What I saw in the theater (Sequel?) Javert: Bradley Valjean: Daniel
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What I saw in the theater (Sequel?) Javert: Bradley Valjean: Daniel

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I get the whole appeal behind the āJVJ despises Mariusā thing, but in the context of the musical, their relationship being more tender is so SO good
Marius being so excited to have a father again, only to lose him immediately after ⦠valjean saying goodbye to āthe son [he] might have knownā š š»āāļø
Clip of Daniel Koek (and Kayleigh Marven) during their cover run.
wait a second. the christines in the australian restaged production also wear a rose in their hair with the aminta dress.
āDawn of Anguish,ā āSecond Attack/Death of Gavrocheā and āThe Final Battle,ā London, 2014. Anton Zetterholm as Enjolras, Rob Houchen as Marius, Daniel Koek as Jean Valjean, Max Robson as Gavroche, Adam Linstead as Grantaire, Tam Mutu as Javert.
189 years ago today, the barricades fell, so it seems only fitting to relive the tragedy through its most famous fictionalized portrayal.
Last year I shared a video of this same cast from 2013, albeit with a different Gavroche and without the battleās aftermath. This performance, which allegedly was Anton Zetterholmās last before he left the show, is just as strong as the earlier one, although unfortunately the camera goes in and out of focus.
Antonās Enjolras might not be the most physically imposing Enjolras, but his shining blond hair, his chiseled face, the cream and steel combined within his voice, and his demeanor that blends stern, quiet dignity with revolutionary ardor, heās faithful to Hugoās vision of his angelic āmarble lover of liberty.ā His opening lines are moving, as his hushed āThe people have not stirred...ā comes as close to expressing despair as Enjolras can allow himself, but then his fierce āThe people have not heard...ā reinforces his unshakable courage. His āLet others rise...ā is excellent too, with a magnificent final note on ā...is FREE!ā
Max is a vivid, vulnerable yet fierce Gavroche, although his drawn-out stiffening and collapse as he dies is slightly unconvincing.
āThe Final Battleā is powerful from beginning to end. First thereās the mute, dumbstruck grief of the revolutionaries after Gavrocheās death ā I especially like that the only significant movement is the overwhelmed Grantaire sinking into his chair ā which erupts into wild cries of anguish and rage when the offstage officer delivers his final message. Then comes Enjolrasās thrilling last words and brief yet moving last moments with Marius and Grantaire. I notice that after āLet others rise...ā he never fires another bullet at the enemy, but is already reaching for the flag to wave it when Marius is shot. He was ready to accept death then and there, but then his love for his friends makes him delay it for just a moment to run to the seemingly-dying Mariusās side and to share a handshake with Grantaire before his last stand. As in the 2013 video, he and Adamās Grantaire recreate āOrestes Fasting and Pylades Drunkā as closely as Nunn and Cairdās staging allows, with Adam reaching the top of the barricade as Anton is still standing and making himself visible to the enemy just behind him, raising his wine jug in defiance.
As always, the tableau of Enjolrasās body on the barricade is heartbreakingly beautiful, with only a small trickle of blood from his mouth. The fact that this performance includes Javert in the tableu by having him stand at the top of the barricade (a choice which, from what Iāve read, has been used on and off in London over the years) adds a biting layer of social commentary, emphasizing that it was āthe Lawā that killed Enjolras and Gavroche.
Tamās Javert always seems to have been an especially driven, wolfish one, and this scene is no exception. We can see his desperation as he spots the sewer grate, struggles in vain to lift it, listens for the sound of human movement below it, and then exits with an ominous growl of āValjean!ā

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daniel koek as valjean my beloved šš
I canāt enjoy Dan Koekās Valjean because he looks so much like a rabbit š
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Do not forget me, 24601...
Tam Mutu, Daniel Koek, London, Dec 17 2013