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Les Miserables Also see John's recent review of In the 1980s and early '90s, a new buzz phrase was heard on Broadway: "mega musical." The term derives from musicals that have massive sets, special effects, hundreds of light cues, frequent costume changes, and so forth. Such pieces as Starlight Express, Cats, Miss Saigon, Phantom Of The Opera, and Les Miserables all opened on the great white way in the '80s (Miss Saigon in '91) and caused some critics to bemoan that you left humming the scenery instead of the music. Starlight did not last long on Broadway, but the others did have very long lives (Phantom and Les Miserables still have a home on Broadway). Les Miz opened on Broadway in 1987 at the Imperial Theatre, and it still plays there to sold out houses, with over 5,800 performances now, making it the fourth longest running musical in Broadway history. The epic received eight Tony awards, including Best Musical, winning over Me And My Girl, Rags, and oddly enough, Starlight Express. I have heard the score sung in various voices and acting styles, some good and some fair. The same can be said for this current tour. Randal Keith (Valjean) is one of the best singers I have ever heard tackle this difficult score. Keith's range from low notes into falsetto is perfect in pitch and tone. His performance of his second act aria, "Bring Him Home" was the best version I have heard of this song. Keith has the incredible ability to sing straight through the verse into the chorus without taking a breath, in full belt no less! I've heard other Valjeans lose control of their vibrato, thus the sustaining note comes off unbalanced and warbles off the key. Keith's vibrato stays strong and solid. He has the rare ability to hold the last note past the orchestra's cut-off which just took my breath away. Keith was met with very long and much deserved applause after that song. Stephen Bishop (Javert) is a tall, darkly handsome man who delivers a magnificent performance as the man who holds such hatred for Valjean. Bishop's full colored baritone voice fills the massive music hall. Some Javerts tend to overplay the "villain" qualities of the role, but Bishop stays more focused and gives Javert a more humanistic approach, showing the man's flaws more honestly. Bishop gives his act one aria, "Stars," the full passion and gusto the song requires. His act two number, "Soliloquy," was also breathtaking. The role of Fantine is played by an African American actress, the elegant and beautiful Thursday Farrar. I have hardly ever seen an actor of color cast in a lead role that was not written specifically for their "type," let alone in such a well known musical as Les Miz. Seeing it in this production just filled my heart with tears. Bravo for using non-traditional casting!! Ms. Farrar is simply mesmerizing in the role of a woman who would do anything to give her daughter a better life. Farrar possesses a clean soprano voice with full robust belt, but she really earns praise for her acting abilities, giving Fantine a soft and fragile quality. Farrar sings with haunting passion in her big aria, "I Dreamed a Dream" with tears streaming down her face as she finished. She was perfect. J.P. Dougherty and Aymee Garcia portray the comic relief roles of Monsieur and Madame Thenardier. I have seen Mr. Dougherty before as Thenardier, and he still barely skims the surface of the comedy that is written into the role. Dougherty has dreadful diction; his opening number, "Master of the House," is such a slobbery and mushed up mess that you don't hear the comic lines. He does get somewhat better in "The Thenardier Waltz of Treachery". Ms. Garcia also suffers from diction problems in "Master of the House," but finally hits comedy gold in the slow portion of the song, which is her main solo. Where Garcia falters in diction, she wins with comic timing and facial expressions. She does justice to the comedy subtext of the role, thus overshadowing Dougherty. Diana Kaarina is phenomenal as Eponine, the poor and dirty daughter of the Thenardiers who is in love with a wealthy student. Kaarina's performance of the well known ballad "On My Own" put a lump in my throat. Her soprano vocals are crisp, clean, with a soft hint of pop, giving the song youth and energy. What was totally new and fresh was what Kaarina did at the end of her duet with Marius (Stephen Brian Patterson), "A Little Fall of Rain": when she stops singing, she reaches up and kisses him! Marius finally realizes that she loved him; his shock is heartbreaking to watch as he whispers "grow" and holds her dying body. Bravo to both actors for really digging into the subtext of the song. Mr. Patterson is quite good vocally as Marius, but he tends to sing straight out into the audience while doing "presentational arms" (think Evita). Patterson really only connects emotionally with Kaarina in the above mentioned ballad. Stephanie Waters is miscast as Cosette. Water's soprano voice is extremely sharp and tinny. I've heard other sopranos in this role glide perfectly into the high notes, such as the end of "A Heart Full of Love". But Waters comes out harsh, adding to the problem of an out of control vibrato. Sadly, her acting is too one dimensional with no subtext. Kudos to Stephen Tewksbury as Enjolras, the leader of the students. Tewksbury brings fire and authority to the role with a gorgeous baritone voice to match his solid acting skills. This current tour is superb. Even with a few lackluster performances Les Miserables is still a very emotional and powerful piece of musical theatre. I totally disagree with the comment that you leave "singing the scenery". It's the score that is magnificent, period. The musical still holds emotional power - as I was leaving, I could see all around me grown men and women wiping their red eyes from crying, including yours truly. Les Miserables runs through July 8 at the Music Hall at Fair Park. By Alain Boublil &
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