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Les Misérables
a Musical
CATEGORY : MUSICAL
by Music: Claude-Michel Schoenberg; Lyrics: Herbert Kretzmer

COMPANY : Broadway Across America [WEBSITE]
VENUE : The Fabulous Fox [WEBSITE]
ID# 4300

SHOWING : April 24, 2012 - April 29, 2012

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PRODUCTION DESCRIPTION

Cameron Mackintosh presents a brand new 25th anniversary production of Boublil & Schönberg’s legendary musical, “Les Misérables,” with glorious new staging and dazzlingly reimagined scenery inspired by the paintings of Victor Hugo. This new production has been acclaimed by critics, fans and new audiences and is breaking box office records wherever it goes. The New York Times calls this “Les Misérables” “an unquestionably spectacular production from start to finish.” The London Times hails the new show “a five-star hit, astonishingly powerful.”


CAST & CREW LIST
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REVIEWS

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Spectacle
by playgoer
Monday, May 7, 2012
4.5
The 25th anniversary production of "Les Misérables" is darkly stylish and filled with wonderful voices. Projections based on Victor Hugo's sketches provide animated backgrounds in some sequences, adding a little movement to what is often a static stage picture. The overall effect is of a steampunk "Les Miz," starting with a Jean Valjean whose head is shorn and marked with shaven "scars."

Later scenes show Jean Valjean (Peter Lockyer) in a succession of ever-graying wigs. This tends to make him initially unrecognizable in his scenes, which I have always found to be one of the greatest problems in this poorly dramatized adaptation. I don't respect the work, but this production shows up all its qualities.

Casting is good, with Fantine (Betsy Morgan), Little Cosette (Erin Cearlock), and Cosette (Lauren Wiley) bearing striking resemblances to one another, suitable for mother and daughter. Great voices predominate, with Jason Forbach's voice particularly thrilling as Enjolras. Only Chasten Harmon, as Éponine, seems a bit off vocally.

Directors Laurence Connor and James Powell have pulled together a first-rate cast in a production magnificently mounted, using about half the width of the Fox's stage. I thought there might be an interesting choice in the conversation between Valjean and Javert (Andrew Varela) after Javert sees evidence of Valjean-like strength. Mr. Varela's delivery seemed to be meant to gauge Valjean's reaction when telling him that a prisoner had been identified as Valjean. Given the extreme uniqueness of Valjean's chest tattoo, it seemed likely that this was just a ploy on the part of Javert. But no, the next scene brought in a courtroom and obscured prisoner, letting Javert's words become literal. This is not a rethinking of "Les Miz," just a streamlined version giving the audience pretty much what they expect (except a turntable barricade). For what is considered by many to be a modern-day classic, that's all that's needed to produce a crowd-pleaser. [POST A COMMENT REGARDING THIS REVIEW]


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