Les Miz – Reel Time With Richard Ades

Iconic musical’s power emerges despite shadowy challenges

05_LM_TOUR_One-Day-More-Photo-Matthew-Murphy-800x408 — The cast of *Les Miserables* asks for “One Day More.” (Photo by Matthew Murphy)

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.

02_LM_TOUR_0371_Josh-Davis-and-Nick-Cartell-800x533 — Nick Cartell (right) as Jean Valjean and Josh Davis as his nemesis, Javert

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.

10_LM_TOUR_1004_ABC-Cafe-and-Matt-Shingledecker-as-Enjolras-800x533 — Enjolras (Matt Shingledecker) entreats his fellow malcontents to rebel against the government.

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.

Heartfelt performances, fine vocals mark revival of ‘Les Miserables’

Jean Valjean (Bill Hafner, left) risks being recognized by Javert (Scott Green, center) when he intercedes on behalf of Fantine (Melissa Muguruza), who’s being detained by two local constables (Derryck Menard and Emerson Elias) in this scene from Les Miserables (photo by Jerri Shafer)

By Richard Ades

As the familiar opening strains of Les Miserables filled the air, I held my breath. Having seen the blockbuster musical at least four times (including the 2012 movie), I knew how much depended on the actor playing Jean Valjean.

Would he have a voice powerful enough to carry off the demanding part? Would he have enough acting chops to make us care about the put-upon French fugitive?

But as soon as Bill Hafner sang Valjean’s first few notes, I began to relax. Hafner not only has an exceptional voice, but he’s able to project the combination of nobility and humility that makes Valjean such an appealing hero.

And Hafner is far from the only talent who’s up to the Les Miz challenge. Director David R. Bahgat and his cast and crew have created something remarkable on the JCC stage. Every performance, every lighting effect, every costume contributes to an experience that builds to one emotional climax after another.

Set in the early 19th century, the Claude Michel Schonberg/Alain Boublil/Jeffrey Hatcher musical focuses on Valjean’s attempt to remake and redeem himself after serving years at hard labor for the petty crime of stealing a loaf of bread. When he unknowingly contributes to the downfall of a single mother named Fantine, he takes on a new responsibility as the guardian of her young daughter, Cosette.

Meanwhile, he’s constantly forced to be on the lookout for Javert, a police officer who’s determined to bring him to justice for violating his parole. But that doesn’t stop him from becoming entangled with young idealists who are determined to launch a revolution.

Besides Hafner, many cast members give affecting performances in this sung-through musical. They include:

• Melissa Muguruza as Fantine
• Violet Hicks (alternating with Sigal Judd) as her young daughter, Cosette
• Amy Rittberger as the grown Cosette
• Madeline Bolzenius as the lovelorn Eponine

Eponine’s disreputable parents, the Thenardiers, are deliciously played by Mark Schuliger and Mary Sink. Their appearances, especially the rousing number Master of the House, give the tragedy-prone musical a few welcome moments of comic relief.

Moments of romantic relief arise after the grown Cosette falls for young revolutionary Marius (Elisha Beachy), leading to such beautiful ballads as A Heart Full of Love. But this subplot, too, has a tragic element, as it dooms Eponine’s own feelings for Marius, as expressed in her heart-rending lament On My Own.

Marius’s fellow revolutionaries include leader Enjolras (Jay Rittberger) and a plucky street urchin named Gavroche (Yaakov Newman). Their anthems, including Do You Hear the People Sing?, are as glorious as ever, but they take on a touching note of pathos in this production. That’s because the performances and even director Bahgat’s costume designs suggest that Enjolras and his followers are really just idealistic “schoolboys,” as Javert derisively calls them.

As for Javert, Scott Green plays him with the ramrod posture of a man who’s unable to see beyond his narrow interpretation of right and wrong. Green mostly meets the role’s vocal needs, but his voice occasionally showed signs of strain at the matinee I attended.

Les Miz fans know that Javert’s final exit is a challenge for a semiprofessional troupe like Gallery Players. Fortunately, Bahgat handles it with creativity and dramatic flair—qualities that mark the entire production.

As I said in the beginning, much rides on Jean Valjean’s broad shoulders, and actor Hafner never disappoints. His rendition of the difficult Act 2 solo Bring Him Home is simply the highpoint of a triumphant lead performance.

But there is so much else that contributes to the show’s success, including Jon Baggs’s scenery and Jarod Wilson’s light and sound design.

Yes, there are minor problems: the odd sour note from the band, a few voices that are under-amplified. None of these detract from the show’s ability to pull us into a musical that retains its ability to move us even after multiple viewings.

At its best, Les Miserables is a mesmerizing experience. In case you haven’t figured it out by now, this is Les Miserables at its best.

Gallery Players will present Les Miserables through March 29 at the Jewish Community Center, 1125 College Ave., Columbus. Show times are 7:30 p.m. Thursday, 8 p.m. Saturday and 2:30 p.m. Sunday. Running time: 3 hours (including intermission). Tickets are $25 ($20 JCC members), $20 ages 60-plus ($18 JCC members), $15 students and children. 614-231-2731 or www.jccgalleryplayers.org.

‘Jersey Boys’ fails to recapture stage show’s magic

Playing the Four Seasons in a scene from Jersey Boys are (from left): John Lloyd Young (Frankie Valli), Erich Bergen (Bob Guadio), Vincent Piazza (Tommy DeVito) and Michael Lomenda (Nick Massi) (Warner Bros. Entertainment Inc.)

By Richard Ades

Chicago was a great movie. So were Cabaret, West Side Story and The Sound of Music.

But for every stage musical that made a successful transition to the multiplex, you can probably think of four or five that didn’t. So it’s not really surprising that the movie version of Jersey Boys isn’t half as much fun as its live predecessor.

Director Clint Eastwood made some good choices and some bad choices when he went about adapting Marshall Brickman and Rick Elice’s biographical tribute to the Four Seasons. One of the good choices was casting people who’d already proved themselves in the stage version, rather than following the usual practice of hiring film stars. That guaranteed that the actors playing the 1960s rock group could actually sing (unlike, say, Russell Crowe in the big-screen version of Les Miz).

One of Eastwood’s questionable choices was hiring Brickman and Elice to adapt their own hit musical. You’d think that would be a plus, as it would encourage the movie to stay true to the original, but staying true to the original isn’t necessarily a good thing.

Not to belabor the obvious, but a movie and a stage musical are two entirely different animals. On the stage, we can put up with dramatic developments being delivered in a kind of shorthand, as their main purpose is to propel us toward the next tune. In a movie, we generally need more realism.

We don’t get that in Eastwood’s Jersey Boys. Not only do many of the characters come off as Italian-American stereotypes, but the dramatic developments often hit us without warning, depriving them of their potential power. That’s especially true of lead singer Frankie Valli (John Lloyd Young), who’s faced with one emotional setback after another involving the women in his life—none of whom we’ve really gotten to know.

Compounding the problem, Young gives a rather unemotional performance in the role he originated on Broadway, though he makes up for it every time he launches into his dead-on impersonation of Valli’s falsetto warbling.

The actors playing the other members of the group—Vincent Piazza as unscrupulous control freak Tommy DiVito, Erich Bergen as songwriter Bob Guadio and Michael Lomenda as bass-voiced Nick Massi—are all fine. Even so, the movie seldom gives us a feel for what drives them other than their egos. And economic necessity: In an early voice-over, Tommy says the only ways to escape from their blue-collar New Jersey neighborhood are the Army, the mob and fame.

Speaking of the mob, it’s well represented by Christopher Walken as “Gyp” DeCarlo, a paternal gangster with a soft spot for the group’s music.

The film does manage to open the story up a bit in the first act, as when Frankie is roped into an attempt to rob a jewelry store. The heist goes humorously wrong when the would-be crooks attempt to load a huge safe into the trunk of an old Studebaker, with disastrous results.

Mostly, though, Eastwood sticks to the stage musical’s arc, which allows the members of the group to take turns narrating the Four Seasons’ rise from obscurity to Top 40 success, even as the quartet is wracked by jealousies and financial problems.

Like the original, the movie is at its best when it re-creates the band’s big hits, like Sherry, Walk Like a Man and, best of all, the Valli solo Can’t Take My Eyes Off You. Unfortunately, there aren’t nearly enough moments when the musicians are allowed to set aside their problems and just rock out.

As if to make up for this dearth, the closing credits are projected over a Bollywood-style song-and-dance number involving the whole cast, belatedly capturing the kind of energy that made the stage production a Broadway hit.

Rating: 3 stars (out of 5)

Daring to spoof Broadway

By Richard Ades

Appearing in Forbidden Broadway’s Greatest Hits, Vol. 1 are (from left) Dionysia Williams, Joe Bishara (front), Christopher Storer and Dionysia Williams (Red Generation Photography) — Appearing in Forbidden Broadway’s Greatest Hits, Vol. 1 are (from left) Dionysia Williams, Joe Bishara (front), Christopher Storer and Liz Wheeler (Red Generation Photography)

Lighthearted summer musicals have become a staple with CATCO, and the troupe’s patrons seem to approve. They’ve bought so many tickets that both Evil Dead: The Musical (2011) and Avenue Q (2012) were extended and/or revived.

This year’s offering, Forbidden Broadway’s Greatest Hits, Vol. 1, appears to be continuing that tradition. The satirical revue opened just last week, and it’s already been extended by four performances.

It couldn’t have happened to a nicer cast—or one that’s harder-working. Joe Bishara (who also directs), Christopher Storer, Liz Wheeler and Dionysia Williams reveal impressive singing and improvisational skills as they storm their way through an evening filled with take-no-prisoners lyrics and blink-of-an-eye costume changes. Their purpose: to spoof a slew of well-known Broadway shows and stars.

Created and written by Gerard Alessandrini, Forbidden Broadway has been updated numerous times since it opened off-Broadway in 1982. The latest New York version included takeoffs on current Broadway blockbuster The Book of Mormon and on Hugh Jackman, star of last year’s cinematic production of Les Miserables.

Not surprisingly, the Greatest Hits show is less up to date. Some of its satirical targets, in fact, are more than a bit dusty.

Williams does a nifty impersonation of Liza Minnelli in Liza One Note, for example, but when was the last time the star of the silver screen’s Cabaret has grabbed the spotlight? And the show’s version of America, featuring Wheeler as Chita Rivera and Williams as Rita Moreno, really tests the audience’s long-term memory—since it jokes about a presumed rivalry between the performers who played Anita in the Broadway and Hollywood versions, respectively, of West Side Story.

Some of the targeted shows are equally ancient. Cats? Yes, it ran longer than any other Broadway show except The Phantom of the Opera, but the New York production used up the last of its nine lives 13 years ago.

Still, even when the subject matter seems past its prime, the cast members are always admirable. And when their talent combines with one of Alessandrini’s particularly clever conceits, the results are sublime.

Yes, Ethel Merman is long gone, but Wheeler brings her back in all of her full-throated glory in a piece that takes aim at modern singers’ tendency to let the amplification do the heavy lifting. Among the male impersonations, the funniest is Bishara’s take on “male chanteuse” Mandy Patinkin in an Over the Rainbow spoof that’s understatedly named Somewhat Overindulgent.

Of course, satire wouldn’t be satire if it didn’t rub some people the wrong way.

If you worship at the altar of Stephen Sondheim, you may be put off by a segment that rips into the composer/lyricist’s tendency to pack a whole lot of words and ideas into small amounts of time and melody. Even the audience gets into the act on this one, courtesy of a sing-along that eventually accelerates to breakneck speed.

And what will fans of Les Miz think of Forbidden Broadway’s eight-song attack on the mega-musical? Well, they’ll probably be won over multiple times. The best part comes when Jackman’s version of Jean Valjean (Storer) sings the words that probably have been on the mind of every man who’s ever attempted the plaintive Bring Him Home: “It’s too high.”

Adding to the show’s fun is the fact that it’s performed in an intimate cabaret setting on a tiny stage the performers share with music director and accomplished pianist Matt Clemens. The glitzy set, lighting and costumes—designed by Michael S. Brewer, Curtis “Nitz” Brown and Marcia Hain, respectively—are further pluses.

Satire is said to be something that closes on Saturday night, but CATCO’s latest summer musical is proving to be an exception to the rule.

CATCO will present Forbidden Broadway’s Greatest Hits, Vol. 1 through July 14 in Studio Three, Riffe Center, 77 S. High St. Show times are 8 p.m. Thursday-Saturday (no show July 4) and 2 p.m. Sunday. Running time: 1 hour, 30 minutes (including intermission). Tickets are $35. 614-469-0939 or catco.org.