The Fans of MuMo recently went to see the revival of Les Misérables now playing at the Ahmanson Theatre through July 31. For many people in the audience (as well as a number of my friends), this was either their first encounter with the material or their first encounter in many years. The cheers and the tears around me were heartfelt and loud; it is extremely exciting to see this 25 year-old show enchant and even transform people, many of whom weren’t born when the show first debuted.For me, this was my twelfth time seeing the show: I went 10 times to the original production (dating back to March 1986 when I saw the original London cast through a number of times seeing the Broadway original cast and many subsequent casts and touring casts) and once to the excellent Hollywood Bowl production a number of summers ago. But this was my first time seeing this new production: new sets, some new costumes, totally new staging. Would it still work?
Happily, it very much does. In fact, as much as I loved the old set, with its endlessly spinning turntable, some of the new sets – particularly the café where the students sing “Red and Black” – are breathtaking. The sets are helped immeasurably by new screen projections inspired by paintings by author Victor Hugo himself and that never get too obtrusive. If there’s any quibble with the technical aspects of the new production, I found the lighting dim and indistinct. From my mezzanine seat, it was often hard to know who was singing what in the ensemble.
As for the new direction, there are many wonderful additions that only enhance the material: a moment between Cosette and Eponine towards the end of Act I, and especially a chance for Valjean to acknowledge his debt to the Bishop at the show’s end. About 20 minutes were cut from the score to bring the show’s running time under 3 hours. For someone who has listened to the score hundreds of times, letting go of these 20 minutes is very hard, and the show felt rushed to me as a result. There was almost no chance to sit back and breathe, take in the emotional revelations of the preceding song or dramatic moment. Others around me didn’t feel as I did, so it’s possible I’m just resistant to change.
This touring cast boasts a wealth of very talented people. Particular favorites include J. Mark McVey, an exceptional Jean Valjean, who acted and sang the role beautifully: his song “Bring Him Home” was the night’s highlight. Michael Kostroff and Shawna M. Hamic found even more humor than I thought possible in the roles of M. and Mme. Thenardier (one potential future Fan of MuMo a couple of rows in front of us laughed so hard at the number “Master of the House,” I thought his head would pop off his stem), Justin Scott Brown was a particularly strong Marius, and understudy Sarah Shahinian sang Eponine with a lovely, clear tone that, for once, didn’t try to imitate the inimitable Frances Ruffelle.
Of the hundreds of musicals I have seen, Les Misérables is my favorite. Accepting changes to the original production is not easy: it’s like seeing that guy you like walk into a bar sporting a pink Mohawk. You still love him, but you may just have to get used to the change. The only way I’ll know if I’m being too critical of this new revival… is to see it again. Lucky number thirteen. ~ ANDREW BLAU ~
