Reviewed by Claudia Perry
To
say that the Walnut Street Theatre's production of "Les Miserables" is a fresh, new vision is to make
a vast understatement. For this is the first and only time that I ever liked this
overblown, overly long, sung-through saga that claims to be the world's most
popular musical. Not being a fan of the show, in fact, disliking the score,
this production not only entertained me, but made me appreciate much of the
music. When producer Cameron Mackintosh decreed that all new productions of
this three hour musical had to be completely different interpretations,
director Mark Clements obviously took it to heart.
Based
on Victor Hugo's brilliant novel about Jean Valjean, a convict who is sentenced
to 19 years of hard labor for stealing a loaf of bread in 1815, the show spans
three decades in 19th Century France. It tells the story of Valjean's escape,
his redemption and his life long struggle to elude capture by the righteous
Inspector Javert who is constantly at his heels.
Firstly,
the casting is almost perfect. (This is no small feat as the cast size is huge
by modern day standards.) Hugh Panaro is a sensitive, intelligent, sweet voiced Valjean who
makes the long opening soliloquy believable and human. His rendition of "Bring
Him Home"
where he asks God to spare the life of Marius, the young man that loves his
ward, Cossette, is heartbreaking. Paul Schoeffler is absolutely brilliant (and I
don't use this word lightly) as Javert, the inflexible martinet who seeks the
recapture of his escaped prisoner. Mr. Schoeffler's singing is nothing short of
spectacular and his characterization -- crystal clear. The young lovers, Marius
and Cossette played by Josh Young and Julie Craig are extremely exciting to watch. Ms. Craig has a
glorious coloratura and Mr. Young sings like an angel. Both actors are alive
and engaging. But in particular, Mr. Young's performance was impressive. Quite
frankly, I have never seen a young man his age express such a depth of
heartfelt emotion in a musical before. Christina DeCicco is a wonderful Eponine, with her
clear, high belt and spunky characterization. Always in good voice,Jeffrey
Coon is a fine
Enjoiras, the leader of the Student Uprising. Though Scott Greer is very funny as Thenardier, the
corrupt innkeeper, he isn't nearly as menacing as he should be. And Dawn
Spence, as Mrs.
Thenardier with her British accent and constant mugging, is in a different show
altogether. Both the male and female members of the Company possess voices with
true gravitas
making the group numbers such as "One More Day" exhilarating. Todd Edward
Ivins' set is
simply stunning. Huge metal structures are at once a factory and then suddenly
a bridge over the River Seine. Stone walls are first that of a prison and then
those of a mansion for a resplendent wedding scene (a scene where enormous
crystal chandeliers which are actually flat but appear to be three dimensional
hang from the rafters). And the pi_ce de resistance, a movable barricade constructed
of wooden beams and furniture which is melded together to form a lattice work
for the dramatic draping of dead young men murdered in the Student Uprising of
1832. Mark Clements has taken these striking set pieces and used them to create tableaus
and stage pictures of museum quality. The Lighting Director, Jeff Nellis must also be commended, for
without his artful illumination, these images would not be as dramatic as they
are. This is why great musical theatre is so hard to achieve, for it is surely
the most collaborative of arts. If even one of the elements is missing, the
effect desired may never be realized.
My
one caveat with this production is that in some instances the "dirtying
up" goes a bit too far. The picking of noses and the scratching of asses
is comic and not bothersome. And the bawdy scene with the prostitutes feels
gritty and realistic. But when Fantine sings a song about her private thoughts
while being screwed up against a wall by one of her patrons, that goes a bit
too far for me because it doesn't ring true. A prostitute would never reveal
herself in front of a client. Hookers are usually great dissemblers. They wear
wigs and have fake names. Their inner selves are only revealed in private.
Within a play or musical this means that the character would open their heart
in a monologue or song that only the audience would hear.
Small
criticisms aside, if you are a fan of this show then you will appreciate this
gloriously re-imagined production. And if you've never seen a production of
"Les Mis" before, this is most probably the one to see.