I’m in the final week of rehearsals to play a dream part: Thenardier, the innkeeper and thief who, with his wife, serves as both villain and comic relief in the musical Les Misérables. It’s a show that I’ve always loved and I’m excited to be part of bringing it to audiences at Peninsula Community Theatre in Hilton Village, Newport News. Great performers are cast in iconic roles like the bread-thief-turned-guardian-angel Jean Valjean, the letter-of-the-law Inspector Javert, the tragic young mother Fantine, and the young love triangle of Marius, Cosette, and Eponine. I thought I’d use this post to review some of the versions available from WRL.
I’m not going to address Victor Hugo’s original novel. Good but long, many find that they can’t work up the impetus to finish 1,400 pages of a story they may have already encountered in several forms. If that’s your cup of tea, by all means read it, but I’m going to tighten my focus.
I also won’t spend much time on the non-musical films based on the story over the years. Fredric March squared off against Charles Laughton as Valjean and Javert in a great 1935 film. Michael Rennie and Robert Newton are less remembered by film fans, but their 1952 offering is not bad. The French tackled the story themselves in 1958. The library also carries successful versions with Liam Neeson and Geoffrey Rush from 1998 and John Malkovich and Gerard Depardieu’s 2000 television miniseries.
To me however, Les Mis is made something more by the anthemic music of Claude-Michel Schönberg. It’s a moving marriage of bombastic, heart-stirring music with a tale that’s every bit as over the top. Here’s where we might have to agree to disagree: to me the 2013 film fails to take advantage of this music. Director Tom Hopper goes for intimate stagings and actors with smaller voices, where the songs are meant to stir audiences in big houses, to be sung to all creation, to stand your hair on end with power, not to be sung in a tight close-up on the anguished features of an emoting actor. Although I know many loved the film, it didn’t work for me. If you don’t believe me, compare the film’s soundtrack to any of the versions below.
I’m all about the musical as presented on stage, and there are many fine recordings and concert films available for others like me. The original British production was iconic, the first in English, with Colm Wilkinson as Valjean, Michael Ball as Marius, and Patti LuPone as Fantine, but the orchestrations for the music hadn’t quite found their ultimate form. There are some synthesizers where other versions use orchestral instruments. When this CD wore out recently, I replaced it with something different.
The first Broadway cast recording is one of my favorites. Wilkinson is still in place as Valjean, but Terence Mann is a powerful foil in the role of Javert. The orchestrations are stronger, making this a grade-A recording.
Most recordings of Les Mis sacrifice material to fit the show on two discs, but for the full experience, including the best symphonic recordings of the music and an all-star cast including Gary Morris as Valjean, Philip Quast as Javert, Barry James as Thenardier, and Michael Ball back as Marius you have to get 1999’s complete symphonic recording. Many versions have great singing, but this is the one if you want to hear the orchestra in detail.
Of course the full Les Mis experience includes visuals, and for those, you have options beyond the recent film. Two anniversary concerts deserve attention, with fine performances in concert stagings. The 10th anniversary concert filled the Royal Albert Hall with a dream cast: Wilkinson, Ball, and Quast, plus Alun Armstrong as Thenardier, Ruthie Henshall as Fantine, Judy Kuhn and Lea Salonga as Cosette and Eponine, and Virginia’s own Michael Maguire as Enroljas.
It didn’t seem possible, but the 2011 25th anniversary concert, staged at the huge new O2 arena in London, is even bigger than the 10th anniversary. It introduced the world to Alfie Boe as Valjean, and featured musical theater mainstays like Norm Lewis as Javert, Lea Salonga, this time as Fantine, and Ramin Karimloo as Enroljas. The Thenardiers are hilarious and larger than life. Samantha Barks, who gave one of the best performances in the film as Eponine, shows she has chops enough for the stage too. The only misstep is teen heartthrob Nick Jonas as Marius, whose voice is a bit overmatched by the surrounding cast. At the end, dozens of performers who have appeared in Les Mis productions join the fun, including five Valjeans.
So start exploring, and get ready for the 2014 revival on Broadway. With a little listening and watching, you too can join the ranks of those who love being “misérables.”
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