Review: LES MISERABLES is Revolutionary at Broadway Sacramento

As Les Misérables turns thirty-eight this year, it shows no signs of aging. Performances in Sacramento have almost sold out, and it makes one wonder how a show whose content is serious and dark can have such staying power. When it opened in London in 1985, critical reviews were mixed. What it had on its side was public support. Audiences loved the themes of revolution, hope, and redemption; so much so that a Broadway production was launched in 1987. This won eight Tony Awards, including Best Musical, and cemented its status as a legend in theatre.

As the National tour continues in Sacramento, it’s apparent that those messages combined with an award-winning score and phenomenal talent are what is bringing audiences to their feet and keeping them coming back for more. Even those who aren’t regular patrons of musical theatre have probably heard of Prisoner 24601. Jean Valjean translates well to modern audiences, except his nineteen-year prison sentence for stealing a loaf of bread would equate to, at the most, a sideways glance in today’s court. His compassion for the downtrodden and his redemptive transformation from beggar to savior sits well with a populace that has seen massive strides in acceptance and inclusion in the past several years. Songs like “Look Down” seem particularly timely, especially in California, as homeless rates soar. I encountered a man lying on the sidewalk just tonight, so the words carried a unique poignancy. The beggars’ plea, “Look down and show some mercy if you can, look down, look down upon your fellow man!” makes us think of what we can do to show compassion to those who are often invisible to us. An act of compassion is what saved Valjean, so the song also carries hope that more will choose benevolence.

Les Misérables also resonates with many during these times of political polarization and upheaval. The student revolution, based on the June Rebellion of 1832, led by Enroljas has parallels to those who are currently fighting against a tyrannical government. Delivering these messages of social reform are unparalleled voices and infectious energy from some gifted Broadway veterans. Leading the charge for reform (starting with pay inequality) is Nick Cartell as Jean Valjean, who helps to carry the plot on his very capable shoulders. One of the most powerful moments I’ve seen in theatre is Cartell on the barricade, pleading with God to spare Marius. His performance of “Bring Him Home” left the audience breathless and in awe, and his tone is something difficult to describe. Angels come to mind. As they do when young Fantine shares her woes. “I Dreamed a Dream,” one of the most recognizable numbers in the show, is performed with passion and anguish by a terrific Haley Dortch. Their tormentor, Javert (Preston Truman Boyd), is a little hard to hate because of the talent he brings to the show. His “Soliloquy” is quite moving and is an extraordinary example of the show’s impressive set and projections. There is some lighthearted humor thrown in to break up the heavy material, notably by the Thénardiers (Matt Crowle and Victoria Huston-Elem). The rousing “Master of the House” is always a fan favorite and shifts the mood from the melancholy of Fantine’s tragedy.

The large ensemble is also something to celebrate, with palpable energy and enthusiasm for this show that has enthralled audiences for years. “Do You Hear the People Sing?” is the ensemble’s anthem and a true privilege to experience. This inception of Les Misérables is nothing short of perfection and a triumph of power and spirit.

Les Misérables plays at Broadway Sacramento through October 29th. Tickets may be purchased online at BroadwaySacramento.com, by phone at (916) 557-1999, or at the Box Office at 1419 H Street in Sacramento.

Photo credit: Matthew Murphy and Evan Zimmerman for MurphyMade

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