gastsolisten worden de mooiste en bekendste musical hits ten…

[ilovetheater-nl]

UNIEKE SAMENSTELLING VAN SOLISTEN TIJDENS PREMIÈRE MUSICAL AUTUMNNIGHTS IN DEN BOSCH MET O.A. BOSSCHE LOIS VAN DE VEN EN TERENCE VANDER LOO

Den Bosch, Nederland – Op 26 september vindt de allereerste voorstelling van dekomende ‘Musical Autumn Nights’ tournee plaats in Theater Aan De Parade in Den Bosch.De uit Den Bosch afkomstige Lois van de Ven en Terence van der Loo staan aan hethoofd van de line-up. Naast hen bestaat de cast uit René van Kooten, Soraya Gerrits enSanne den Besten. De voorstelling belooft een avond te worden vol…

[boho-days]

Chaira Borderslee, René van Kooten, and Antje Monteiro in Aida, Netherlands 2001

[nanasalt]

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Anastasia Medley at Musical Sing-a-Long 2019, featuring the Dutch cast of Anastasia. Taken from AVROTROS.Musical’s Facebook page

[milanvanwaardenburg]

Fie writes down lyrics of Anastasia De Musical

— WAT JE WINT (REPRISE) / TOCH / DE NJEVA STROOMT (REPRISE) | EVERYTHING TO WIN (REPRISE) / STILL / THE NEVA FLOWS (REPRISE) —

A: Ben ik nu blij? Mijn doel is dichtbij Maar blij, nee integendeel Ik dacht altijd: “Hij telt niet voor mij” Nu voel ik ineens heel veel

Hij is een schooier, zij prinses Een sprookje is nu voorbij Want wie ik nu voortaan mis, ben... Gleb!

G: Een onbetrouwbaar wicht Jij zal je vingers branden En ik heb tot mijn schande je laten gaan Maar dit keer niet. Parijs is geen plek voor een echt loyale Rus!

A: Jij en ik zijn beide loyale Russen.

G: Ik neem je mee naar huis.

A: Dit is nu mijn thuis.

G: Geen spelletjes meer, Anya, alsjeblieft!

A: Dit is geen spel, Gleb. dat weten we alle twee!

G: Als jij Anastasia bent, denk je echt dat de geschiedenis had gewild dat jij nog leeft?

A: Natuurlijk! Waarom wil jij dat niet?

G: De Romanovs kregen alles en gaven nooit iets terug! Tot het Russische volk in opstand kwam en ze heeft uitgeroeid!

A: Op een na! Ga je gang. Maak het af! Ik ben mijn vaders dochter!

G: En ik mijn vaders zoon! Ik moet afmaken wat hij begon.

G: Mijn vader weigerde te praten van die nacht Zijn schaamte dreef hem naar de dood

A: Zie ze in mij. Zien hen gezichten in mijn gezicht. Hoor hun kreten! Denk aan hun doodsangst!

G: Maar ik geloof dat hij iets nobels heeft volbracht En hou zijn naam nu groot

A: Doe het. Doe het en ik zal eindelijk weer bij mijn ouders zijn. Bij mijn broertje en bij mijn zusjes!

G: Ik hoor ze, ze gillen Maar ik heb niets te willen Een man vervult zijn plichten, Anya

De keuze is simpel Voor Rusland’s rode wimpel Moet jouw verleden zwichten, Anya

De Njeva stroomt, een volk dat droomt Van lente pril en rijk De sneeuw die wijkt, de tsaar bezwijkt

Veel dromen eindigen in pijn Zo simpel kan een revolutie...

You can find the English translation over here soon!

[thosekhakis]

Anastasia in Translation

Or: an in-depth analysis of English-Dutch translation shifts in Gleb’s lyrical lines in the stage musical Anastasia Okay, so this is a post literally no one needs except me, but I’m making it anyway. After seeing the Dutch staging of Anastasia I’ve been intrigued with some of the choices made in the translation of the lyrics, particularly when it comes to Gleb and the main conflict he deals with in this musical. René van Kooten certainly plays him differently from OBC incarnation I have seen. For example, the scene in which Anya and Gleb first met is played with considerably less silliness, even though Gleb’s ‘I’m here every day’ retains its desperation. Gleb seems (even) more serious in some ways, and I was wondering how much of that has been given in by translation, so here y’all are – an in-depth analysis of English-Dutch translation shifts in Gleb’s lyrical lines in the stage musical Anastasia. Before I start this, I want to say that I’m not doing this to criticise the translation made by Daniël Cohen – translating lyrics is a job I don’t envy and I think he did a wonderful job. I’m merely trying to see what was emphasised in translation and how this might have impacted the show as a whole. The reason I’m only looking at the lyrical translations is a simple point of access: I do not have access to the complete scrips for either the English-language or Dutch production, and will be using the cast recordings to compare the texts. Any songs that are not on the cast recording, such as Gleb’s short reprise of ‘Land of Yesterday’, will sadly not be included. Abbreviations used: ST = source text (OBC lyrics) TT = target text (Dutch translation) Lit. = literally Now, without further ado, I will start with the first song Gleb sings in. ‘The Neva Flows’ In this song, Gleb warns Anya of the danger of rumours and reveals his entire background story. Convenient, and very interesting in translation too. Be very careful of these rumors that prevail Be very careful what you say I was a boy who lived the truth behind the tale And no one got away I saw the children as the soldiers closed the gate The youngest daughter and her pride My father leaving on the night they met their fate His pistol by his side Wees heel voorzichtig met de dingen die je zegt Pas op voor ieder vals gerucht Ik was nog jong maar niemand is dat weet ik echt Die dag de dood ontvlucht Ik zag de kinderen, toen ging het hek op slot De jongste dochter zo kordaat Ik zag mijn vader als de beulsknecht van het lot Met zijn pistool paraat While the immediately noticeable shift is that the song doesn’t start with rumours (which do appear in the second line), perhaps the most interesting shift in the start of the song is the addition of ‘beulsknecht van het lot’ (lit. executioner of fate) in the TT when Gleb is talking of his father. Gleb is very clear on who his father was and what he has done, and a double play on ‘beulsknecht’ is introduced: he executed a family, as well as fate. Gleb clearly believes in the righteousness of his father’s actions here, as early as the first verse. The Neva flows A new wind blows And soon it will be spring The leaves unfold The tsar lies cold A revolution is a simple thing De Njeva stroomt Een volk dat droomt Van lente pril en rein De sneeuw die wijkt De tsaar bezwijkt Zo simpel kan een revolutie zijn The chorus also introduces Gleb’s feelings towards the revolution clearly. When the ‘new wind blows’, the TT speaks of the dreams of the people. The spring Gleb sings about is ‘pril en rein’ (lit. young and clean) in the TT. These small hints reveal, perhaps more than the ST, that Gleb is behind this revolution completely. I heard the shots I heard the screams But it’s the silence after I remember most The world stopped breathing And I was no longer a boy Ik hoorde schoten Ik hoorde schreeuwen Maar de stilte daarna klinkt nog steeds De wereld stokte En ik was niet langer een kind This verse is well-translated and continues the trend of strengthening the ST. Whereas OBC Gleb remembers the silence, Dutch Gleb poses that it still ‘klinkt’ (i.e. he can still physically hear it). Trauma much? My father shook his head and told me not to ask My mother said he died of shame But I believe he did a proud and vital task And in my father’s name Mijn vader weigerde te praten van die nacht Zijn schaamte dreef hem naar de dood Maar ik geloof dat hij iets nobels heeft volbracht En hou zijn naam nu groot Another small shift in this verse: Gleb doesn’t just act in his father’s name like in the ST, but ‘hou[dt] zijn naam groot’ (lit. keeps his name big), which once again emphasises Gleb’s adoration for his father. A shift which may not seem relevant at the first glance is the deletion of ‘My mother said [he died of shame]’. The TT reads ‘Zijn schaamte dreef hem naar de dood’ (lit. his shame drove him to death), which deleted the implication that Gleb only heard this from his mother and that it may not even be true. As Tumblr user december-dragon writes in this post, Stepan Vaganov was a historical executioner who was killed by peasants in 1918 for assisting in brutal acts committed by the Cheka. December-dragon proposes that this has left Gleb with two upbringings: a father who did in fact not regret his actions but insisted on the value of duty, and a mother who told him his father did in fact feel shame because she wants her son to have a moral compass. This line in the ST gives some more context to the duty vs. morality conflict in Gleb’s character, which is deleted in translation. Instead, the translation chooses to focus on Gleb’s father and in a sense makes him the sole motivation for his actions. This erases some of the nuance of the conflict between duty vs. morality found in Gleb’s character background. This verse is followed by the chorus, and while there is no difference in translation, a difference in performance is that Anya now starts to sing with him. Does she, too, believe in the revolution? Is Dutch Gleb so strong as to convince her? Could I have pulled the trigger if I had been told? Be careful what a dream may bring Revolution is a simple thing Had ik toen kunnen schieten toen men dat zei? Pas op niet elke droom is fijn Zo simpel kan een revolutie zijn The ST ends full circle: at the start Gleb warned Anya of rumours and what they may bring, and he ends on a warning for dreams (which she harbours due to those very rumours): previous dreams have led to a revolution, and if Anya dreams too much she might become a threat to the existing order, which will put her in harm’s way. In the ST, this idea is continued in the next scene: Gleb warns Anya as both friend and officer, and in ‘Still’ sings of his wish to protect her. In the TT, the translation breaks from what it has been doing so far. So far Gleb has only been supportive of the new Russia and of his father’s ideals. In the TT, however, Gleb sings that ‘niet elke droom is fijn’ (lit. not every dream is pleasant), in which he hints more clearly at the pain and suffering that the revolution has caused Russia and his family. Simultaneously, it could be read as Gleb dreaming about him being in his father’s footsteps. This display of awareness allows Gleb some more emotional depth and enforces the conflict latent in the ST. This Gleb is not (just) about protecting Anya, but shows some awareness of the horrors of revolution – despite his own certainty about their necessity. Dutch Gleb displays, perhaps, more emotional maturity in his train of thought than OBC Gleb, as will also be clear in the translation of the following song. ‘Still’ This song takes place right after Gleb knows that Anya has escaped from his clutches; he wonders about her motives and own role and feelings. In translation, some subtle shifts take place. An underhanded girl An act of desperation And to my consternation I let her go Een onbetrouwbaar wicht Ze zal haar vingers branden En ik heb tot mijn schande Haar laten gaan In the first verse, a few things immediately catch my attention. While in the ST Gleb calls Anya simply a girl, the TT contains the word ‘wicht’. In Dutch, this word can be used to denote a young girl, but has a negative meaning as well as sound: it’s commonly used to denote girls who are stubborn, stupid or annoying. The [x]-sound at the end of the song (like in Loch Ness) is common in Dutch, but does give the first sentence a harsh ending. This negative view of Anya continues in the next line. While the ST reads ‘An act of desperation’, which shows some of the understanding that Gleb might have for Anya’s situation, the Dutch text reads ‘Ze zal haar vingers branden’ (lit. she’ll burn her fingers), imagining a punishment for her behaviour. The imagery of Anya as purposefully deceiving vs. innocent poor girl is lost here. A last notable shift in this verse is Gleb’s English ‘consternation’ vs. his Dutch ‘schande’. In the ST Gleb is confused, shocked and perhaps annoyed by his own actions, while the Dutch ‘schande’ speaks clearly of shame. This hints perhaps at a deeper emotional maturity for the Dutch Gleb – he feels shame, but no confusion. She wants what she can get Is that a fair depiction Does she believe her fiction It’s hard to know De dingen die ze doet Gaan mijn verstand teboven Ze lijkt het te geloven Haar grootheidswaan The second verse knows a lot of shifts from the ST. In the ST Gleb muses on whether Anya is ‘pretending’ to be Anastasia, because if she can, why wouldn’t she? Then, he asks himself whether she actually believes it or not – he is unable to decide. In the TT Gleb speaks of ‘the things she does’ that he doesn’t understand, but says ‘ze lijkt het te geloven / haar grootheidswaan’ (lit. she seems to believe it / her delusions of grandeur). The TT poses some confusion towards Anya’s actions, but not her motives; Dutch Gleb is more certain that Anya believes that she is Anastasia. Again, some of Gleb’s confusion has gone missing. Is it innocence or guile? Or nothing but a childish act of will? She doesn’t know she needs you She willfully misleads you But still Still Is zij koppig of gedwee? Onschuldig of bedreven in bedrog? Ze ziet niet wie haar vriend is Ze liegt wat niet verdiend is Maar toch Toch The TT chorus then does strongly introduce Gleb’s conflict. Gleb considers the following options as Anya’s motivation: she is an innocent victim (innocence vs. onschuldig), she purposefully deceives him (guile / willfully misleads you vs. bedriven in bedrog / liegt wat niet verdiend is) or she actually believes she is Anastasia (childish act of will / koppig). One shift from the ST is the lack of emphasis on Gleb’s own role in all this. While Gleb’s ‘She doesn’t know she needs you’ clearly denotes his own longing to help Anya, the Dutch says ‘Ze ziet niet wie haar vriend is’ (lit. she doesn’t see who is her friend). While the implications are similar, this translation could easily mean that Anya has mistaken Dmitry and Vlad for friends – which would erase the focus on Gleb’s own feelings. A son becomes a man At his father’s knee If my father asked questions, well Where would we be? Een zoon die wordt een man Aan zijn vaders hand Zijn gehoorzaamheid Dat was geen angst maar verstand At it again with the daddy issues. The main shift in this verse is the inclusion of the line ‘Zijn gehoorzaamheid / Dat was geen angst maar verstand’ in the TT. While ‘gehoorzaamheid’ (lit. obedience) is also in the ST, the TT poses that his obedience was borne from rationality instead of fear. The idea of fear is not included in the ST and gives Dutch Gleb some well-earned emotion after all: while this Gleb is not fighting confusion, he seems to be combatting fear. She’s nothing but a child A waif who needs protection I feel a strange connection I can’t allow Zij is nog maar een kind Dat hunkert naar affectie Ik voel een soort connectie Is dat verkeerd? This verse has been translated rather literally, except for the sentence ‘a waif who needs protection’. While the ST focuses on the protection Gleb could offer Anya, the TT has Gleb say that she wants affection – and hints that he wants that too. Dutch Gleb is not a man who wants to just help and protect Anya, he is pretty certain of his feelings already: he wants to give her affection and he wants to receive hers. He wonders if he is wrong in the last line, but he doesn’t repress the feelings like OBC Gleb, who tells himself he can’t allow a connection at all. This once again gives Dutch Gleb some more emotional maturity. She said it’s all a game She trembles like a flower But in her there’s a power I see that now I’m nothing but a man With nothing but his orders to fulfill Al noemt ze het een spel En trilt ze ietwat tragisch Daarbinnen zit iets magisch Dat intrigeert Ik ben simpelweg een man Die handelt op bevel en wat dan nog? Like the previous TT verse, this verse gives Dutch Gleb more certainty about his feelings for Anya. While OBC Gleb talks of Anya’s power, Dutch Gleb speaks of the intriguing magic within her, willfully admitting that she intrigues him. Another hint at his certainty in his role is the addition of ‘en wat dan nog’ (lit. so what) to the fairly literal translation of the final lines. Whereas in the ST Gleb seems to pose himself as as man who is a slave of his orders, TT Gleb pronounces to the world that he is indeed that man, and tells the audience: so what? That is what I am, and that is what you’re getting. This again hints at more certainty and maturity in Gleb’s feelings. ‘I’m innocent!’ she cries But then you see her eyes Then something in them tells you that she absolutely lies Until your heart replies But still Still Still Ze smeekt je, 'laat me gaan!' Maar dan kijkt ze je aan Dan zij je in die ogen elke grove leugen staan Je hart gaat sneller slaan Maar toch Toch Toch The final verse is translated fairly literally, but includes one notable addition that once again confirms Gleb’s feelings. While in the ST he sings ‘until your heart replies’, which can refer to his romantic feelings about Anya but also to general feelings of compassion, the TT reads ‘Je hart gaat sneller slaan’ (lit. your heart begins to beat faster), which hints more clearly at Gleb’s romantic feelings. Throughout the translation of ‘Still’, Gleb gains more emotional surety and perhaps even maturity. He is more certain of who he is and what his feelings about Anya are, and his doubts are generally weakened. He doesn’t delude himself that he wants to protect her. He wants her. ‘Quartet at the Ballet’ Another obvious point to look for Gleb’s romantic feelings towards Anya is ‘Quartet at the Ballet’, in which he watches her from the balcony. She’s near at hand Yet here I stand My heart and mind at war The times must change The world must change And love is not what revolution’s for Ik zie haar daar En aarzel maar Mijn hart vecht met mijn brein De wereld splijt Een nieuwe tijd Ook liefde kan een revolutie zijn While the ST is in this case pretty clear about Gleb’s heart being in the game when it comes to Anya, he immediately proclaims that this can’t be his motivation: he supports the revolution, and love is not allowed to get in the way. In the TT, however, Gleb proclaims ‘Ook liefde kan een revolutie zijn’ (Love can be a revolution too), in which he reveals just how strongly he feels about Anya. Up until this point Dutch Gleb has always held to his own causes, and now he states that love might be a revolution, which can be read in multiple ways: love can be as strong as a revolution, love has caused a revolution in him, love is to him now equal to the revolution. It is impossible to pinpoint with which meaning the translator has chosen to change this line, but it is clear that this shifts the focus of Gleb’s motivations away from simple protection or morality, and places it very explicitly on his love for Anya. As seen before, this Gleb does not doubt his love. He is certain, and it is strong: perhaps love is part of the new world order. Someone holds her safe and warm Someone rescues her from the storm Simple things but one thing’s clear It’s fate that brought us here Iemand die haar veilig houdt Iemand die zij compleet vertrouwt Lijkt zo simpel maar let wel Het lot dat speelt een spel The verse that Gleb sings with Dmitry knows one relevant shift, namely that as before the focus on rescuing and saving is deleted as much as possible. The word ‘rescues’ is here replaced by the idea that Anya will find someone she trusts, which speaks more of a healthy relationship than a saviour complex. ‘The Neva Flows / Still’ (Reprise)’ For obvious reasons, the translation of this song bears much similarity to the translation of ‘The Neva Flows’ and ‘Still’. For the lyrical translations of those songs I concluded that Gleb portrays more certainty of his feelings for Anya, and in general more emotional maturity: he is aware of who he is and his doubt is smaller than in the ST. This trend is continued in the reprise. The children Their voices A man makes painful choices He does what’s necessary Anya Ik hoor ze Ze gillen Maar ik heb niets te willen Een man vervult zijn plichten Anya At the musical’s climactic point, Gleb sings about the children’s voices In the ST, Gleb keeps his lines rather passive: he talks of a man and painful choices, but doesn’t refer to himself. In the TT, the scene is made more personal. One of the first shifts is the addition of ‘ik hoor’ (lit. I hear) to the TT. Instead of merely referring to the children’s voices, Dutch Gleb sings more explicitly that he hears them and is still haunted by them (mirroring the haunting silence he sang of in ‘The Neva Flows’). Additionally, Gleb does not simply hear ‘voices’ in the TT, but hears them ‘gillen’ (lit. yell). OBC Gleb is haunted by the image of the children in general, perhaps screaming but perhaps simply playing as well. Dutch Gleb, however, specifically refers to the trauma that was done to the Romanovs and the screams. The aggression of the revolution is more clearly embedded into Gleb’s mind. The next line ‘A man makes painful choices’, continues the trend of making the lyrics more personal: Gleb sings not of ‘a man’ but again uses ‘ik’. In addition to the more personal nature of the Dutch line, the text is also subject to a shift that makes Gleb’s reliance on duty more obvious. In the ST Gleb speaks about ‘painful choices’, thus posing duty vs. morality as a choice that he has difficulty with. Dutch Gleb sings that he has ‘niets te willen’ (lit. nothing to want), meaning that the idea of a choice in itself is erased. Similarly, the word ‘necessary’ is translated as ‘plichten’ (lit. duties), making the reference to duty explicit. The struggle of duty vs. morality is once again weakened: Gleb knows his duty and will follow in his father’s footsteps. For Russia, my beauty What choice but simple duty We have a past to bury, Anya De keuze is simpel Voor Ruslands rode wimpel moet jouw verleden zwichten, Anya While in the lines above ‘duty’ itself is left untranslated, the Dutch translation also transfers the idea that if there even is a choice, the choice is simple, if not by shifting the more neutral ‘have’ to ‘moet’ (lit. must) in the last sentence. Another interesting shift is found when Gleb sings of Russia, which he calls ‘my beauty’ in the ST, while he sings of a ‘rode wimpel’ (lit. red flag) in the TT: in the TT, Gleb underlines not his personal connection to Russia itself, but his allegiance to the Bolshevist party line and the national interests. One of the most interesting translation shifts in the entire musical is found in the climax, when Gleb sings ‘Be careful what a dream may bring / A revolution is a simple thing’. This line was obviously also sung in ‘The Neva Flows’ and has already been translated as ‘Pas op niet elke droom is fijn’, as covered previously. At the end, however, the translator has elected to translate the line anew as ‘Veel dromen eindigen in pijn’ (lit. many dreams end in pain), making the warning Gleb gives Anya even more explicit, and emphasising the horror of what has happened and what he is about to do: moving against the revolution Gleb supports certainly brings pain, and Gleb is about to inflict it. Of course, Gleb’s seeming certainty does nothing to chance the ending of the musical. Gleb changes his mind, doesn’t finish the line ‘A revolution is a simple thing’ and falls to his knees before Anastasia. The manner in which Dutch Gleb unravels before her is perhaps more wondrous than it was for OBC Gleb: OBC Gleb has, as seen in the ST, always had glaring doubts and conflict, whereas Dutch Gleb seemed certain of his case, even if he knew about the tragic consequences his convictions could have. In his entire performance, René has seemed more collected than the OBC performance I have watched (and, all right, I’ll admit, I watched the bootleg. I’m a secondary school teacher and definitely cannot afford actual Broadway tickets, or a plane to the US. Either way, I’m not certain how representative for the entire OBC performance the boot I saw is). Whereas OBC Gleb immediately screams ‘And I am my father’s son’ back at Anya/Anastasia, Dutch Gleb is forceful and angry, but doesn’t quite scream and still leaves a moment to breathe between the lines. This Gleb again comes across as less emotional, less conflicted: why then, does he collapse so completely before her? And collapsing he does. Unlike in OBC Gleb, he doesn’t merely fall down on one knee, he collapses on both knees and decides to let Anya/Anastasia live. Even though the conflict between duty vs. morality was of course latent in the translation, it is perhaps more likely that this Gleb chooses not to shoot her out of love: he has portrayed his feelings for her rather certainly. The translation of the lyrics has shown that the duty vs. morality conflict was replaced to some extent by a conflict between duty vs. love. Dutch Gleb never doubted his duty, but also confidently sang about his affection of Anya. While the duty vs love conflict appears in the ST, OBC Gleb could be argued not to love Anya truly and suffer from a saviour complex. It’s harder to make such an argument for Dutch Gleb. Perhaps, then, Gleb’s revolution in this production is not morality, but indeed, as Dutch Gleb has sung, love.

[mrjamesstark]

My birthday isn’t until next Wednesday but since we are celebrating our birthdays tomorrow I just got my presents from my parents and sister and I am crying I am so happy 😭 a ticket to one of my fave musicals with my fave musical star I had given up on going to this time around, and one of the final few SPN POPs I still need 💜

BUT LOOK AT THAT HOODIE. ITS SO SOFT. I AM NOT OKAY.

ME WHEN I GOT THE HOODIE AND TICKET (IN THE VERY BEST WAY) BECAUSE I COULDNT BELIEVE IT vvvvvv

[michi-heller]

THEY DID THAT

[dutch-tv-shows]

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Cupido/Jamai Loman & Farao/René van Kooten The Masked Singer NL - Season 3  “Elton John - Don't Let The Sun Go Down On Me”

[mysticalhearth]

Les Misérables

Les Misérables - 10th Anniversary: The Dream Cast In Concert - October, 1995 (Pro-Shot's master) FORMAT:  MP4 (SD) CAST: Colm Wilkinson (Jean Valjean), Philip Quast (Javert), Ruthie Henshall (Fantine), Judy Kuhn (Cosette), Michael Ball (Marius), Lea Salonga (Éponine), Michael Maguire (Enjolras), Alun Armstrong (Thénardier), Jenny Galloway (Madame Thénardier), Adam Searles (Gavroche), Hannah Chick (Little Cosette), Paul F Monaghan (The Bishop), Anthony Crivello (Grantaire), David Bardsley (Combeferre), Matt Cammelle (Feuilly), Jérôme Pradon (Courfeyrac), Peter Polycarpou (Jean Prouvaire), Darryl Knock (Joly), Mike Sterling (Lesgles), Nick Holder (Brujon), Tony Timberlake (Babet), Stephen Matthews (Claquesous), Keith Burns (Montparnasse), Michael McCarthy (Factory Foreman), Jackie Marks (Factory Girl), Gareth Snook (Bamatabois), Andy Reiss (Pimp), Peter Polycarpou (Labourer), Glyn Kerslake (Constables), Beverly Klein (Old Woman), Christopher Howard (Loud Hailer), Halcro Johnston (Farmer), Adrian Beaumont, Alasdair Harvey, Alistair Robins, Allan Hardman, Annette Yeo, Cameron Stewart, Charles Shirvell, Christopher Coleman, Claire Machin, Claudia Bradley, Cliff Brayshaw, Craig Schulman, Danny Coll, David Alder, David Arneil, David Delve, David Malek, David Shannon, Egill Olaffson, Ellen Jackson, Fenton Gray, Gerard Leighton-Duffy, Glenn Carter, Grania Renihan, Gyula Vikidál, Hadrian Delacey, Helen Hobson, Henk Poort, Irene Warren, James Barron, James Head, Jan Ježek, Jeff Leyton, Jerzy Jeszke, Joanne Redman, Jody Crosier, John Barr, John Owen-Jones, Julia Howson, Julia Worsley, Krzysztof Stasierowicz, Kurt Ravn, Linda-Mae Brewer, Lynden Edwards, Mario Frangoulis, Mark Turnbull, Mark White, Martin George, Martin Scott Warden, Matthew Gould, Matthew White, Michael Burgess, Michael Cantwell, Myra Sands, Neil Couperthwaite, Nicholas Pound, Nicola Sloane, Norma Atallah, Paul Baker, Paula Simpson, Peter Ledbury, Phil Cavill, Philip Cox, Rebecca Storm, Rebecca Thornhill, Reinhard Brussmann, Richard Burman, Rob Guest, Robert Marien, Sara West, Sarah Hay, Steve Balsamo, Susie Fenwick, Takeshi Kaga, Tommy Körberg, Tricia Deighton, Øystein Wiik NOTES: Features key performers from the original Broadway and London casts like Colm Wilkinson, Phillip Quast and Lea Salonga. Includes the encore performance featuring 17 Valjeans from various productions. Les Misérables - 25th Anniversary Concert Live At The O2 - October 3, 2010 (Pro-Shot's master) FORMAT:  VOB (with smalls) (SD) CAST: Alfie Boe (Jean Valjean), Norm Lewis (Javert), Lea Salonga (Fantine), Katie Hall (Cosette), Nick Jonas (Marius), Samantha Barks (Éponine), Ramin Karimloo (Enjolras), Matt Lucas (Thénardier), Jenny Galloway (Madame Thénardier), Robert Madge (Gavroche), Mia Jenkins (Little Cosette), Earl Carpenter (The Bishop), Hadley Fraser (Grantaire), Jonathan Williams (Combeferre), Owain Williams (Feuilly), Killian Donnelly (Courfeyrac), Alistair Brammer (Jean Prouvaire), Jamie Muscato (Joly), Edward Baruwa (Lesgles), Phil Snowden (Brujon), Stephen Tate (Babet), Tony Timberlake (Claquesous), Keith Burns (Montparnasse), Jeff Nicholson (Factory Foreman), Grainne Renihan (Factory Girl), Valda Aviks (Crone), Cameron Blakely (Bamatabois), Peter Polycarpou (Pimp) Les Misérables - Asia Tour - June 2, 2016 (Highlights) FORMAT:  MP4 (HD) CAST: Simon Gleeson (Jean Valjean), Earl Carpenter (Javert), Patrice Tipoki (Fantine), Emily Langridge (Cosette), Paul Wilkins (Marius), Kerrie Anne Greenland (Éponine), Chris Durling (Enjolras), David McDonald (Thénardier), Jennifer Butt (Madame Thénardier), Austyn Myers (Gavroche), Rachel Schier (Little Cosette) NOTES: On My Own, Upon These Stones, Bring Him Home and two angles of the same One Day More Les Misérables - Dallas - August 2, 2014 (SJ Bernly's master) FORMAT:  VOB (no smalls) (SD) CAST: Nehal Joshi (Jean Valjean), Edward Watts (Javert), Allison Blackwell (Fantine), Dorcas Leung (Cosette), Justin Keyes (Marius), Elizabeth Judd (Éponine), John Campione (Enjolras), Steven Michael Walters (Thénardier), Christia Mantzke (Madame Thénardier) NOTES: A great capture of Dallas Theatre Center’s inventively staged production of Les Miserables. The much-talked about production did not disappoint; the modernized visuals create many new layers to the show, and make you think about events and characters in a whole new way. Nehal, Allison, Justin, and Christia were probably my favorites, but the entire cast is so talented, it’s difficult to choose any as standouts. A very nice capture overall. There are a couple quick dropouts in act one, but no major blackouts. There is one head that can be seen occasionally, but it only blocks a small portion of the stage and only affects the action for about 20-30 seconds of the entire show. It’s filmed in 16:9, with a mix of wides, mediums, and close-ups. The sound is excellent as usual. Includes curtain call and playbill scans. Les Misérables - Duisburg - 1996 (Pro-Shot's master) FORMAT:  MP4 (SD) CAST: Jerzy Jeszke (Jean Valjean), Hardy Rudolz (Javert), Cornelia Drese (Fantine), Deborah Dutcher (Cosette), Felix Martin (Marius), Sanni Luis (Éponine), Martin Berger (Enjolras), Tom Zahner (Thénardier), Anne Welte (Madame Thénardier), Willi Welp (The Bishop) Les Misérables - Dutch Revival - Spring, 2008 FORMAT:  MP4 (SD) CAST: René van Kooten (Jean Valjean), Wim van den Driessche (Javert), Nurlaila Karim (Fantine), Suzan Seegers (Cosette), Jamai Loman (Marius), Céline Purcell (Éponine), Freek Bartels (Enjolras), Gerben Grimmius (u/s Thénardier), Marjolein Algera (Madame Thénardier) NOTES: Complete show, Amateur capture A, Double dvd Les Misérables - Fifth National Tour - October 5, 2018 (hitmewithyourbethshot's master) FORMAT:  MP4 (HD) CAST: Nick Cartell (Jean Valjean), Josh Davis (Javert), Mary Kate Moore (Fantine), Jillian Butler (Cosette), Joshua Grosso (Marius), Paige Smallwood (Éponine), Matt Shingledecker (Enjolras), J Anthony Crane (Thénardier), Allison Guinn (Madame Thénardier), Sam Middleton (Gavroche), Cate Elefante (u/s Little Cosette), Matt Moisey (Grantaire), Monte J Howell (Combeferre), Tim Quartier (s/w Feuilly), Christopher Viljoen (Courfeyrac), Patrick Rooney (Jean Prouvaire), Gabriel Sidney Brown (Joly), Andrew Maughan (Lesgles), Felipe Barbosa Bombonato (Babet), John Ambrosino (Claquesous), Steve Czarnecki (Factory Foreman), Ashley Dawn Mortensen (Factory Girl), John Ambrosino (Bamatabois) Les Misérables - First Broadway Revival - November 11, 2006 FORMAT:  VOB (with smalls) (SD) CAST: Victor Hawks (u/s Jean Valjean), Norm Lewis (Javert), Daphne Rubin-Vega (Fantine), Ali Ewoldt (Cosette), Adam Jacobs (Marius), Celia Keenan-Bolger (Éponine), Aaron Lazar (Enjolras), Gary Beach (Thénardier), Jenny Galloway (Madame Thénardier), Jacob Levine (Gavroche), Drew Sarich (Grantaire) NOTES: A nice capture here of Victor as Valjean. The capture is a little on the dark side, but still enjoyable. Les Misérables - First Broadway Revival - February 17, 2007 FORMAT:  MP4 (HD) CAST: Alexander Gemignani (Jean Valjean), Norm Lewis (Javert), Daphne Rubin-Vega (Fantine), Ali Ewoldt (Cosette), Adam Jacobs (Marius), Celia Keenan-Bolger (Éponine), Drew Sarich (u/s Enjolras), Gary Beach (Thénardier), Jenny Galloway (Madame Thénardier), Jacob Levine (Gavroche) NOTES: A really nice video of the first broadway revival. Widescreen. Cleaned up nicely in remastering. And it has Sarich. Les Misérables - First Broadway Revival - May 12, 2007 (Matinee) (jstarz's master) FORMAT:  VOB (with smalls) (SD) CAST: Alexander Gemignani (Jean Valjean), Drew Sarich (u/s Javert), Lea Salonga (Fantine), Ali Ewoldt (Cosette), Adam Jacobs (Marius), Mandy Bruno (Éponine), Max von Essen (Enjolras), Gary Beach (Thénardier), Ann Harada (Madame Thénardier), Stephen Trafton (u/s Grantaire) NOTES: Filmed in widescreen (though encoded in 4:3, so there are bars at the top and bottom of the screen), this is a nice capture of some of the new cast members. Drew and Ann give great performances in their roles. The second disc also includes the first 15 minutes of the February 24, 2007 Evening show, filmed from the rear right orchestra. Les Misérables - First Broadway Revival - June 1, 2007 FORMAT:  VOB (with smalls) (SD) CAST: Alexander Gemignani (Jean Valjean), Ben Davis (Javert), Lea Salonga (Fantine), Ali Ewoldt (Cosette), Adam Jacobs (Marius), Marissa McGowan (Éponine), Max von Essen (Enjolras), Gary Beach (Thénardier), Ann Harada (Madame Thénardier) Les Misérables - First Broadway Revival - August 24, 2007 FORMAT:  VOB (with smalls) (SD) CAST: Drew Sarich (Jean Valjean), Robert Hunt (Javert), Nikki Renée Daniels (u/s Fantine), Ali Ewoldt (Cosette), Adam Jacobs (Marius), Megan McGinnis (Éponine), Max von Essen (Enjolras), Chip Zien (Thénardier), Becca Ayers (u/s Madame Thénardier), Brian D'Addario (Gavroche) NOTES: Some nice closeups/mediums. A nice capture of the new cast. Capture can be dark at times, but mostly in the darker scenes. Includes a technical difficulty when the Barricades first come out, the show is stopped and includes the announcement.. A- Les Misérables - Fourth UK & Ireland Tour - January, 2019 (House-Cam's master) FORMAT:  MP4 (HD) CAST: Killian Donnelly (Jean Valjean), Nic Greenshields (Javert), Katie Hall (Fantine), Bronwen Hanson (Cosette), Harry Apps (Marius), Tegan Bannister (Éponine), Will Richardson (Enjolras), Martin Ball (Thénardier), Sophie-Louise Dann (Madame Thénardier) Les Misérables - Hollywood Bowl - August 9, 2008 FORMAT:  WMV (HD) CAST: J Mark McVey (Jean Valjean), Brian Stokes Mitchell (Javert), Melora Hardin (Fantine), Michele Maika (Cosette), John Lloyd Young (Marius), Lea Michele (Éponine), Tom Lowe (Enjolras), Sage Ryan (Gavroche) NOTES: J. Mark McVey, Brian Stokes Mitchell, Lea Michele, Melora Hardin, John Lloyd Young, Michele Maika, Michael McCormick, Tom Lowe, Ruth Williamson. Juni's master filmed in widescreen and can be a little shakey at times in tight zooms. Nice to see the audience version compared to the Proshot one. A- Les Misérables - Japan - 1997

FORMAT: video |  TRADER'S NOTES: Looking for a replacement link CAST: Yuichiro Yamaguchi (Jean Valjean), Mayo Kawasaki (Javert), Hiromi Iwasaki (Fantine), Yu Hayami (Cosette), Kazukata Ishii (Marius), Minako Honda (Éponine), Kojiro Oka (Enjolras), Yukio Yamagata (Thénardier), Bibari Maeda (Madame Thénardier) NOTES: Yamaguchi’s first of fourteen year as Valjean. Les Misérables - Madrid - 1993 (Pro-Shot's master) FORMAT:  VOB (with smalls) (SD) CAST: Pedro Ruy Blas (Jean Valjean), Miguel del Arco (Javert), Gema Castaño (Fantine), Luisa Torres (Cosette), Carlos Marín (Marius), Margarita Marbán (Éponine), Enrique R del Portal (Enjolras), Francisco La Hoz (Thénardier), Connie Philip (Madame Thénardier) Les Misérables - Madrid Revival - July 14, 2011 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: Gerónimo Rauch (Jean Valjean), David Ordinas (Javert), Virginia Carmona (Fantine), Talía del Val (Cosette), Guido Balzaretti (Marius), Lydia Fairén (Éponine), Daniel Diges (Enjolras), Enrique R del Portal (Thénardier) NOTES: Multi-Camera proshot Les Misérables - Netherlands - 1991/1992 (Pro-Shot's master) FORMAT:  VOB (no smalls) (SD) CAST: Henk Poort (Jean Valjean), Ernst Daniël Smid (Javert), Pia Douwes (Fantine), Marika Lansen (u/s Cosette), Danny de Munk (Marius), Vera Mann (Éponine), Uwe Kröger (u/s Enjolras), Filip Bolluyt (u/s Thénardier), Simone Kleinsma (Madame Thénardier), Maya Hakvoort, Peter de Smet NOTES: This video starts with the Les Mis flag and the last scene is a close-up. Les Misérables - Paris - 1991 FORMAT:  VOB (with smalls) (SD) CAST: Robert Marien (Jean Valjean), Patrick Rocca (Javert), Marie Zamora (Cosette), Jérôme Pradon (Marius), Stéphanie Martin (Éponine), Julien Combey (Enjolras), Laurent Gendron (Thénardier), Marie-France Roussel (Madame Thénardier) NOTES: Act 1 + finale of act 2. This is 100% NOT Louise Pitre playing Fantine Les Misérables - Second Broadway Revival - March 1, 2014 (Preview) (Highlights) (where is your red schaaaf's master) FORMAT:  MOV (HD) CAST: Ramin Karimloo (Jean Valjean), Will Swenson (Javert), Caissie Levy (Fantine), Samantha Hill (Cosette), Andy Mientus (Marius), Nikki M James (Éponine), Kyle Scatliffe (Enjolras), Cliff Saunders (Thénardier), Keala Settle (Madame Thénardier), Gaten Matarazzo (Gavroche) NOTES: First preview. It includes most of the show. Loud excited audience. Blind shot from stage right third row, with no zooms. Keala Settle sprained her ankle at some point between The Robbery and One Day More, resulting in her not being in One Day More and using a cane during Wedding Chorale/Beggars at the Feast. Les Misérables - Second Broadway Revival - March 8, 2014 (Preview) (SunsetBlvd79's master) FORMAT:  MP4 (SD) CAST: Ramin Karimloo (Jean Valjean), Will Swenson (Javert), Caissie Levy (Fantine), Samantha Hill (Cosette), Andy Mientus (Marius), Nikki M James (Éponine), Kyle Scatliffe (Enjolras), Cliff Saunders (Thénardier), Keala Settle (Madame Thénardier), Joshua Colley (Gavroche) NOTES: Audience was full of excitement! The last 20 seconds are missing from the very end due to battery issues Les Misérables - Second Broadway Revival - August 21, 2014 (SJ Bernly's master) FORMAT:  VOB (with smalls) (SD) CAST: Nathaniel Hackmann (u/s Jean Valjean), Earl Carpenter (Javert), Caissie Levy (Fantine), Samantha Hill (Cosette), Andy Mientus (Marius), Nikki M James (Éponine), Kyle Scatliffe (Enjolras), Cliff Saunders (Thénardier), Keala Settle (Madame Thénardier), Joshua Colley (Gavroche), Mia Sinclair Jenness (Little Cosette), Angeli Negron (Young Éponine), Adam Monley (The Bishop) NOTES: A fantastic capture of this lavish production. It’s refreshing to see different faces in the lead roles, and both Nathaniel and Earl carry the show well. Nathaniel’s vocals are powerful and he has a great rapport with Caissie and Samantha. A lovely capture overall with no obstruction. Look Down is mostly blacked out and there are a couple quick dropouts during The Bishop scene and Lovely Ladies, but the show is otherwise fully intact. There is also some washout in high contrast wide shots. It’s filmed in 16:9, with a mix of wides, mediums, and close-ups. The sound is excellent. Includes curtain call and playbill scans. Les Misérables - Second Broadway Revival - July 1, 2015 FORMAT:  MP4 (HD) CAST: Ramin Karimloo (Jean Valjean), John Rapson (u/s Javert), Erika Henningsen (Fantine), Melissa Mitchell (u/s Cosette), Chris McCarrell (Marius), Brennyn Lark (Éponine), Wallace Smith (Enjolras), Gavin Lee (Thénardier), Rachel Izen (Madame Thénardier), Sam Chuck (Gavroche), Joe Spieldenner (Grantaire), Weston Wells Olson (s/w Combeferre) NOTES: Act I begins at "The Runaway Cart" and nearly complete Act II. Some obstructions, but audio is quite good. Rapson's last Javert. Les Misérables - Spanish Tour - December 21, 2013 (House-Cam's master)

FORMAT: video CAST: Nicholas Martinelli (Jean Valjean), Ignasi Vidal (Javert), Elena Medina (Fantine), Talía del Val (Cosette), Guido Balzeratti (Marius), Lydia Fairén (Éponine), Manu Pilas (u/s Enjolras), Armando Pita (Thénardier), Eva Digo (Madame Thénardier), Samuel Gomez (Grantaire) Les Misérables - Tecklenburg - 2006 (1) (Pro-Shot's master) FORMAT:  MP4 (SD) CAST: Chris Murray (Jean Valjean), Marc Clear (Javert), Jana Werner (Fantine), Barbara Köhler (Éponine) NOTES: Different from the other video of this production; multicam proshot. Definitely a different performance too.  

Les Misérables - Third UK (25th Anniversary) Tour - June 20, 2010 (thewho's master) FORMAT:  VOB (with smalls) (SD) CAST: John Owen-Jones (Jean Valjean), Earl Carpenter (Javert), Madalena Alberto (Fantine), Katie Hall (Cosette), Luke Kempner (u/s Marius), Rosalind James (Éponine), Jon Robyns (Enjolras), Ashley Artus (Thénardier), Lynne Wilmott (Madame Thénardier), Jordi Clark (Gavroche), David Lawrence (The Bishop), Adam Linstead (Grantaire), David Covey (Combeferre), Owain Williams (Feuilly), Christopher Jacobsen (Courfeyrac), Rhidian Marc (Joly), David Lawrence (Lesgles), Carl Mullaney (Claquesous), Carl Mullaney (Bamatabois) NOTES: Act 1 starts at At The End of the Day, Act 2 starts at Drink with me. okay quality though blurry and shaky throughout. Les Misérables - Third UK (25th Anniversary) Tour - September 17, 2010 (thewho's master) FORMAT:  VOB (with smalls) (SD) CAST: Christopher Jacobsen (u/s Jean Valjean), Earl Carpenter (Javert), Madalena Alberto (Fantine), Katie Hall (Cosette), Gareth Gates (Marius), Rosalind James (Éponine), Jon Robyns (Enjolras), Ashley Artus (Thénardier), Lynne Wilmott (Madame Thénardier), David Lawrence (The Bishop), Adam Linstead (Grantaire), David Covey (Combeferre), Owain Williams (Feuilly), Peter Manchester (u/s Courfeyrac), Jamie Muscato (Jean Prouvaire), Rhidian Marc (Joly), David Lawrence (Lesgles), Luke Kempner (Montparnasse) NOTES: Barbican Center Theatre, London. First time in history two same productions of a major musical played in the same city. Les Misérables - West End - May 9, 1987 (House-Cam's master) FORMAT:  MP4 (SD) CAST: Martin Smith (u/s Jean Valjean), Clive Carter (Javert), Kathleen Rowe McAllen (Fantine), Jacinta Mulcahy (Cosette), Maurice Clarke (u/s Marius), Jayne Draper (Éponine), Martin George (Enjolras), David Delve (Thénardier), Myra Sand (Madame Thénardier), Cameron Stewart (u/s Grantaire) NOTES: Commonly mistaken as December 28, 1988! Martin Smith was part of the West End cast for 6 months starting December 1986, and the non-circulated first-generation DVD labels the date as 1987/05/09. Les Misérables - West End - December 28, 1991 (House-Cam's master) FORMAT:  VOB (with smalls) (SD) CAST: Stig Rossen (Jean Valjean), Paul Leonard (Javert), Jenna Russell (Fantine), Sarah Jane Hassell (Cosette), Daryll Winslow (Marius), Meredith Braun (Éponine), Mike Sterling (u/s Enjolras), David Hampshire (u/s The Bishop), Amanda Dainty (u/s Factory Girl) NOTES: Black and white. Audio is nice and clear. A more rare color version does exist. (Proof: https://youtu.be/KI_KHnLwk_k) Les Misérables - West End - May 6, 2006 FORMAT:  VOB (with smalls) (SD) CAST: Tim Godwin (u/s Jean Valjean), Cornell John (Javert), Kerry Ellis (Fantine), Julia Möller (Cosette), Hayden Tee (Marius), AJ Callaghan (u/s Éponine), Nolan Dark (u/s Enjolras), Barry James (Thénardier), Tracie Bennett (Madame Thénardier) NOTES: Taper’s comments: Amanda and Nolan are better than the principles and Tim sounds uncannily like JOJ (Home Counties accent not-withstanding). He first understudied in 1999, when JOJ was the principal, which may explain the similarity. About half of the Chain Gang song missing and filming starts in earnest during Valjean on parole. Other parts missed because of ushers include several random one-second cover-ups, part of the wedding and about half of Finale. Heads in the way sometimes block the action on the lower right of the stage, but they are shot around well. Vantage point provides some interesting views such as of Fantine during Lovely Ladies. Wonderful performances from the entire cast but especially then soon-to-be-Elphaba Kerry Ellis. Les Misérables - West End - September 19, 2013 FORMAT:  VOB (with smalls) (SD) CAST: Daniel Koek (Jean Valjean), James Gant (u/s Javert), Na-Young Jeon (Fantine), Samantha Dorsey (Cosette), Rob Houchen (Marius), Carrie Hope Fletcher (Éponine), Anton Zetterholm (Enjolras), Cameron Blakely (Thénardier), Wendy Ferguson (Madame Thénardier), Ilan Galkoff (Gavroche), Caoimhe Judd (Little Cosette) Les Misérables - West End - June 14, 2014 FORMAT:  VOB (with smalls) (SD) CAST: Daniel Koek (Jean Valjean), Tam Mutu (Javert), Na-Young Jeon (Fantine), Samantha Dorsey (Cosette), Dougie Carter (Marius), Carrie Hope Fletcher (Éponine), Anton Zetterholm (Enjolras), Cameron Blakely (Thénardier), Wendy Ferguson (Madame Thénardier), Carl Mullaney (Grantaire) NOTES: Final performance of the 2013/14 cast Les Misérables - West End - July 9, 2015 (Highlights) (musicalmania123's master) FORMAT:  MP4 (HD) CAST: Peter Lockyer (Jean Valjean), Jeremy Secomb (Javert), Rachelle Ann Go (Fantine), Zoe Doano (Cosette), Rob Houchen (Marius), Carrie Hope Fletcher (Éponine), Bradley Jaden (Enjolras), Phil Daniels (Thénardier), Katy Secombe (Madame Thénardier) NOTES: Highlights only. Most of Act 1 and first 20 minutes of Act 2. Les Misérables - West End - May, 2011 FORMAT:  MP4 (HD) CAST: Jonathan Williams (u/s Jean Valjean), Norm Lewis (Javert), Rebecca Seale (Fantine), AJ Callaghan (u/s Cosette), Gareth Gates (Marius), Samantha Barks (Éponine), Killian Donnelly (Enjolras), Martin Ball (Thénardier), Katy Secombe (Madame Thénardier) Les Misérables - West End - Spring, 2013 FORMAT:  VOB (with smalls) (SD) CAST: Chris Holland (u/s Jean Valjean), Tam Mutu (Javert), AJ Callaghan (u/s Fantine), Samantha Dorsey (Cosette), Jamie Ward (Marius), Danielle Hope (Éponine), Christopher Jacobsen (Enjolras), Cameron Blakely (Thénardier), Vicky Entwistle (Madame Thénardier) NOTES: Please make sure your copy isn't September 19, 2013!

[ilovetheater-nl]

THE BEST OF MUSICALS OP ZATERDAG 29 JUNI 2024 IN DE ZIGGO DOME

Met o.a. Willemijn Verkaik, René van Kooten, Gaia Aikman, Michel Mulder en Susanna Klibansky Zaterdag 29 juni komt The Best of Musicals naar de Ziggo Dome in Amsterdam. The Best of Musicals belooft een onvergetelijke show te worden, waar musicals en concertbeleving samenkomen in een unieke en betoverende ervaring. De grootste musicalhits komen voorbij uit moderne klassiekers zoals Les Misérables,…

[frei-und-schwerelos]

SOMETHING TO LOOK FORWARD TO!

Willemijn singing Monster from Frozen the Musical at the Musical Benefit for Polane Theatre Amsterdam. Also includes René van Kooten, Lone van Roosendaal and Anouk Maas.

Saturday, May 16 from 12 noon to 6pm CEST [x]