Review: LES MISERABLES NATIONAL TOUR, at DPAC

A corrupt government and a police force that doesn't serve its citizens. A prison system with little chance for real rehabilitation. Sexual harassment in the workplace with more consequences for the victim than the perpetrator. Activist students risking their lives to try to enact change. The issues that LES MISÉRABLES touches on are unfortunately as relevant today as they were in 1862 when Victor Hugo's novel was first published and in 1985 when the musical adaptation first opened in London.

LES MISÉRABLES has achieved success in many forms, and the current tour traveling around the United States and at DPAC this week is a brilliant iteration of it. Using the 2014 Broadway revival staging, it brings the story of Jean Valjean to life through the beautiful music of Alain Boublil and Claude-Michel Schoenberg. While some older Broadway shows have grown stale and need reimagining to be engaging today, LES MIS continues to both old fans and those new to the show.

It's my own personal favorite musical, and I've seen it many times (I lost count around a dozen, but I think this might have been my 15th time). However, this production made it feel fresh and new, with the brilliant performances of the cast ensuring that every emotional beat and soaring note hit as though it were my first time.

For those who don't know the story, LES MIS follows a plethora of characters who interact in some way with a man named Jean Valjean (Nick Cartell). At the beginning of the show, he is released from prison, where he has spent 19 years on the chain gang because he stole bread to feed his starving nephew. But his transition back into society does not go easily, as he's met with judgment and scorn over his prison record until a kind bishop shows him generosity.

We next see the reformed Valjean as the mayor of a small town and head of a factory where a young woman named Fantine (Haley Dortch) works to be able to send money to her young daughter Cosette who lives with some innkeepers, the Thénardiers (Matt Crowle and Christina Rose Hall). However, a dispute with the leering factory foreman and her meanspirited, judgemental coworkers leaves Fantine on the streets. Meanwhile, policeman Javert (Preston Truman Boyd) is determined to hunt down the convict who broke his parole from so many years ago, not realizing it's the mayor of the town he's serving.

Eventually, the musical skips forward in time to find Valjean and his now teenage adopted daughter Cosette (Addie Morales) in Paris, which is abuzz with the impending June Rebellion of 1832. Students Enjolras (Devin Archer, played by understudy David Young Fernandez on Tuesday night) and Marius (Gregory Lee Rodriguez) and their friends are gearing up for a fight to unite France against its corrupt government, but if you know anything about history and you're wondering why you haven't heard of this rebellion, it's because it was unsuccessful. At the same time, the Thénardiers once spoiled, but now street-rough daughter Eponine (Christine Heesun Hwang) is determined to make Marius really notice her, even after his head is turned by the beautiful Cosette.

This production is absolutely gorgeous, with impressive sets, especially the runaway cart and barricade. The beautiful backdrops of art also add much to the atmosphere of the production. But the show's true star, aside from Boublil and Schoenberg's music, is how well the cast brings it to life.

Cartell stuns as Valjean from his very first songs. He does an excellent job of portraying Valjean at each different stage of his life and making the audience really believe in the moral dilemmas he faces. Plus, his "Bring Him Home" was one of the best I've ever witnessed and drew massive applause from the audience.

Dortch is an excellent Fantine, perfectly bringing across the tragedy of a young woman put in impossible circumstances after being abandoned by her lover. Crowle and Hall manage to find new humor in old material with their portrayal of the Thénardiers but never lose their sinister nature underneath the comedy.

Morales is a cute and giggly Cosette, infusing personality into a character that isn't given much on the page. She and Rodriguez drive home the idea that Cosette and Marius are just teens in love in the best of ways. Hwang brought the house down with her determined "On My Own" without a trace of self-pity, making her Eponine the perfect foil to Morales's Cosette.

Fernandez was a more-than-worthy Enjolras who exuded leadership. From how he hit Enjolras's difficult high notes, I would never have guessed he hasn't been playing this role every night. I also have to mention Kyle Adams's portrayal of Grantaire, which was excellent. His Grantaire had big Main Character energy (as he should) and was great with the adorable Gavroche, Milo Maharlika.

I could wax poetic about LES MIS for days. It's the show that made me believe in the power of musical theatre, and seeing it at DPAC was a beautiful reminder of that. Whether you're an old fan like me or experiencing Valjean's story for the first time, this production of LES MIS is sure to touch your heart - and might just make you think about the injustices of the world of 19th century France and the one we live in now.

LES MISÉRABLES is at DPAC through April 9. You can find more information and buy tickets here.

Photo Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

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