Les Misérables
Music by Claude-Michel Schönberg
Lyrics by Herbert Kretzmer
Based on a novel by Victor Hugo
Original French text by Alain Boublil and Jean-Marc Natel . Additional material by James Fenton
Directed by Eric Schaeffer
Produced by Signature Theeatre
Reviewed by Gary McMillan
Cameron Mackintosh tossed Eric Schaeffer the keys to his hummer Les Misérables to drive the internationally-acclaimed musical juggernaut from its recent multi-million dollar Broadway home to the intimate, black-box theatre here in Arlington. Victor Hugo’s novel Les Misérables is a essentially a political economy treatise masquerading as a romantic melodrama occurring during one of the several French revolutions. (The Les Mis paperback you will find in a bookstore rack in the airport is likely to be hundreds of pages shy of the original, much to the chagrin of the areas policy wonks.)
This production is lavish. The epic musical is re-scaled and framed by an environmental staging which uses nearly every corner of the theatre as well as from floor to ceiling; it is designed to place the audience in the Thénardier tavern, on the boulevards of Digne, Montreuil-Sur-Mer, and Montfermeil, and behind the barricades in Paris. Walt Spangler twists five tons of cold black steel to impressive effect, making of the structures an elaborate puzzle box which can – in seemingly every direction – propel the action swiftly from scene to scene. Lighting designer Mark Lanks could produce light form a black hole, it would seem. Everywhere in the theatre he finds a reference point for a source of light to frame the action. And he melds lighting effects with Spangler’s set in stunning ways. Each mood and every emotion is heavily influenced by Lanks’ lighting. Equally key in evoking the period are Kathleen Geldard’s costumes which are boldly representational in ways which also reinforce the mood. She lavishes equal attention on paupers and whores as she does on student revolutionaries and the upper classes. If you juxtapose Cosette’s wedding dress against Madame Thénardier’s ball gown, you will get a glimpse into Geldard’s wild creativity.
I don’t know the process by which Spangler, Lanks and Geldard contributed their talents to the production, but they have succeeded in stealing the show as surely as if they had conspired to do so. Their work is visually sumptuous, each scene a Delacroix tableau.
The production also boasts a 14-piece orchestra under the musical direction of Jon Kalbfleisch which makes beautiful music, rich and lush and never overwhelming the voices.
At the head of the cast are Greg Stone (Jean Valjean) and Tom Zemon (Javert), both veterans of the Broadway production. Each brings a polished professionalism, remaining essentially faithful to the Broadway interpretations. Where the environmental staging succeeds greatest is in showcasing the supporting characters and ensemble. A chorus of male voices open the show with the “Chain Gang” song and which captures the grit and despair of the world we are about to enter for the next three hours. Aaron Reeder’s rich, warm voice perfectly captures the compassion of the Bishop of Digne, whose gift of silver (part of which Valjean attempts to flee with) helps Valjean prosper after 19 years of prison labor for stealing a loaf of bread. Local favorite Eleasha Gamble lends her gorgeous voice to a variety of ensemble roles. Sheri Edelen (five time Helen Hayes Award nominee; winner for Signature’s Side Show) and Christopher Bloch are comically unsavory as the Thénardiers — their bawdy rendition of “Master of the House” shines with Karma Camp’s intricate and witty choreography. AJ Breivik is a very spunky Gavroche, a pint-sized revolutionary with big ambitions. He’s very assured in the role and delights the audience.
The young leads are a major asset here as well. No one uses the staging as brilliantly as Felicia Curry (Eponine). She sings “On My Own” with such freshness and immediacy I felt as though I was hearing it for the first time. Tracy Lynn Olivera (Fantine) brings out all the dashed hopes and sorrow her character has experienced with a beautiful rendition of “I Dreamed a Dream.” Stephanie Waters and Andrew Call are well matched as young lovers Cosette, ward of Valjean, and student activist Marius.
Signature’s Les Misérables reminds me of the recent London-to-Broadway transfer of Sunday in the Park with George: visually stunning and technical perfection but lacking a certain je ne sais quoi. It does, for the most part, push the right emotion buttons and there was nary a dry eye in the audience at the finale. Musical theatre fans will definitely appreciate quality of the production and the caliber of the cast.
Running Time: 2:55 with 1 intermission
When: Thru Jan 25. Tues & Wed at 7:30 pm, Thurs, Fri & Sat at 8 pm; Sun at 7 pm with matinees Sat & Sun at 2 pm. Special holiday performances: Mon & Tues (Dec 22, 23, 29 & 30) at 8 pm, and Mon, Jan 9 at 7:30 pm.
Where: Signature Theatre, 4200 Campbell Ave, Arlington, VA
Tickets: $75 – $87. Ticket specials and discounted children’s tickets available. Visit the website, or call the box office: 703 820-9771.
Saw the show a few days ago, with the understudies on for Val Jean and Thenardier, and thought the show was truly wonderful. This is my fourth time seeing a production of Les Miserables and this has been my favorite production hands down. It’s nice to see Signature is getting healthy sized crowds in the theater as well. The afternoon I went the show was totally sold out with some people standing in the balcony. Definitely put this on your list of must sees.
FYI – Signature Theatre is offering $30 tickets to Les Miz on Monday, Jan 19th, 7:30 pm (Inauguration Eve). Just call box office, 703-820-9771, and use the code LOWT.
Absolutely breathtaking. I saw it on Tuesday night and was left speechless. The two older gentlemen next to me left the theatre in tears. I was dragged to this production kicking and screaming (who really needs to see Les Miserables for a fifth time) and I loved every minute of it. If you are having any doubts about seeing this production have no fears. This is top-notch
Reference back to Greg’s comment, at least Gary didn’t use the expression “too cute by half.” When I read or hear that espression used by a critic, I get nauseous.
I ran into one of my neighbors Saturday morning. She’s not a theatregoer, but had seen Signature’s Les Miz earlier in the week and was ready to go back to see it again. She said it “blew her away.” That inspired me to try to see it again Friday night, but there were no tickets available.
I saw the show for the 3rd time on Friday night. The performers are really getting into their roles. Now is a great time to see the show (if you can snatch a ticket). The lady sitting next to me said that she’d seen Les Miz several times in NYC and this production is the only one she’s seen that she could actually understand the lyrics to the songs performed. I told my seat mate that the young man (8 year old Jori Parry) who played Gavroche that night was the grandson of a friend of mine and she asked me if he was “local” because he was so self-assurred and poised. The children in this production are excellent (as are the adult performers).
Phillip- I was there Friday evening also. This was the second time I saw the show. I thought the show was just terrific! As I was exiting the theater after the show there was a couple in front of my chatting. They said that while they’ve seen several productions of the show over the years this was by and far their favorite production!
I saw this at Signature last night with my family and thought it was sensational. Rarely do you get to see a show of this caliber in a DC theatre. Anyone who misses this production is a fool.
I agree with Charlie. I found Signature’s Les Miz to be invigorating.
How was the critic sucking up by comparing the show to Sunday in the Park with George? I disagree with the comparison, because I found Signature’s Les Miz to be invigorating, but to those of us who saw Sunday on Broadway that comment makes perfect sense.
“Signature’s Les Misérables reminds me of the recent London-to-Broadway transfer of Sunday in the Park with George: visually stunning and technical perfection but lacking a certain je ne sais quoi.”
No critic should be allowed to get away with a statement like this one. Besides being pretentious, it tells us very little. Is the critic merely inarticulate, or just too gutless to actually criticize anyone’s role in the production? Enough with the sucking up–there are plenty of people around who perform that role.
Being the defender of everything Signature does, I hope they are paying you for all your PR for them. What took you so long to respond here?
If I want to hear singers belting out all the songs, I’ll start watching American Idol. The Talking Broadway reviewer hit the nail on the head when she referred to Mr. Stone’s portrayal as spiritual rather than brawny.
I’ve heard from a reliable source that the Les Miz behind the scenes tour which is held on Sat and Sun at 5:15 (cost $15) is well worth doing. I’m planning to do it as soon as I can. Can’t wait to see the show again next Tuesday. I’ll be taking some of the above comments into consideration when I see it next time. I didn’t have a problem with the “projection” of any of the voices when I saw it during previews.
Did Marc Kudish “tone it down” when he performed in the MAX in Witches of Eastwick”? Did Eleasha Gamble tone it down when she played the witch in into the Woods? Did Will Gartshore tone in down when he sang the lead in Merrily We Roll Along? And the list goes on and on. Greg Stone plays Jean Valjean with no power and no emotion.And he talks through lines he should be singing. I can’t believe that you are using this “tone it down” excuse to cover up this weak performance. It’s “awkward” that Mr. McMillan and very few his fellow critics didn’t even discuss the two leads’ performances in any detail. They just glanced over them, like they weren’t even there.The only critics who didn’t join the bandwagon, Brad Hathaway and Jayne Blanchard, called Stone’s performance “awkward” and “He seems to struggle with the vocal demands and sometimes lapses into an odd falsetto.” I agree with you Cheryl and Janet that the supporting cast makes this production worth seeing. Felicia, Chris, Tracy and Aaron Reeder sing beautifully with power and emotion. And Felicia did not tone down her Eponine. I wanted Mr. Stone to blow the roof off on Bring Him Home and 24601. That’s what all 12 of my friends and family who paid $70 that night expected from our Jean Valjean.
I though that both Tom Zemon and Greg Stone did a great job. While they both have very powerful voices they had to bring things done a bit or they would have blown the roof off of that small house. As many of you I’m very familiar with the work of many others in the cast- they also had to often bring things down a bit. Those large voices and movements work best in large houses when there’s a need to project far out into the audience. One actor (of many) that I’m really amazed at is Aaron Reeder- this guy has one magnificent voice. We need to hear more of this voice. Many folks have been commenting on Felicia Curry’s performance- and she was great. However, like the others she toned things done for this production. Just like Tom and Greg- Felica can really belt out a song.
Great sets and lighting, but I agree, Greg Stone as Jean Valjean was weak. His voice was not the style of powerhouse vocals expected for this role. It seemed the supporting characters had better and stronger voices than the lead actors.
I want to add my raves for Felicia Curry whose Eponine is the heart of this production. It’s her voice and emotional rendition of “On My Own” that makes me want to come back and see the show again. I do wish that Greg Stone would have shown some of that emotion in his performance. It’s the most sedate and uninspiring Jean Valjean I have ever seen. I loved Tracy Olivera’s I Dreamed A Dream, It was powerful and lovely at the same time. Not my favorite Les Miserables, but worth seeing for Felcia and Tracy.
I saw the show last Tuesday, and loved it. Another great cast! To pick my favorites, Andrew Call as Marius. Not only does he sing great, I love his acting which is never too much. In the ensemble I loved Eleisha Gamble both as singer and actor. The rave reviews are well deserved. I just wish they would mention that the theater is in Shirlington! 🙂
Great review of Les Miz. Peter Marks also liked this production (Washington Post, Dec 17, 2008). I loved this show – I hadn’t seen it since it appeared at the KC in 1986 on its way to Broadway. Will be seeing it again and maybe again during this Signature run.