Describing his role of Jean Valjean in the upcoming Gilbert & Sullivan Society's production of `Les Miserables' as "the most challenging in musical theatre'', and his success in landing the part as "one of the best things that has ever happened in my life'', Ron Campbell is returning to the stage which he thought he had left "for ever'' seven years ago.

The American-born singer will join a cast that includes Wayne Holt (Javert) (who returns from the UK and will shortly marry Bermudian Cyanne Thomas who sings Cosette), Peter Nash (Bishop), Philip Barnett (Marius), Karen Musson (Fantine), Richard Fell and Rona Vallender (playing the artful M. and Mme.

Thenardier), Stephanie Butler (Eponine), and Paul Woolgar as Enjolras. In addition, the hand-picked chorus will boast some of Bermuda's finest musical performers.

The Gilbert & Sullivan Society has been granted the amateur performing rights -- an honour not yet accorded similar groups anywhere in the UK or US.

Acknowledged as one the best-loved musicals of all time, `Les Miserables', which is set against the drama of the French Revolution, has, since its creation by London's Royal Shakespeare Company, been translated into 15 languages, with professional productions still running in countless capitals around the world.

Married to a Bermudian, Mr. Campbell confesses that when he heard, through his Bermuda family, that the Society hoped to stage the smash hit, his first reaction was "How could you possibly do a show like that in Bermuda?'' When it transpired that the show's world-wide producer Sir Cameron Mackintosh (whose other productions include `Cats' and `Phantom of the Opera') had, unusually, granted permission for Bermuda to stage the musical as long as Britain's Royal National Theatre's musical director Mark Dorrell, oversaw the production, his interest was definitely piqued. "Then I heard that Emily Gray, also from the National, would be directing, and that they had come up with a really good cast -- but weren't sure about the pivotal role of Jean Valjean. It's a very challenging role, both vocally and dramatically and, in my estimation, you have to be in your 40's to be convincing. Anyone with those qualifications,'' he adds jokingly, "has to be a world-class star like Colm Wilkinson (Valjean in the original London production) -- or someone like me, who eventually decided to give up the professional stage, and is now selling furniture! I think the most difficult thing, so far, for me,'' he adds, "has been growing my hair and my beard.'' When his wife urged him to audition, he called Mr. Dorrell who, by that time was back in London, putting the finishing touches, as musical director and conductor, to what was to be arguably his own greatest triumph to date -- the National Theatre's current, ecstatically praised production of `Oklahoma'.

They arranged to meet.

"I managed to convince him this wasn't just a lark on my part, that I felt destined to do this role. Mark even offered to meet me in the States but we eventually decided on Bermuda. It was the most wonderful audition,'' he recalls. "Mark ran through some of the songs with me in a practice room and then we had lunch together. When I sang in the hall later that evening, they applauded. That's the first time that's ever happened to me -- usually, they just say a polite, non-committal `thank you' and that's that.'' Those who have heard Ron Campbell's rich, lyric baritone are not surprised at that initial reception. After training in vocal performance at one of the world's most prestigious music schools, the Cincinnati College-Conservatory, and with a post-graduate degree in fine arts (drama), he was apprenticed to the Cincinnati Opera and then joined Opera Carolina in Charlotte.

Over the years, he has since sung leading roles in opera and musical theatre in 49 of America's 50 States, as well as making extensive concert tours of Russia and Eastern Europe. Admitting his great love for Mozart, he has sung both the Count and Figaro in Mozart's `The Marriage of Figaro' ("not many people can claim to have sung both!'') and Papageno in `The Magic Flute'.

Other major roles include the Count in the US National Tour of Sondheim's `A Little Night Music', and Germain in `La Traviata'. "I also did Petruccio in `Kiss Me Kate'. I'm a big Cole Porter fan -- such a perfect synthesis of words and music.'' Noting that he witnessed the break-up of many marriages and relationships during his years in the theatre, Mr. Campbell said his decision to leave the profession was partly influenced when he sang opposite a world-famous opera and musical theatre star in `Faust'. "He'd won every award you could think of, but he had no family and, even towards the end of a fantastically successful career, he still had to sing for his supper. I admired him greatly but I knew I didn't want to end up like him. And with a little boy of seven and a daughter who's three, I decided my children need a father who is at home. So now I have what singers call a `job-job' -- doing interior design and furniture sales.'' Even so, he admits it was difficult to quit show-biz. "I missed the theatre so much I couldn't even go near one for a long time. But, about four years ago, I was asked to sing in the Bel Canto Company, a professional choral group, one of the best in the US, which makes professional recordings. It was difficult to learn to sing quietly, but it keeps my sight-reading and language skills in shape and helps fill the musical void in my life.'' In his view, `Les Miserables' has proved to be a great stepping-stone for the theatre world in general, "but especially for Bermuda because it takes the arts here to a different dimension to produce a sustained cultural event like this. After all, it's not like putting on some little comedy for a couple of nights -- it's a huge artistic and financial undertaking. I think it's truly amazing that Bermuda can stage a great musical like this.'' In the meantime, "this wonderful role'' in `Les Mis' (as the musical is popularly known) has unexpectedly tossed him back into the theatre world. "My fellow performers are producing some wonderful work and it's such an honour to be working with Mark and Emily who are completely professional in their approach. And, you know, it's kind of nice to realise that with this opportunity to sing one of the best roles ever, I don't have to worry about being a starving actor or singer. I can go home afterwards!'' `Les Miserables' will run at City Hall Theatre from Monday, October 5 through Saturday, October 17.