Growing Up on the Barricades: Bradley Jaden's Journey Through Les Misérables

Bradley Jaden was in his early 20s when he joined the West End production of Les Misérables in 2011, playing the student revolutionary Lesgles in the ensemble and serving as a second cover for both Enjolras and Jean Valjean.

What began as a single contract has grown into a 15-year (and counting) association with the musical. During that time, Jaden has played Enjolras in four separate runs and Inspector Javert in 10, appeared on two cast recordings reflecting both roles, made at least two emergency character changes to cover for ailing performers, and performed in every major incarnation of the show: Trevor Nunn and John Caird’s original, Laurence Connor and James Powell’s current version, the Staged Concert, and the international Arena Spectacular tour, which is now concluding its two-year run at Radio City Music Hall.

This history has given Jaden a perspective on Les Misérables that few other performers can claim. He doesn’t take the responsibility of being part of the show’s legacy lightly. But even after 15 years, he still can’t quite believe his good fortune.

This conversation has been condensed and edited for clarity.

Take me through your character evolution with Les Misérables.
I started during the 29th anniversary. I was in the ensemble playing a student called Lesgles, and I covered Enjolras and Jean Valjean. Throughout that whole first year, I never went on. If you were a second cover, it was the first step on the ladder to show that you wanted more responsibility. You’re pretty much signing the contract knowing you’re not going to go on. I never played Enjolras, and I never played Jean Valjean.

I was going to leave the show and the musical director said that I need to audition for Enjolras, and I was like, “There’s no way that’s going to happen.” The guy who was playing it wanted to stay and the first cover wanted to be bumped up. He was like, “trust me.” So, I went for it, and I got the role of Enjolras for the 30th anniversary. They also needed a Jean Valjean cover. The first time I ever played Jean Valjean was actually in the second half of one of the shows. I finished “One Day More” as Enjolras and then in the second half, I was Jean Valjean.

After the 30th, I kind of left, and then Cameron [Mackintosh] asked me to come back and audition; I was actually in the final for Jean Valjean and Javert, and I had no preference of which role I wanted to play. I was just going with the experience because the plethora of men that I was up against was so vast. I was in awe of even being in the room. I got paired with Dean Chisnall [as Valjean] and they put me as Javert, and that was it. I was in my late 20s playing this iconic role.

So, what’s the harder character?
I’ll absolutely always say Valjean. I was 24, 25, when I played it, and I think the reason it was so hard is because I hadn’t really found my voice and I don’t think I had the gravitas. I don’t think I had the natural knowledge and weight that is needed for that role at that point in my life. Whereas, once I hit Javert, I’d gone through some parts of my life that were easily accessible. That driven aspect of Javert was second-to-none for me. It was so easy to step into that role.

Enjolras was hard[est], actually, because I’m quite energetic and excitable, and I remember trying to rally all these students and Cameron was like, “A king can’t lead. You have to be still, and they have to come to you.” It was one of the biggest learning moments of my life because it enabled me to have that stillness. I don’t think that if I had worked that out that I could find the stillness in Javert, as well. People say to me “Why have you been in it so long?” and it’s because I’m constantly learning and being pushed.

How has your Javert evolved over the years?
When I first started, there were so many negative comments towards me because I was so young. I was the youngest Javert [ever] at the time, and I think I still am. In the book, he starts in his 30s and by the end of it, he’s in his 50s.

I said to Cameron and John Caird, the director at the time, “I need you to allow me to make this my own.” I think that’s what Cameron wanted me to do. I try to make him very human. I try to make it as real from the events that I’ve been through in my life in terms of what it’s like to be as passionate as him.

I assume it always changes depending on who you’re playing opposite and where you’re doing the show.
I think, just on the arena tour, I’ve worked with 14 different Valjeans. Killian [Donnelly] is kind of my [regular] partner and has been for the last couple of years. When I met Killian in the UK and we did it together, Cameron was like, “There’s the team.” Me and Killian find new things every day. I was working with Alfie [Boe] the other day and he has a completely different Jean Valjean, so you get to change different aspects. It’s never stagnant.

Which country was most interesting for you to play in?
One of my favorites was when we took it to Italy, because it had never been performed in Italy. That was a real historic moment for us to take the show to this beautiful theater in Trieste, and the audience was packed every single night. And then, for me, going to places like Taipei, being young and thinking those places are so far away and I would never, ever get the opportunity. And people have the same reaction. It’s so amazing how art brings everyone together. As Cameron said to us on our opening night, “No other show in the world can do this,” and it’s the truth. No other shows have played for not only 40 years in one place, but gone and done, I think, 53 countries. It’s just amazing.