#1
Posted: 11/5/06 at 9:04pm
LES MISERABLES Review
https://nycriticscorner.broadwayworld.com/lesmiserables.htm
Alain Boublil and Claude-Michel Schonberg's adaptation of Victor Hugo's novel "Les Miserables" blasts back onto the Broadway stage with an already built in fan base after only closing its original 6,680 run a mere three years ago. The justification for the musical's return is questionable as an artistic achievement. Can this revival repeat the highs of the grandiose spectacle that the masterful original gave Broadway audiences?
"Les Miserables" has a mosaic of characters - police, prostitutes and hardheaded students - woven onto an automatically dramatic backdrop of tragic revolution in France where there is glory in death for a cause.
Its real star, apart from a world-class performance by Norm Lewis as Javert, is the pounding, slippery, exquisite score. Herbert Kretzmer and Claude-Michel Schonberg's score is just as heavy as the production itself, with its heavy operatic influence filled with vocal crescendos. The plain chord structures layered with tons of intricate melodies carry the palatable lyrics, especially as performed by most of the amazing talent in this revival.
Although almost every number is as strong as any musicals finale, the passion - death, romance or obsession - often provides touching moments such as Norm Lewis' policeman Javert's search of the dead and Alexander Gemignani's Valjean as he envelopes "Bring Him Home" into a stunning awe inspiring moment. The swinging rowdiness of Master of the House is always a welcome variance from the enthralling haughtiness of the show's insistent purpose, especially when performed by the shows outstanding supporting superstar Gary Beach as Thénardier.
The only misstep of this production is the casting of Daphne Rubin-Vega as Fantine. Her "I Dreamed a Dream" is more like a nightmare. Making acting choices that are completely bizarre and not melding with her other actors onstage, she truly is an awkward presence from start to finish. Luckily Fantine's finish is closer to the beginning of the show, but her reappearance for the finale ruins the spectacular ending with her very presence. Why Cameron Mackintosh has not replaced Rubin-Vega with an actress suited to tackle this role is a mystery.
Luckily though, the wielding backbone of the evening survives thanks in large part to designer John Napier's revolving stage that goes hand in hand with David Hersey's lighting. And John Caird and Trevor Nunn's direction of this enormous undertaking crackling over decades and cities is impeccable, with the exception of Rubin-Vega's pointless Fantine; but with all the time they have had to make all of their productions sparkle, why oh why do they let Rubin-Vega nearly destroy an otherwise height hitting event?. Nonetheless, "Les Miserables" is an overwhelming and exhilarating experience that remains one of the great grand daddies of musical theatre.
https://nycriticscorner.broadwayworld.com/lesmiserables.htm
Alain Boublil and Claude-Michel Schonberg's adaptation of Victor Hugo's novel "Les Miserables" blasts back onto the Broadway stage with an already built in fan base after only closing its original 6,680 run a mere three years ago. The justification for the musical's return is questionable as an artistic achievement. Can this revival repeat the highs of the grandiose spectacle that the masterful original gave Broadway audiences?
"Les Miserables" has a mosaic of characters - police, prostitutes and hardheaded students - woven onto an automatically dramatic backdrop of tragic revolution in France where there is glory in death for a cause.
Its real star, apart from a world-class performance by Norm Lewis as Javert, is the pounding, slippery, exquisite score. Herbert Kretzmer and Claude-Michel Schonberg's score is just as heavy as the production itself, with its heavy operatic influence filled with vocal crescendos. The plain chord structures layered with tons of intricate melodies carry the palatable lyrics, especially as performed by most of the amazing talent in this revival.
Although almost every number is as strong as any musicals finale, the passion - death, romance or obsession - often provides touching moments such as Norm Lewis' policeman Javert's search of the dead and Alexander Gemignani's Valjean as he envelopes "Bring Him Home" into a stunning awe inspiring moment. The swinging rowdiness of Master of the House is always a welcome variance from the enthralling haughtiness of the show's insistent purpose, especially when performed by the shows outstanding supporting superstar Gary Beach as Thénardier.
The only misstep of this production is the casting of Daphne Rubin-Vega as Fantine. Her "I Dreamed a Dream" is more like a nightmare. Making acting choices that are completely bizarre and not melding with her other actors onstage, she truly is an awkward presence from start to finish. Luckily Fantine's finish is closer to the beginning of the show, but her reappearance for the finale ruins the spectacular ending with her very presence. Why Cameron Mackintosh has not replaced Rubin-Vega with an actress suited to tackle this role is a mystery.
Luckily though, the wielding backbone of the evening survives thanks in large part to designer John Napier's revolving stage that goes hand in hand with David Hersey's lighting. And John Caird and Trevor Nunn's direction of this enormous undertaking crackling over decades and cities is impeccable, with the exception of Rubin-Vega's pointless Fantine; but with all the time they have had to make all of their productions sparkle, why oh why do they let Rubin-Vega nearly destroy an otherwise height hitting event?. Nonetheless, "Les Miserables" is an overwhelming and exhilarating experience that remains one of the great grand daddies of musical theatre.
I agree with everything you said. 
