By Richard Ades
It’s when the latest incarnation of Les Misérables nears the halfway point that it begins hitting its stride. It’s then that we’re introduced to a group of young revolutionaries whose faith in their cause adds new layers of tragedy and nobility to the tale. The production builds from there to a climax that is just as glorious and moving as it was meant to be.
In the early scenes, however, this telling of fugitive Jean Valjean’s struggles has quirks that limit its effectiveness. Based on a 2014 Broadway revival and directed by Laurence Connor and James Powell, the touring production incorporates scenery based on paintings by the tale’s original author, Victor Hugo. But it also employs a lighting design (by Paule Constable) so dark that it’s hard enough to see the actors, let alone the scenery behind them.
This is not so much a problem for those of us who’ve seen the musical multiple times, but it might discourage first-time viewers. Particularly during the fast-paced first act, they could well struggle to keep up as the story races from one dramatic development to the next.
For those who aren’t familiar with the tale, Les Miz takes place in 19th-century France and centers on Jean Valjean, who was imprisoned for 19 years simply because he stole a loaf of bread. Released on parole as the show opens, he struggles against his own bitterness—as well as the suspicion that greets a former convict—until a clergyman’s generosity allows him to reinvent himself. He then pledges himself to a life of helping others, but he’s forever dogged by a police official named Javert who’s determined to bring him to justice for breaking parole.
Drenched in pathos and death, the Alain Boublil/Claude-Michel Schonberg blockbuster is admittedly melodramatic, but it succeeds on the strength of the achingly beautiful songs penned by composer Schonberg and lyricist Herbert Kretzmer. That is, it succeeds when the cast does the songs justice.
What bothers me more than the current production’s dark lighting is that male leads Nick Cartell (Jean Valjean) and Josh Davis (Javert) sometimes make the melodies subservient to the drama—that is, they shout rather than sing the words. It’s an ill-advised technique that means we get only approximations of some of the most gorgeous songs in the musical-theater canon.
Fortunately, both actors have strong moments when they skip the shouting. Cartell displays his fine voice on the falsetto showcase “Bring Him Home” and makes Valjean an increasingly sympathetic figure as the show progresses. As for Davis, he has a limited voice that keeps him from being one of the all-time great Javerts, but he turns the Act I solo “Stars” into a near-showstopper on the force of will alone.
There are parts of the musical that are guaranteed some degree of success no matter how well they’re staged: the plight of single mom Fantine (Mary Kate Moore), say, or the comic antics of those conniving innkeepers, the Thenardiers (Allison Guinn and Jimmy Smagula). It’s when the plot hops several years into the future and introduces new characters such as the aforementioned student revolutionaries that Les Miz sometimes struggles to regain its footing.
Luckily, that’s exactly when the touring production comes into its own.
From this point, the scenery of Matt Kinley begins emerging from the shadows: a silhouetted barricade, a sewer system that appears to arise magically from the stage. The former is the setting for a legitimately horrific battle, complete with the sounds of musket fire and whistling bullets, as the young rebels take a stand against repression.
The characters introduced at this time are all brought vividly to life by accomplished actors: Brett Stoelker (filling in for Matt Shingledecker on opening night) as rebel leader Enjolras; Phoenix Best as the Thenardiers’ lovestruck daughter, Eponine; Robbie Crandell and Jasper Davenport alternating in the role of plucky street urchin Gavroche. Among the strongest are Jillian Butler as Valjean’s orphaned ward, Cosette; and Joshua Grosso as Marius, the rebel who falls for her. Their sweet voices and sincere delivery make us believe in love at first sight.
Hope in the power of love despite overwhelming adversity: That’s the final message of Les Misérables, and it still comes through as clearly as ever.
Broadway in Columbus and CAPA will present Les Misérables Nov. 19-24 at the Ohio Theatre, 39 E. State St., Columbus. Showtimes are 7:30 p.m. through Thursday, 8 p.m. Friday, 2 and 8 p.m. Saturday, 1 and 6:30 p.m. Sunday. Running time: 3 hours (including intermission). Tickets are $79-$150+ (regular or verified resale). 614-469-0939 (CAPA), 1-800-745-3000 (Ticketmaster), columbus.broadway.com, capa.com or ticketmaster.com.
One thought on “Iconic musical’s power emerges despite shadowy challenges”
Well- I saw this tour twice. I saw it first in 2017 and second in 2019. Loved it each time. I had a slightly different cast for each year: five of the actors were in each cast (each of them had an understudy). You are looking at a fan who became a fan in 2013 after giving the film a 2nd chance.
I am an obsessed fan of Les Mis so by the time the tour launched I knew Les Mis 24/7. It was 2017 when I got the chance to see Nick Cartell as Jean Valjean, and loved him: he was one of the standouts- he really shined during “Bring Him Home”. Only in 2019, I had an understudy as Valjean.
All Josh Davis could do was master Javert’s voice and do a fine rendition of “Stars”- he improved from year to year. The other actors I saw both years were Jillian Butler, Joshua Grosso, Matt Shingledecker, and Allison Guinn. So, it was interesting seeing how they would approach their characters differently. After all, Allison was paired with a different Thenardier each time. While I had the same Cosette/Marius pairing: there was still a different Eponine, which would affect the love triangle. My first year with the tour- Joshua and Matt were two of the standouts so I loved being able to see them twice- seeing them again as Marius and Enjolras this year was amazing.