BWW Reviews: LES MISERABLES at Casa Manana

My first experience with LES MISERABLES was in 1996, as a tween performing in my school's musical review. While most other kids learned the material and moved on, I saved my pennies for the cast recording, memorizing the show word-for-word. After moving to New York in 2004, my work provided me with virtually unlimited tickets to the city's hottest shows. By the time LES MISERABLES returned to Broadway (in 2006, with a carbon-copy revival of the original production that had closed three years previously), I was a jaded New York twenty-something, no longer inspired by the "tourist trap" hits. Then, as I sat in the darkened Broadhurst Theatre, the turntable moved, and I realized I was watching an unparalleled piece of theatre history.

For the few people who have yet to hear the people sing, LES MISERABLES is a musicalization of Victor Hugo's epic novel, about a poor french man, Jean Valjean, who steals a loaf of bread and survives to sing about it. Running from the law, he takes in a poor orphan girl, Cosette, fighting to provide her the life he was unable to create for himself. With the story spanning years and climaxing during the French Revolution, the requisite built-in love story is filled with drama and excitement. It's really one of those things you need to experience to understand...

With an astounding cast of 30+ talented performers, 6 of whom who have appeared on the Great White Way, Casa Manana's current production of LES MISERABLES has only one flaw: the show runs a mere two weeks, closing this Sunday.

Although each artist deserves their own praise, the lovely ladies of this group are especially remarkable. Stealing the first spotlight of the night is the divine Stephanie Umoh as Fantine. As fate would have it, Ms. Umoh was a student in Boston while I was also there working in theatre. From her early performances in productions of BUBBLY BLACK GIRL, ZANNA DON'T, and RAGTIME (which she later performed on Broadway), you could tell she was a star. Umoh's rendition of "I Dreamed A Dream" draws you to the edge of your seat, where you're likely to remain through the end of the show.

As Eponine, Kirstin Tucker is equally strong. Ms. Tucker (who returns to Casa after performing in the theatre's 2012 production of 42nd STREET) has an exciting pop voice, complemented by her charming personality and overall likability.

A local favorite, the hilarious Cheryl Allison proves her versatility as Madame Thenardier. Not only has Ms. Allison recently appeared in Casa's BUDDY: THE BUDDY HOLLY STORY, STEEL MAGNOLIAS and THE WIZARD OF OZ, but she's performed in several national tours and Broadway productions as well. Theatre nerds may recognize Cheryl as a soloist on the original U.S. cast recording of CHILDREN OF EDEN, where she appears alongside LES MISERABLES co-star, Michael Hunsaker.

A former "Casa Kid," Mary Michael Patterson shines as ingenue, Cosette. Ms. Patterson, who recently played Christine on Broadway in THE PHANTOM OF THE OPERA, has a crystal-clear voice, and a natural ease on stage. Although her character is often overlooked, Ms. Patterson leaves the audience begging for more of her lovely soprano voice.

The females in the ensemble play multiple roles, each with exceptional skill. It would be unfair, however, if I didn't single out Daron Cockerel, who is simply a joy to watch. She makes the absolute most of her featured role as Factory Girl early in act one. (If you missed my love-letter about her performance as Annie Oakley at Lyric Stage, check it out here!)

The men of the show have arguably more demanding roles, carrying the lion's share of the show on their shoulders. Bearing most of that weight is Michael Hunsaker (Jean Valjean) and David McDonald (Javert). Although Mr. Hunsaker occasionally goes over-the-top with his dramatics-think David Hasselhoff in JEKYLL AND HYDE-his vocal power is undeniable. His Valjean has a more classical vocal approach than other actors I've seen in the role, which makes the complicated material refreshingly accessible. McDonald proves a great match for Hunsaker, with his deep, commanding baritone.

As the "Master of the House," James Zannelli's Thenardier is priceless. Not only does Mr. Zannelli have a knack for comedic timing, but his booming voice made the supporting character a highlight of the evening. Listed in his biography are additional credits as both Thenardier and Javert, but I could only help but imagine how thrilling he'd be as Jean Valjean as well.

Lastly, Ian Patrick Gibb gives an emotional and vocally exciting spin on Marius, the show's young, romantic lead. Casa Mañana was smart to stray from the typical matinee idol-type usually cast in the role, in exchange for an actor with great chops and incredibly strong vocals.

And, not to forget anyone, I must make mention of the ensemble men, who were all fantastic in their supporting roles. The group vocals provided by the men are simply remarkable (especially songs featuring Daniel Rowan as Enjolras, or Major Attaway as Bishop/Combeferre).

As if this review hasn't celebrated enough of this production, Samuel Rushens lighting is captivating. When we witness the final battle in Act Two, Mr. Rushens' work adds an especially impressive layer to this savvy show.

In an effort to publish this review before LES MISERABLE closes this weekend, I'll leave you with the promise that seeing this production is highly worth it and you will be moved, whether seeing it for the first or tenth time. For tickets and more information, visit www.casamanana.org.

 

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