When you ask people if they like musicals, one either gets an enthusiastic smile accompanied by a big “YES”! or an unapologetic “NO”, as a look of disdain comes across their face. When you dig a little deeper, it comes out that it’s not so much musicals like Mary Poppins that they’re talking about – how can you not love Mary Poppins after all, what are you, A ROBOT? – but rather Cats, Phantom of the Opera, or – indeed, Les Miserables.
They’re the sort of musical that moves away from the idea of “a show with songs”, to a “show told with music”. Dialogue is usually told in the form of a song, and even though a show like Les Miserables has its well known musical moments, it’s often hard to know where a “song” begins, and a moment of dialogue ends. So it’s pretty easy to understand why this segment of the genre can be polarising.
So where do I fit in on this discussion? Well, I can’t stand Cats, find Phantom fairly grating and – up until this week – had never seen Les Miserables on stage or in its celebrated film form. I knew a few of the songs, sure, like anyone who has had their ear in pop culture in the last three decades. I knew a bit about the story – though that may have been from film trailer, I’m not sure by now. But I’d never seen the show, and had no intentions to go out of my way for it. If in New York or on the West End, a Book of Mormon or even a classic like Guys and Dolls will take my vote over a serious “modern” musical like this any day. But, it is considered a “modern” classic, and truth be told, once I was provided with the opportunity to see the show, I found it hard to turn it down.
Currently enjoying a successful run at the iconic Her Majesty’s Theatre in Melbourne, ahead of heading to Perth and then Sydney in 2015, I attended a matinee screening earlier this week, surrounded by groups of school children and the older of our community. Spotting the fandom of the musical was immediate. People were chatting about the first time they saw the musical, their favourite moment from the film before the show even began. T-shirts and souvenirs were being bought in their droves. The woman next to me apologised in advance for getting emotional during the show (indeed she did). OK, I thought to myself, there’s got to be something here that makes people continue to flock to the production after all these years. Deep breath. Here we go.
The musical opens on a slave ship, where prisoners are serving out their prison sentences with hard labour. The music begins immediately and we meet Jean Valjean (Simon Gleeson), our “hero” – notably played by Hugh Jackman in the feature film. The scene is in essence the prologue to our main story, where Valjean is freed as a slave, before embarking on the journey that leads us into the first act’s time period, some ten years later – now an honest man, trying to lead a good life. Though having broken his parole, Javert (played powerfully and brilliantly by Hayden Tee), is on his tail and we’re led on a journey through time as the two play cat and mouse against the backdrop of the French Revolution, as Valjean fulfills a promise to a stranger.
As much as I tried to be a pessimist and dislike the show, by its end I was turned. Yes, the music does feel a bit unnecessary at times, though that’s just an issue of personal taste. And yes, it’s a bit depressing – I’m a much bigger fan of the light-hearted romps. But there’s an undeniable quality to the production that makes it hard to flaw. Firstly, there are the performances. Patrice Tipoki as Fantine gives a stunning peformance in the first act, and Gleeson as our hero has a commanding presence. Madame Thénardier (Lara Mulcahy) and Thénardier (Trevor Ashley) bring some “groteque humour”* to the show, in the vein of Matilda’s parents. Like Zinnia and Harry Wormwood, you hate them, but their over-the-top characters do bring some relief to the otherwise somber affair. But it’s Javert who steals the show. Tee’s unwavering intensity is remarkable, and it’s hard to look away from him in any scene – as tense and uncomfortable as they can be. His final scene in the show is also one of its most technically impressive moments.
Next, there’s the production itself. Having seen some snippets of the original production’s iconic rotating stage, this rebirth of the production by Cameron Mackintosh is a sight to behold. Utilising projection technologies along with excellent lights and staging, there’s a grand simplicity to it all. Huge set pieces move on and off with ease, blending in with their surrounds and creating an immersive environment.
I do prefer my musicals to be more lighthearted, and with less “singing” and more “songs” – and it’s for this reason I’d avoided the show to now. But probably being the only person in the theatre who didn’t know the story to a tee, I was compelled from start to finish. For fans of the show, this is a must-see production. An stunning use of theatre that brings the show into the new century. For those who may be in my position – if you enjoy the theatre at all, it’s worth seeing just for the spectacle. It’s not always easy viewing, but it’s ultimately rewarding and a great night (or, in my case – day) out.
Les Miserables continues at the Her Majesty’s Theatre in Melbourne until December 20th, before moving to Perth’s Crown Theatre from January 13th to February 8th and then playing at the Capitol Theatre in Sydney from March 29th. For tickets and more details head to: http://www.lesmis.com.au/
*I put this in quotations because I think I saw this on a poster for the show, quoted from another review, but I couldn’t possibly think of a better way to describe them.
