With the long-awaited, star-laden film adaptation due to be released on Christmas Day (about which I will expound my opinions as soon as I am able to see it), Les Miserables has returned to the US in a grand manner. While the stage production is still running in London (where it is the longest running musical), and there are countless touring productions all around the world, there is no Broadway production currently running, which is probably the only negative thing about Les Miserables at this moment. Thankfully, there have been several concert performances, namely the 10th and 25th Anniversary concerts that have been filmed that I can watch over and over in lieu of seeing a live production.
Les Miserables was one of the first musicals of which I became aware when I was growing up, and has become my all time favorite musical that I have ever seen live onstage. I first became aware of the score in grade school when the glee club (yes, I was in the glee club / chorus from the third grade through eighth grade) sang a medley of songs from the show, which had also prompted me to read the Victor Hugo novel, albeit the abridged version – tackling the 1,200+ page unabridged version was a daunting task for a nine-year-old to undertake. Les Miserables was also among the first stage musicals I ever saw (though I can’t recall who had been that initial Broadway cast – it was not the original cast), and is one of three musicals I have seen in the double digits [the other two being Phantom of the Opera and La Cage aux Folles].
I recall being crestfallen when the original production has announced it closing in 2003, and while I had been unable to obtain a ticket to the final performance, I was able to obtain one of the last tickets while waiting on the cancellation line to the next-to-last performance, which had been the first (though not the last) time I spent $100 for a single ticket – ticket prices back then were not as exorbitant as they are now. I also recall the utter joy I felt when I had read that to commemorate the show becoming the longest running show on the West End, the show would be revived in late 2006; that production was supposed to be a six month run, and ended up running over year and a half. This blog will therefore focus more on the revival production, as it is fresher in my recent memory, though there is one lasting memory I have from seeing the original production. Two months before its closing, Terrence Mann, who had brilliantly originated the role of Inspector Javert, returned to reprise his role, and I was finally able to see him on stage, ending years of my missing him perform live on stage [in the shows I had seen in which he was in the cast until that time – Cats, Beauty and the Beast, and The Scarlet Pimpernel – he had either been on vacation or had recently left the production]. Needless to say, he was astounding in the role, and remains one of my favorite actors to play that role.
The 2006 – 2008 Broadway revival production had non-traditional casting, meaning that race and ethnicity did not factor in casting the characters (who, of course are French). I loved the revival cast, which included Alexander Gemignani, Norm Lewis, Celia Keenan-Bolger, Aaron Lazar, Jenny Galloway, Gary Beach and Carly Rose Sonenclar (to name but a few) with one glaring exception – for whatever reason, Daphne Rubin-Vega, best known as being the original Mimi in Rent had been cast as Fantine. While she may have been fantastic as Mimi (full disclosure – I had not seen her in Rent, and I have the original cast recording to go by), she was terrible as Fantine, to the point where at the performance I had attended, the audience actually cheered when [spoiler alert!] Fantine died. That’s just not right. Thankfully, the succeeding actors to play the role – Lea Salonga and Judy Kuhn – were remarkably better, and interestingly enough had notably played two other significant roles in the past. Lea Salonga had played Eponine during the original run and Judy Kuhn had originated the role of Cosette, and both had reprised these roles in the 10th Anniversary concert. Other notable replacements during the revival run were John Owen-Jones as Valjean, and Max von Essen as Enjolras, both of whom were brilliant in their respective roles.
Whereas I was not able to attend the final performance of the original production, I was able to attend the final performance of the revival production on January 6, 2008, sitting the (right) box seat, which is an interesting perspective of the show. Seeing the show and listening to the score was, and is, one of the most moving experiences I have ever had in the theatre. Without fail, almost regardless of the cast, I’m weeping by the end of the show – just hearing the opening notes of “Bring Him Home” induces tears; it’s not all doom and gloom, though – there are moments of levity, most of which came from the opportunistic Thenardiers, in “Master of the House”, “The Thenardier Waltz of Treachery” and “Beggar at the Feast”, Gary Beach and Jenny Galloway were perfect in balancing their comic timing with underling menace to not let the audience forget that they too are the villains of the piece. Other moments of levity (whether intended or not) were provided by Adam Jacobs as Marius and Drew Sarich as Grantaire; Adam Jacobs had played Marius as awkward beau, with his hesitant opening delivery of “A Heart Full of Love”, which always induced giggles from the audience, and Drew Sarich’s brilliant portrayal of the drunken Grantaire during “Red and Black”.
The stage door experience after that final performance was frenzied as always, though it does amuse me that more times than not, it’s always a chilly night whenever I stage door, and thankfully while it had been cold, it did not snow. The cast had emerged to an enthusiastic crowd of fans and signed playbills and posed for photos, per usual. I truly believe that it is utterly impossible for anyone who has ever seen the show or listened to any of the cast recordings (and there are a lot of them out there, in multiple languages) to not be moved to tears by the music and the story that tells of the triumph of the human spirit in harsh and unforgiving circumstances.
Nearly five years has passed since the revival production (and almost ten years since the original production) closed on Broadway – I can only hope with all the laurels the film adaptation is generating that a permanent revival will return. There have been rumors that the current US Touring production might find its way to New York City.
Brief update: It has been announced that Les Miserables will return to Broadway sometime in 2014, though no specific date or venue has yet been confirmed.