These shows, in contrast to most American musicals, have no spoken dialogue. It is more operatic in format. All singing, no speaking.
The musical version of Victor Hugo’s epic novel “Les Miserable” was first a recording, then a Parisian stage spectacle. British producer Cameron Mackintosh, revamped the script and added spectacular sets, complete with double revolving stages. The reviews in London were not great, but word of the strong plot and the staging, and the publicity poster’s visual of the downtrodden little Cosette, in front of the French tri-color flag, caught the public’s fancy. And, as the trite saying goes, “The rest is history.”
In 1987 the musical debuted on Broadway, following a successful London run. After 6,680 performances spanning sixteen years, it closed in the Big White Way on May 18, 2003, making it one of the longest running Broadway shows. Revivals, tours, and a movie followed.
For those who didn’t take French in school which often required translation of “The Bishop’s Candlesticks,” a simplified version of “LES MISÉRABLES,” an epic 1862 French tale by Victor Hugo, considered as one of the greatest novels of the nineteenth century, may not be aware that the basic story line centers on a period in the early nineteenth century, which culminated in the unsuccessful June Rebellion. This is not the larger French Revolution of 1788 that overthrew the absolute monarchy of the Bourbons and the system of aristocratic privileges, as many assume when the word “revolution” is used in a French story.
The plot revolves around Jean Valjean, who was arrested and imprisoned when he stole a loaf of bread to feed his starving nephew. It is fiction broadly entwined within factual and historical events.
This is not the usual musical theatre material. It is about greed, child abuse, revolution and cruelty. It has physical beatings and numerous onstage deaths. It lacks the typical happy ending. But, there is no reason that serious subjects cannot be treated in the musical form. LES MIZ proves that contention, as does NEXT TO NORMAL, RENT and DEAR EVAN HANSON.
There is also no reason that strong emotions about death cannot be visualized as “empty chairs at empty tables,” or hope cannot be expressed as, “there is life about to start, when tomorrow comes,” or, that infatuation cannot be explained as “a heart full of love,” or the future can’t be prophesized as, “I dreamed that love would never die,” or a powerful story can’t be summarized with the musical’s closing
lyric, “To love another person is to see the face of God.”
Yes, these are all lyrics conceived by Herbert Kretzmer and set to the emotionally charged music of Claude-Michel Schönberg. These are the thoughts of a great musical.
The show has toured through 440/216/330 several times. When the reconfigured LES MISERABLE was in CLE several years ago as part of the Key Bank Series I wrote: “It is still captivating and is a major piece of the musical theater tapestry which gets an excellent staging at the start of its newest national tour. If you haven’t seen it before or need a refresher, get to Playhouse before “One Day More,” and get “A Heart Full of Love.”
In that review, I also wrote, “From the very first time I saw LES MISÉRABLES, shortly after its opening in London, to the New York production, and through the various touring shows, I have been a fan of the show. Not just a fan, a fanatic fan!”
My strong positive thoughts generally hold true for the performance now on the Connor Palace stage as part of the Huntington Featured Performance Series.
The present 5-day stay mirrors the 2018 production, which eliminated the original production’s two turntables, reframed the music, reinterpreted some of the songs, added electronic visuals, such as our experiencing Jean Valjean crawling through the sewers as he saves Marius and then Javert falling off a bridge into the raging river below.
There is less vividness than the original. The battle scene, minus much of the extreme pile of household goods isn’t as dramatic, the marching to the barricades isn’t as exciting. The lighting is darker, much like the paintings of the period which tended to be painted with less vivid oils. This darkness shades the entire production.
Some things are the same. I still find the reference to “this one’s a Jew and that one’s gay,” to be unnecessary and offensive. I never have been a lover of “Master of the House” and “Beggars at Feast,” which I know fulfills the musical theater formula of being “noisy numbers,” inserted mid-first and second acts to excite the audience and keep their attention. Some of the farce doesn’t seem to smoothly fit, but probably was added to relieve the intense strong oppression of the story.
The changes, in the scheme of things, don’t change the overall power and effect of the show. No one is going to argue with the conceivers and stagers of a show which has been seen by over 70 million people.
Both the solos and choral work is outstanding. Thankfully the cast interpreted the meaning of the lyrics rather than just singing words. This was obvious, for example, in “One Day More,” the sure-thing show stopper, which was mesmerizing.
Nick Cartell, who played the role of Jean Valjean in the last tour, is back again. He has done this featured role over 1,200 times. He still portrays the role with a full musical powerful voice and emotional compassion. His “Who Am I” and “Bring Him Home” were compelling.
Haley Dortch (Fantine) grabs the emotions with the plaintive “I Dreamed a Dream.” Mya Rena Hunter (Éponine) received an extended ovation for her well-nuanced “On My Own.” Jake David Smith gives an appealing earnest quality to Marius. His “Empty Chairs at Empty Tables” was one of the show’s emotional highlights.
Young Milo Maharika was captivating as the spunky Gavrache. His middle finger salute to Javert after the over-zealous policeman is exposed as a traitor to the student rebels, brought cheers and laughter from the audience.
Preston Truman Boyd, who was here before in the role of Javert, has matured into the role. He not only displays a strong singing voice, but clearly is obsessive in his maniacal search for Jean Valjean.
We may be well into the historical place of color-blind casting, but having Little Cosette (Ava Buesing), a dark-haired Asian cutie, mature into a Caucasian blonde (Delaney Guyer), and blonde Azalea Wolfe (Young Éponine) become the dark-skinned Myra Rena Hunter (Éponine) was a little unrealistic and confusing.
Matt Kinley’s set and image designs, which were inspired by the paintings of Victor Hugo, created captivating images.
CAPSULE JUDGEMENT: LES MIZ! It is still captivating and is a major piece of the musical theater tapestry which gets an excellent production. If you haven’t seen it before or need a refresher, get to Playhouse Square and get “A Heart Full of Love.”
For tickets call 216-241-6000 or go to www.playhousesquare.org. LES MIZ runs through October 22, 2024.
