By Carol Davis
SAN DIEGO—If twenty-five years of sustainability for a Broadway show aren’t something to crow about, I don’t know what is. I can’t recall the very first time I saw Les Misérables, based on the Victor Hugo 1862 novel and put to music, on a grand scale, by Claude-Michael Schönberg with Herbert Kretzmer’s lyrics and book by Alain Boublil and Claude-Michael Schöenberg and adapted by Trevor Nunn and John Caird. But that’s not important.
What does matter is that every time I see it, I find more to admire about it than the last. That may be why this particular musical (which is more like an opera than a B’Way Musical) still has the WOW factor that blows the mind.
When I was 25. I was ready to set the world on fire and that about sums up this quarter century old show. It has been polished and somewhat refurbished but still maintains its integrity as a voice for the ‘underdog’, the poor, the subservient; those individuals who make valiant sacrifices and give their lives for what they believe. It’s a story driven by love, determination, redemption and hope.
This epic musical journey define the characters while still keeping intact those favorites hits that run through your brain when you least expect it: “I Dreamed a Dream”, “Who Am I?” “Drink With Me”, “On My Own”, “Bring Him Home”, “Empty Chairs and Empty Tables”, “Master of the House” and who can forget “One More Day”?
In addition to the powerful musical score under the musical direction and conducting of Kevin Stites’ 14-member band along with some of the most visually exciting projections claiming Hugo’s atmospheric paintings, we are carried away to a prison chain gang, to the poverty-worn streets and city slums of Digne, to the underground sewers of the city, to the whorehouses and taverns of 1823 Montreuil-Sur-Mer and Montfermeil, and to a student rebellion in1832 Paris.
Along with the visually eye-popping projections and the new streamlined set design by Matt Kinley, (gone is the giant turntable that was the butt of many a joke especially in Gerald Alessandrini’s spoof Forbidden Broadway) and excellent lighting design (Paule Constable) this show is blessed with talent from the smallest urchin Gavroche (Marcus D’Angelo is a power to be reckoned with) to the biggest and powerful baritone voice in the person of Andrew Varela as Inspector Javert, to the protagonist and his chief nemesis Jean Valjean (the amazing Peter Lockyer), prisoner #24601.
While some revisions will not be apparent, especially to the next generation of Les Miz audiences, the casts of characters and the plot have remained unchanged and directors Laurence Conner and James Powell keep the action moving at hurricane speed.
Inspector Javert is still on a quest to put his errant, on-the run prisoner Jean Valjean back on the chain gang. Valjean, who was imprisoned for stealing a loaf of bread, loses his bitterness after the Bishop of Dinge shows him more kindness than anyone on the streets of Digne.
On his way to finding his moral compass and almost becoming a saintly creature, Valjean changes his name, and begins life anew. He befriends the beautiful but sickly Fantine (Betsy Morgan blessed with a lovely voice), and agrees to take care of and raise her daughter Cosette (Lauren Wiley is the adult Cosette and Erin Cearlock played her as a child…both drew well earned applause), which he did after buying her back from the grimy, grungy Thénardier’s (the comic Timothy Gulan and Shawna M. Hamic)
Time passes and no matter how hard the overprotective Valjean tries to keep Cosette tucked away in their estate, she manages to meet and fall in love with Marius (Max Quinlan is stunning) one of the students taking part in the June Rebellion of 1832 against the monarchs. Unfortunately they were outnumbered and most died in battle.
Complicating things Éponine (Briana Carlson-Goodman as the adult and Hannah Isabel Bautista played her younger self) is in love with Marius as well, but he considers her a friend rather than lover. She betrays her greedy innkeeper parents, the Thénardiers (“Master of the House”) and fights alongside the students where all is fair in love and war.
And while the battle rages on, on the home front, the battle between what is right and what is good and saintly rages on between the two protagonists; both believing that God is on his side. It all makes for one powerful, passionate and gut wrenching (yes I did shed a tear or two) three hours of entertainment. See it! You will not be disappointed.
See you at the theatre.
Dates: through Sept. 2nd
Organization: Broadway San Diego
Phone: 888-937-8995
Production Type: Musical
Where: San Diego Civic Theatre, 3rd and B Downtown, San Diego
Ticket Prices: prices vary; visit ticketmaster.com
Web: BroadwaySD.com
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Davis is a San Diego-based theatre critic. She may be contacted at carol.davis@sdjewishworld.com