What more could I possibly add to anything written about the juggernaut musical LES MISERABLES?
If you are a regular reader of Broadway World - pick any major city - chances are you have seen the show more than once, own at least one recording of the score, and probably have never read Victor Hugo's little book that started it all. (Color me guilty.) Therefore, I will not rehash what most of us already know and soon the world of movie-goers will know once the hyped-to-the-hilt film of LES MISERABLES opens on Christmas day.
Now making its tenth return visit to our nation's capitol, the second time in this revised edition, Les Miz, as it is known far and wide, still has the power to elicit cheers from the audience, no matter how familiar they might be with this story of redemption and the journey of Jean Valjean from prisoner to hero.
Cameron Macintosh's revamped production has landed at The National Theatre and is poised, once again since its first visit 26 years ago, to delight audiences through December 30.
I believe that the tweaks and revisions made for the 25th anniversary production and tour of the show are welcome additions to an otherwise critic-proof venture.
Co-directed by Laurence Connor and James Powell, this revised Les Miz brings an added urgency to the epic, sung-through musical. From the slave-ship conditions Jean Valjean endures in the prologue scene, to a seemingly revved up pacing throughout, there is a more grit and danger now than in the previous incarnation of the show. There were also bigger pay-offs during key moments of the story, such as the confrontation between Valjean - Peter Lockyer - and the single-minded policeman Javert - Andrew Varela. The stakes seemed higher - perhaps due to the excellent work and intensity of Lockyer and Varela in the leading roles, but certainly a credit to Connor and Powell's vision of the piece.
Connor and Powell's staging innovations also add additional distractions during certain scenes: the excellent ensemble is at times almost too lively while principals are fending for themselves downstage. Parents might want to take note that some of the background action includes several instances of simulated copulation, especially during "Lovely Ladies" and the usually comic "Master of the House." I'm no prude, but I am glad I didn't have to explain to an eight year old child what that nice man was doing to that nice lady on the staircase during an elaborate musical number.
The physical production, having thrown out the formerly standard turntable, has an almost traditional look, with flexible set-pieces that shift into the various locations with ease. (There were times when the sound design and onstage action did not mask the noisy set moving behind the scenes.) Designed by Matt Kinley, the sets are enhanced by projections based on the somber paintings of the Victor Hugo himself. From the subtleties of the opening show curtain to the illusion of movement in the Act One Finale, "One Day More," the projections serve as a complement and do not distract from the sweeping story unfolding on the stage.
I was, however, distracted, at first, by the new and initially bombastic orchestrations by Christopher Jahnke, with additional orchestrations by Stephen Metcalfe and Stephen Brooker. John Cameron's original orchestrations have been enhanced to bring out more color in the score. This version also uses a larger troupe of musicians. My ears were taken by surprise, especially in the opening chords, when a wall of sound roared from the towering speakers. But, once the show settled in, I appreciated the nuances of the re-orchestrations. I would even say that Claude-Michel Schönberg's somewhat repetitive score sounded less so, thanks to the work of Jahnke, Metcalfe and Brooker.