Reviewed by James Karas
Les Misérables premiered in London in 1985. It went to Broadway and a slew of travelling companies have taken it around the world. Is there anyone who has not seen it? I raise my hand with trepidation and bow my head before Dionysus, the god of the theatre and plead guilty. (He is also the god of wine, madness and religious ecstasy, but we don’t need to go there.)
I have expiated belatedly my iniquity of omission and have seen the grand musical in remission of my sin. Mea culpa many times. If you have seen the musical, there is no need for you to read my groveling.
It is an astounding show. There are myriads of reasons for it becoming the longest playing musical in London and a hit around the world. It has a grand story based on Victor Hugo’s massive novel. Its plot strands encompass French history in the first half of the nineteenth century intermingled with the story of Jean Valjean, the wretched of France, justice and injustice, good and evil, virtue and vice, love redemption and much more.
The music score by Claude-Michel Schonberg is heroic, epic at times, stentorian, romantic, moving and all-in-all triumphal. Much of the story is dramatic and tragic and the basses of the orchestra come through with astonishing sonority and power. The production has a full orchestra that bedazzles us. The musical is sung-through, and the lead characters and chorus display vocal prowess, drama and beauty to astonishing effect. Ian McIntosh as Valjean, Stewart Clarke as the relentless and merciless Inspector Javert, Annabelle Aquino as Cosette, Amena El-Kindy as Eponine and Jacob Dachtler as Marius sing some beautiful songs with murderous scales. The musical also has some comic scenes especially with the Monsieur and Madame Thenardier couple (Luke Kempner and Claire Machin).
The complicated plot begins with the story of Valjean who was imprisoned for 19 years for stealing a loaf of bread. He escapes and is befriended by the Bishop of Digne (Adam Pearce). He steals the Bishop’s silver but when caught the Bishop tells the police that he gave the silver to him. Valjean encounters decency.
Valjean becomes rich and decent. He purchases the freedom of Cosette from the Dickensian Thenardiers and does acts of decency as he gains respectability and keeps a step ahead of Javert. But the conditions of the French on the bottom rung of the social ladder are deplorable and the students prepare an uprising. We witness the rebellion and hear the songs of the rebels led by Marius (Jacob Dachtler). Love entanglements enter the plot with appropriate music and songs. Marius loves Cosette and Epinine loves Marius and a battle is brewing between the rebels and the army.
The grand, mobile set reflects the dark events of the plot, and it never ceases to amaze with its effectiveness. The battle scene can almost compete with a Hollywood movie which is saying a lot for a stage musical. Extraordinary use of lights, firepower and war-like sound effects produce a dazzling battle sequence. The set is impressive throughout, but I found the battle scenes the pièce de résistance.
The plot moves fairly briskly among the changes in scene and events. In other words, there is little chance of experiencing any longueurs in the three-hour (including intermission) program.
The denouement shows a wedding scene that includes a wedding march and a waltz with lights shining and happiness in the air. In the end we see the demise of Valjean and a moving chorus that struck me as a requiem for humanity. Moving, beautiful, resonant, spectacular.
The whole thing is directed by Laurence Connor and James Powell and a boatload of behind-the-scenes artists.
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Les Misérables by Claude-Michel Schonberg (music), Herbert Kretzmer (lyrics), adapted by Trevor Nunn and John Caird from the novel Victor Hugo continues in perpetuity at the Sondheim Theatre, Shaftesbury Avenue, London, W1D 6BA. https://www.sondheimtheatre.co.uk/
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