Shan Ako on Saying Goodbye to LES MISÉRABLES After a Global Journey

There are few roles that become synonymous with an actor. For Shan Ako, that role is undoubtedly Éponine. Since making her West End debut in LES MISÉRABLES: THE STAGED CONCERT in 2019, Ako has returned to Victor Hugo’s tragic heroine in multiple productions, anniversary celebrations, and now LES MISÉRABLES: THE ARENA SPECTACULAR, which concludes its record-breaking 18-month world tour at Radio City Music Hall.

Returning to the role wasn’t simply about revisiting familiar territory. It was an opportunity to bring years of growth back to the character who launched her musical theatre career. “I made my West End debut with the concert version,” Ako recalls. “I was also blessed enough to be on the 2020 cast album, which was my first cast album.’

After starring as Eliza in HAMILTON, Ako felt she had something new to bring to Éponine. “After gaining more experience in theater before doing this concert tour,” she says, “I had just finished HAMILTON, so I was excited to bring everything that I learned to Éponine once again and also to travel to all these incredible countries.”

That journey has taken the production across Europe, Asia, Australia, the Middle East, and North America. Rather than changing her understanding of why LES MISÉRABLES has endured for four decades, those performances only strengthened it. “It hasn’t changed my understanding,” she explains. “It’s more confirmed my understanding. And this is why I love the show and why it is such a special show.”

“It explores the topics of love, grace, mercy,” Ako continues. “And to me, that’s a universal language that we all understand, no matter where we’re from. So the story translates to different cultures, religions, races, and it’s incredible.”

While audiences around the world embrace the same story, Ako has noticed distinct differences in how they respond. “I think everyone reacts to the ending in a similar way,” she admits. However, she has noticed different reactions to other parts of the story. “Here in the USA, the audiences are vocal throughout the show. It’s almost like they know who you are and they appreciate your talent.” Australia, meanwhile, felt like “they were celebrating the return of a show,” while British audiences connect deeply with the storytelling itself.

Sharing the stage with LES MISÉRABLES legends including Alfie Boe, Samantha Barks, Bradley Jaden, Matt Lucas, and Marina Prior has been equally memorable. “It is truly inspiring,” Ako states. “They truly perform from the heart, which is, to me, a key ingredient for not only this industry, but for this show.”

“It’s been so amazing to see, over the years, how we have all grown,” she emphasizes, “and how we have developed our characters throughout the years. It just heightens my respect for them.”

Although audiences often associate Éponine with “On My Own,” the scene that resonates most deeply with Ako today comes much earlier. She currently finds herself drawn to the tense moment when Éponine stops her father’s gang from robbing Valjean’s house on Rue Plumet. “Through her journey, she’s so used to being the hard girl and used to no one showing her much care or love,” Ako points out. Yet, rather than pushing her away, Valjean chooses compassion. “He could have been harsh towards her. He could have been mean, but he chose to show her kindness and care and love, which she would never get from a stranger.”

“Doing it this time, it’s even deeper,” she says. “I understand it even more. Everything’s so much deeper now.”

Performing in an arena rather than a traditional theatre hasn’t changed her approach to the character, thanks in part to advice from longtime Jean Valjean, Alfie Boe. “He gave me some beautiful advice,” she remembers. “‘Treat each show just as important as the other, no matter the style of production, because the core remains the same.’”

Ako also credits the creative and technical teams for making the production feel “epic yet intimate at the same time.” She points out that “although the staging isn’t as complex as the theatrical production, [she] can still bring the same Éponine from the fully staged production to the concert. The story does remain the same.”

The tour has also inspired her own songwriting. “As we know, LES MIS has the recurring theme of prayer and hope,” Ako explains. “I’ve chosen to write my prayers down.” Those prayers became a new acoustic EP, Acoustic Diaries: Pages and Prayers, which she plans to release this autumn. “I really hope [the EP] brings hope to someone.”

Now, as the historic tour comes to a close in New York, Ako admits the emotions are difficult to put into words. “Oh my gosh, honestly, it’s been overwhelming,” she mentions. “The New York audiences have been so supportive and very giving to us. I really truly feel like this is the perfect location and venue to finish the tour on.”

“Every time I finish the show, I feel humbled, I feel very happy, and I feel like I’m a part of history,” she continues.

As Sunday approaches, Ako’s focused on savoring every remaining moment. “I will miss it all. I can’t believe it’s happening,” she says from her heart. “I’m just going to focus on being present and soaking it all in. Hearing the audiences, seeing my co-stars on stage, I’m just taking it all in.”

Looking ahead, Ako is embracing whatever comes next with the same optimism that has carried her throughout this remarkable chapter. “When I started LES MIS, I never really expected the multitude of blessings that it has brought my way,” she reflects. “I’m truly grateful, and I’m so optimistic about tomorrow.”

“I know it’s going to be something great,” she adds about her future.

For young performers hoping to follow a similar path, her advice is simple. “I would say ‘Have a servant’s heart. Your gifts open doors for you, but who you are also opens doors for you.’”

As LES MISÉRABLES: THE ARENA SPECTACULAR takes its final bows on Sunday, Ako leaves behind not only one of the production’s defining performances, but a reminder that kindness, gratitude, and heart are as forever enduring as the musical itself.