Review: A Life-Affirming Dreamboat of a Production, LES MISERABLES is Home at Last⭐️⭐️⭐️⭐️⭐️ at Koninklijk Theater Carré

De Graaf & Cornelissen Entertainment brings back the legendary musical of musicals on stage. And thank heavens they did. The story of Les Misérables based on Victor Hugo's novel, has it all. Set in early 19th century France, it has a clear conflict, displays human suffering and strive in the widest sense of the word and a perfect ending.

A homage to life, and while human tragedy is felt throughout the story, it is most life-affirming and heartfelt.

Musically, Les Misérables is a bombastic, dramatic and lyrical piece of art, where vocalists need to produce strong, classical timbres, but also keep it intimate at the same time. And boy, the sound this company creates on this Sunday in Koninklijk Theater Carré... they blow you away. It's an honor to listen to the gorgeous score live, of course written by the great Claude-Michel Schönberg, performed by the outstanding cast and orchestra. All of this in the presence of producer extraordinaire sir Cameron Mackintosh himself, who attended the premiere, I might add.

As for the wonderful cast. Everyone brings their A game and vocally it is very (!) good. A masterclass in musical theatre, it is no wonder that starring in Les Mis is a much desired position to be in.

Milan van Waardenburg is a modest and elegant Jean Valjean. His stage presence is ever so pleasant and vocally, his deep timbre makes him a contemporary and refreshing Valjean.

Channah Hewitt gives us soul piercing performance as Fantine. Mark Roy Luykx as student leader Enjolras is a powerhouse with a beautiful timbre.

Freek Bartels as Javert is wonderful. Not surprisingly vocally he smashes it out the park, but his strength lies in humanizing the ever troubled Javert, where you almost feel sorry for the man.

Les Misérables is a classic for a reason, full of depth and duality in the characters. For instance, Javert would seem like a classic antagonist, the clear nemesis of Jean Valjean. However true yes, you could also argue he's the legacy of his upbringing. Wildly misunderstood through his very black-white world view, making him a more tragic figure who doesn't know any better and not so much the 'bad guy'. The actual antagonists of Les Mis are the Thenardiers, who are egotistical, blatantly stealing or profiting of other people's misery which is interesting as they are the comic relief at the same time.

About the new staging...

In short. Does it work? Yes. A small comparison side by side, compared to the original staging.

Originally, Les Mis had a revolving stage, with as crowning glory: the barricades. The barricades are as much part of Les Mis as the thorn is to a rose. Essential, maybe painful from producer's perspective (understandably without it, this makes touring easier and will for sure be a matter of budget) but nevertheless unmissable.

The empty stage, the revolving barricades, with the corpse of student leader Enjolras hanging upside down after tragically died during the riots, with the French flag hanging there, is the most powerful, dramatic and important scene. It shows the emptiness, the suffering, the futility and randomness of violence, which after that, is being emphasized by Marius in his solo: Empty Chairs at Empty Tables.

It is not only incredibly strong in its' bareness, it is the greatest soul-piercing theatrical beauty all at the same time. Additionally, it's a much needed breather for the audience after the attacks.

That being said, enter the new staging. Without spilling the beans, it works and works well. They call it the new Les Mis, the contemporary Les Mis. I would call it, the old and improved Les Mis. It has captured all the glory of the original production and made it better. But... the only moment I would argue was better in the original staging from a dramatic view, is the death of Enjolras as described above. In the new staging *spoiler alert* his corpse lies in wooden cart, which is slightly underwhelming.

But, you can only go in such detail when a show is almost perfection to begin with.

And it is. The set looks great, every wig, costume and makeup look is perfected, everything is as it ought to be.

Les Misérables is back, and rightfully premiering in Koninklijk Theater Carré, where history was made in 1991, with the first Dutch version. It was brought home.

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