Review: LES MISÉRABLES at Peace Center

The revolution has come to the Upstate. Broadway’s great epic Les Misérables is once again thrilling audiences at the Peace Center Concert Hall. Boubil & Schönberg’s glorious masterpiece remains in fine form on this national tour directed by Laurence Connor and James Powell. As well sung as it is, it is the technical elements of this staging that really, ahem, steal, the show.

An adaptation of the 1400-page “Brick”—as fans lovingly call it—by Victor Hugo (The Hunchback of Notre-Dame), Les Mis is the story of ex-convict Jean Valjean following a lengthy sentence. The heinous crime? As a desperate, impoverished young man Valjean stole a lone baguette to give his nephew.

He works hard to build a respectable life and even becomes a father, but unfortunately every yin has its yang, and Valjean’s is named Inspector Javert. Being a cop is all but religion for Javert, who represents every bit the justice to Valjean’s mercy. As clearly as Hugo’s thesis is to advocate for the latter, the timeless philosophical debate between the two is part of what makes the story compelling. I suspect, though, that most fans of musicals already knew this.

In this current incarnation, however, the principal cast is exceptionally talented. In the lead role of Valjean, Nick Cartell (Jesus Christ Superstar) shows every bit of his lengthy history playing “prisoner #24601” for over 1600 performances. His vocals and his acting are both equally pure, with an understated take on the performance that is effective in capturing Valjean’s humble nature.

As Javert, Hayden Tee (& Juliet, Matilda the Musical) does a great job of commanding the stage during his solo “Stars”, matching all the technical elements that make the scene resonant. 

In an important supporting role, Lindsay Heather Pearce (Wicked, Mean Girls, Titanique) brings one of the biggest voices you’ll ever hear to the role of Fantine, the downtrodden single mother of young Cosette (portrayed, at this performance, by Lillian Castner as a child), the daughter adopted by Valjean. Cosette herself is played to perfection by Alexa Lopez (Stephen Sondheim’s Old Friends). Even though Cosette spends much time harmonizing with her beau Marius (Peter Nereuther, also of Old Friends), Lopez’s crystalline soprano stands out in its own right. Special mention are also deserved for Rocco Van Auken as the adorable but savvy street urchin Gavroche at this performance, ensemble member Danny Martin (Anastasia) for understudying the role of the revolutionary Enjolras with perfect seamlessness, and, most importantly, to Randy Jeter. He briefly played a bishop in a scene so powerful the audience was clearly verging on a standing ovation.

The technical elements, however, were perhaps starring more than any actor. The execution was flawless all around. Paul Constable’s lighting is pure storytelling, clearly and powerfully evokeing all the necessary moods, from rich evening candelight to an angelic beam from the heavens. Additionally, a scene in the Paris sewers is brought to life with shockingly good use of projections by Finn Ross and 59 Productions.

Lastly, the cast sings the libretto by Boubil—and Herbert Kretzmer—wonderfully, it is Schönberg’s musical score that especially shines in this production. Musical director Glenn Alexander II has gotten every powerful chorus and crescendo at full impact. It’s not bombastic though, since the softer musical moments still are handled elegantly, even if that word could describe the singing at certain moments. The sound design by Mick Potter would have been a major contribution to this  achievement. This is of course in addition to the supervision of James Moore and Steven Brooker, the latter having also collaborated on the orchestrations with a trio of others, as well as musical coordinator John Miller.

Perhaps the most perfect example of all these elements coming together is during “Stars”. The lighting of nighttime Paris is excellently captured, the orchestra—with Tee’s vocals—is firing on all cylinders, and a lovely bridge setpiece by scenic designer Matt Kinley. Even as someone who had the opportunity to see the original production directed by Trevor Nunn, this tour of Les Mis, is still a dream to experience too.

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