By: David Sheward
When I mentioned to my partner I was reviewing Les Misérables, he asked, "Why? Did it ever close?" He was under the impression the
popular blockbuster based on Victor Hugo’s gargantuan novel of redemption in 19th-century France had been on Broadway continuously since it first opened there in 1987. That’s easy to understand. Only three years after that initial production closed down in 2003, another opened and ran for more than a year. Then Tim Hooper’s 2012 movie version was released and, thanks to endless renditions of several of the songs on such TV shows as Glee, The Voice, and American Idol, the show has never long been out of public consciousness.
Now yet another version, a touring one originating in 2010, has found its way onto Broadway, and the undeniable strength of Hugo’s story and the rich score by Claude-Michel Schönberg, Alain Boublil, Jean-Marc Natel, and Herbert Kretzmer still have the power to hold and move an audience for three hours. Recast with Broadway and London A-listers, this Les Miz is definitely worth a look, whether you’re a newcomer to the show or a veteran. Directed like a locomotive by Laurence Connor and James Powell, it lacks the massive feel of the original with its huge turntable, but it achieves a grittier intimacy via Matt Kinley’s lived-in set and atmospheric projection design (the latter "realized" by Fifty-Nine Productions), inspired by Hugo’s paintings. Paule Constable’s lighting manages to convey the gloom of the downtrodden denizens without becoming too shadowy.
The two male leads provide the emotional and vocal engine to this enterprise, giving the familiar cat-and-mouse conflict between the virtuous ex-convict Jean Valjean and his relentless pursuer Inspector Javert a fresh supply of adrenaline and testosterone. Ramin Karimloo, an Iranian-born Canadian who has played the Phantom of the Opera and several Les Miz roles in London, endows Valjean with blood, sweat, tears, and a soaring voice. He starts off strong with his wronged hero snarling and biting like a feral dog and then, after the character is shown kindness by a priest, transforming into an angelic savior in movement and tone. Will Swenson as Javert reveals a steely spine unseen in his previous Broadway outings as the feckless heroes of Hair and Priscilla, Queen of the Desert.
Caissie Levy and Nikki M. James are heartbreaking as the equally tragic Fantine and Eponine, while Cliff Saunders and Keala Settle provide much-needed comic relief as the avaricious Thenardiers. (Settle’s stunned reaction to a luscious wedding cake is one of the highlights of the show.) Andy Mientus and Samantha Hill are somewhat colorless as the lovers Marius and Cosette, as is Kyle Scatliffe as the student revolutionary Enjorlas. But Gaten Matarazzo makes the street urchin Gavroche a believable rascally kid as opposed to the obnoxious showoff we usually get.
The only major problem with this tough, intense revival is the tendency to American Idol-ize the solos with loud, prolonged "money notes." The classic tale of faith triumphing over injustice does not require this pandering to the crowd. It’s not a competition.
Opened March 23 for an open run. Imperial Theatre, 249 W. 45th St., NYC. Tue 7pm, Wed 2pm & 8pm, Thu 7pm, Fri 8pm, Sat 2pm & 8pm, Sun 3pm. Running time 3 hours, including intermission. $57-139. (800) 432-7250.
www.telecharge.com Photo: Mathew Murray
Les Miserables On Broadway