LES MISERABLES
My quick review of this show is: it’s great and worthwhile and go see it. Read on for my whole experience of the new production at the Ahmanson.
Years ago, Mr. X and I saw a version of Les Miserables, and we weren’t impressed. But it turned-out to be the last week of the run, so Mr. X, a stage actor himself, pointed-out that the performers were simply out of gas. So, I was thrilled to get a chance to see this 25th Anniversary Tour at the absolute very beginning of the engagement, on the official opening night at the Ahmanson Theatre.
I don’t know if “enjoy” or “like” are the words to describe my feelings about a show where sadness permeates just about every scene; it’s more like “appreciate” the effort and artistry that went into the production, and of course, I love much of the music. An added bonus is that the new visuals are wonderful—some of them even got applause themselves in the second half. (More on them later.) But it’s the music that makes this show great.
A very musical-savvy guy, whom I always admire, told me at half-time that his favorite voice was that of Javert, played by Andrew Varela. But my fave, by far, belonged to Justin Scott Brown as Marius, the young guy who falls in love with teen-age Cossette in the second half. (I’m not giving anything away; I’m seriously suggesting that you read a synopsis of the story before you see it, if you’ve never read the novel or seen the movie, or just forgot some of it. Or else get to the theatre early enough to read the brief one that they, brilliantly, provide in the program.)
Photo by Norm Hall.
And when J. Mark McVey delivers Jean Valjean’s stunning second half number, Bring Him Home, you could hear a pin drop. He sang it beautifully.
For the most part, the audience was very knowledgeable, judging by their applause and cheers. That was nice to see. I have one bone to pick with some of them, though, because there was one bit of casting that I just didn’t get, who many members seemed to like—Chasten Harmon as pivotal character Eponine. I seriously feel bad saying this, but she ruined the iconic song On My Own for me. The note I wrote myself about her is that she reminded me of a heavy-handed American Idol contestant, and when we left the theatre, the first thing my very fair friend said to me is, “I didn’t enjoy the girl who played Eponine at all–she was like a bad American Idol contestant!” I couldn’t believe it! Several others outside had similar comments, but the majority of the audience went wild for her. (By the way, what a strange anomaly American Idol has become—we all watch, and vote for our faves, but we use the show to reference bad singers! Interesting, don’t you think?)
Outside of that one number, all the other voices and portrayals were excellent. I can’t believe that I’m admitting this, but I so identify the beautiful song I Dreamed A Dream with Susan Boyle that I actually forgot from whence it came! I think that I assumed that since it became a hit for British musical theatre star Elaine Paige, it had to be from Sunset Boulevard, which I’ve seen only once. So, when the character Fantine began the song early in Les Miz, I was beyond-pleasantly surprised. And ashamed of myself that this would have been a question I would have missed on a game show!
Photo by Deen van Meer.
This is actually the third time I’ve seen Les Miserables, (and the best rendition, by far,) and as usual, I was so grateful that the comic relief, in the form of the shady innkeepers and their customers singing the lightest song in the show, Master Of The House, comes in when it does. It’s just perfect staging on the part of the original producers and directors to bring that scene in when they do. Otherwise, the story is basically all bleakness, with lovely music, and this amusing respite, allowing us to breathe for a minute, is greatly appreciated, whether the audience realizes it at the moment or not.
My new favorite part of the show is the wonderful “re-imagined” (I love that word!,) set design that was inspired by the paintings of Victor Hugo himself, the nineteenth-century author of the book upon which the musical is based. (Did I say “author?” Wikipedia lists him as “a French poet, playwright, novelist, essayist, visual artist, statesman, human rights activist and exponent of the Romantic movement in France.” No wonder this one book is listed at over fourteen hundred pages!!!)
On a strictly theatre note, I have to commend the powers-that-be at the Ahmanson for the way in which they handled latecomers, who are just rude-sters to begin with. They held them out at the beginning, (the show started basically at the time it was called for, I’m assuming because it was so long to begin with that they didn’t want to punish the people who were on-time, which is most of us,) when seating them would have been jarring to the assemblage, then brought them in ensemble at the absolute most appropriate place. Thanks for that, you guys!
Les Miserables running through July 31, 2011
Ahmanson Theatre 135 N. Grand Ave. 213-972-4400 www.CenterTheatreGroup.org
