PM reviews 'Les Mis' at Ogunquit

[Perfectly Marvelous]

Posted: 10/8/08 at 3:32pm

Les Misérables is in its final weekend at Ogunquit Playhouse, and last Saturday I decided to go back to see the show.

Truly, it is a marvellous production (I don't say that because I have ties in Ogunquit, it really is a treat).

I think what made it powerful, right from the start, was the fact it opened on 9/11. Previews had begun the 10th (with roughly two days of tech), but to have a story about human empowerment open on that day - I can say that I have never witnessed a better opening night performance.

I don't write reviews much, and it's still quite hard for me to put my thoughts into any coherent form - so I'll do the best I can.

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The set from Walnut Street works for Ogunquit's stage, and creates a wonderful working space for the actors. The grim back wall adorned with windows (which light up occasionally) gave the theatre an eerie feeling. It feels like a haunted house, or walking on an old Parisian street. The sliding walls, moved by actors, invited the audience into the world of Valjean, Javert, the students, etc. (An example is when Valjean tears up his yellow ticket of leave, as the walls slide open to reveal At the End of the Day).


My favorite part (set-wise) was Lovely Ladies when the walls were opened to reveal part of a scaffold, and a cut out of a ship (that looked like an actual ship, to give an illusion of being at a dock). The lights also added to this effect, with blue, purple and pink hues. I liked the scaffold because it allowed different dimensions, thus resulting in a very neat "stage picture" in which I wanted to watch what everyone was doing. There were whores climbing the scaffold, looking at he customers below, enticing them to come over. The pimp and the madame were onstage, trying to get business. And of course, there were other whores milling about with their customers, sneaking off into the sides of the walls.

The scaffold also helped with Look Down (Paris) and the factory. Once again, by creating dimensions, it was very visually appealling and made the scenes more interesting to watch.

Also, I loved the barricade. Orange, pink, yellow and white lights were set behind it and as it is rolled out, the beams of those lights would shoot out from the various openings. After Éponine sings On My Own, she is silhouetted against these lights as well. When the battle begins, a set of lights were dropped behind the barricade to give the idea of explosions. The use of a fog machine also helped this effect.


Because I had always watched from offstage previously, I never got to fully appreciate the actors onstage. As I sat in the house and watched, I could truly admire their work. It was really amazing to see everyone use their craft and work their magic to weave together. I wanted to know what everyone was doing, what their characters were thinking. Despite the fact I've seen the show before, there was a renewed sense of excitement, that "What's going happen next?" feeling which kept me at the edge of my seat, just waiting for more. Even in the not so serious moments (like Master of the House, or even the most ridiculous, Runaway Cart), I was completely captivated.

The cast is exceptional - although there are a few flaws but it's only because I'm a nit-pick. I still don't like Turning, and in this production it screams "filler song" moreso than in the other productions I've seen. It's not to say the female ensemble is not strong. Unfortunately, the song just doesn't want to work for them. And despite having it heard it numerous times, it seems stuck...the other numbers have improved to a degree. A good example of this is Do You Hear The People Sing? where the boys of the ensemble get to show off their voices, and vocally, it is very tight, and has definitely grown in strength over the past few weeks. Then again, Do You Hear The People Sing? has much more of a purpose - or at least in my opinion - than Turning. The whole ensemble is incredible - for a small size - and it was nice to finally appreciate their art.

The principles are solid, for the most part. Ivan Rutherford gives Valjean a sense of ease, understandably he's played the role over 2,000 times. It's weird to explain but his Valjean has a sort of "worn" aura about him. I really loved his rendition of Bring Him Home.

I was very impressed with Todd Alan Johnson as Javert. And actually a tad scared, too. He made me sympathize with Javert. Here is a man who is so twisted by his obsession to the law and to do "right" that he cannot understand forgiveness or see the good in people. We're all guilty of letting things get in the way of seeing the good, I think. One of my favorite moments of the show was his performance of Javert's Suicide ... the way he screams "Is he from heaven or from hell?" is frightening.

Josh Tower, as Enjolras, is a force to be reckoned with. I loved his voice and his prescence - which is a definite must for any performer, especially if they're playing Enjolras. His voice is phenomenal, and is perfectly cast.

Josh Young is a very good Marius, not that I'm a Marius fan per se, but I liked his performance. A Heart Full of Love was one of my favorite scenes of his - where he fumbles with his feelings with Cosette. In a classic "Romeo and Juliet" setting, he tries reading a letter to her, then proceeds to climb up the scaffold where they stand together and share their newfound love. It was quite adorable so I couldn't help but smile. I didn't really care for his Empty Chairs at Empty Tables.

Mother and daughter, Andrea McArdle and Alexis Kalehoff, were also perfectly cast. To see Andrea reprise her role as Fantine was a plus for me, because I didn't see her when she originally played the role. I liked her Fantine, and thought her Fantine's Arrest was superb. Alexis was quite different from the other Eponines I've seen. Her A Little Fall of Rain was tear-worthy and normally I don't cry when I hear that song. Also, I felt she didn't play Éponine in a way one would typically expect, which was a pleasant surprise. It seemed she gave the character some bitterness, especially with Little you care.

Staging-wise, there were some neat bits -

For instance, no turn table, which meant the barricade was spun around by actors and crew (dressed in period clothing). When Enjolras dies, he is on top of the barricade, with the red flag leaning over him and a white light shining down. Grantaire, as he is fighting, gets shot and falls onto Enjolras, so his head is resting on Enjolras's chest. I wondered if they were playing up the subtext here...

Gavroche's death - there are no extra actors on the ground as "dead soldiers" which would have made it a tad more believable, otherwise very effective. Gavroche sings Ten Little Bullets instead of a reprise of Little People and is shot by an invisible source three times, the third being fatal. When he dies, Grantaire picks him up and carries him upstage with a beam of white light coming down on the two of them. Meanwhile, the barricade is spun around by the actors and crew.

Overall, a wise season closer. It's easily one of the best productions Ogunquit has put on.

Updated On: 10/11/08 at 03:32 PM

[Dancin Thru Life]

Posted: 10/8/08 at 4:28pm

Sounds awesome!

Thanks for sharing.

Always a favorite indulgence of mine, Les Miz will continue to "WOW" audiences for generations to come. It's timeless in it's presence...

Pretty poetic of me, huh? :)

[EponineAmneris]

Posted: 10/8/08 at 4:45pm

LES MIZ is my fave ever and it's always great to read reviews and hear about it

[maddiem]

Posted: 10/8/08 at 9:44pm

I just would love to see this again. I dont think I could ever get sick of this show..:)