Review: LES MISERABLES at Hollywood Pantages Theatre

Did anyone else feel like it was a speed through?  Magnificent though it is, there’s something about the LES MISÉRABLES (North American Tour) re-do, currently at the Hollywood Pantages, that didn’t allow me to catch my breath.

Perhaps, of course, I haven’t kept up with the evolution of this show, but having experienced one of the earliest stage productions of the original play long ago, and of course, every single movie version of the story since, there seemed to be a very noticeable departure from the more melodic vocal arrangements.  And it kept me in a state of perplexity and sometimes anxiety, throughout the entire performance.

While the new orchestrations by Stephen Metcalfe, Christopher Jahnke and Stephen Booker, were stunning, the vocal interpretations were breathy rather than full bodied, often nearly spoken instead of sung, and far more percussive and violent than one might remember this now modern classic musical to be.  The singers seemed to be singing far ahead of the notes, creating a frantic delivery that did not begin to ease until Jean Valjean’s second act number, “Bring Him Home.”

Granted it is a long show (new material has apparently been added by James Fenton) and the cast, quite flawlessly delivered several arduous hours of courage, passion and resilience of the human spirit, keeping the intensity at a crest from start to finish.  But I suppose, that is the point I’m trying to make.  On one hand, this version of  Les Mis is a tour de force rendition.  On the other, going for unrelenting, rapid-paced gusto at every possible moment, without breath or pause, and barely a note of empathy, thoroughly diminishes the deep emotional resonance that this musical, possibly more than any other, has always had the ability to evoke.  In a way, in its enthusiasm to create a fresh presentation, the show stays very much on the surface, and fails, just a bit, to recognize human pathos in its full capacity.

Newer elements, however, are quite creative.  Replacing the turn table that has formerly moved the cast about the stage are now video projections that effectively bring to life visual aspects that previously could only be imagined by the audience.  People of 19th century Paris actually march through the streets, and Inspector Gilbert’s long death leap into the river below is prolonged to sad and painful effect, for instance. The entire piece is far more dark with costumes, lighting and set design echoing a decadent cynicism of the Parisian underworld, perhaps meant to juxtapose the bright and shiny religious reform tones of the lyrics; which it does, especially in redemption moments when shafts of light shine onto characters like angelic visitations.  The themes of justice and morality have always been center stage in the script, but they are somehow, far more pronounced here, causing the heart wrenching love stories of Fantine (Haley Dortch), Cosette (Addie Morales), Eponine (Christine Heesun Hwang) and Marius (Gregory Lee Rodriguez) to be almost emotionally eviscerated.  Except, though for Jean Valjean (played by Nick Carnell).  Valjean keeps the singularly poignant spotlight throughout the show.

In essence, though, this iteration of LES MISÉRABLES, in every way, is a reflection of our own time.  And any changes that have been made, run decidedly lateral of the current state of human affairs - which was the purpose of Victor Hugo’s sweeping novel in 1862.  Certainly, the concerns with social issues and the critiques of wealth distribution, the justice system, industrialism, which is now called the Technology (AI) Age, and republicanism are absolutely front and center today as they were then.  The never-ending feelings of desperation that are consummated throughout the play, even the pacing of the show is also descriptive of the outer and inner feelings of people today, young and old.  And, if for no other reason but these, LES MISÉRABLES is a stunning summation and capture of present day reality, that somehow turns the terrible into the celebratory.  And for that reason, although our hearts could definitely use a little more of the former love influence in this presentation, LES MISÉRABLES’ brilliant power to raise the human spirit, is, ultimately, enduring.

***Please note that all Tuesday, Wednesday and Thursday evening performances of Les Misérables will start at 7:30.  All performances will begin promptly at the scheduled curtain time. There is a 13 minute seating hold for this show. Please plan your travel accordingly.

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