The novel 'Les Miserables' (Hugo, Les Miserables, 1985) is one of the most universally translated works, and there are a number of adaptions in several languages. One recent adaption is the Persian musical play performed in Iran. In this performance, culture-specific items are translated differently since visual and aural elements are added on the stage. The aim of the study is to investigate translation strategies to indicate what translation solutions are possible when the medium changes and also to observe its effects on the audience. After watching the ninety-minute recorded play in VOD format, culture-specific items were selected purposively corresponding to those in the novel. Subsequently, they were analyzed based on Newmark's model (1988). In the present descriptive work, the findings indicate that the most frequent translation strategies applied are 'Literal Translation' and 'Adaptation' in the second place. Further, the research reflects that despite a number of censorship, several sections of the book are summarized. Also, some scenes are deleted from the recorded play in comparison to the original performance. Therefore, there is no exact one-to-one correspondence. After conducting the research, it became evident that one reason for the omissions is the publishing regulations administered in Iran for VOD formats of the plays. These results suggest that the translator of the play has tried to familiarize the audience with the French culture through Foreignization with the help of visual and aural instruments. Since the audience are represented with pictures and songs, it's easier to locate themselves in the era of French Revolution and French customs.