Les Misérables is one of the world’s most popular musicals (and among my favorites). It follows the life of ex-convict Jean Valjean (Nick Cartell), who, after spending 19 years in prison for stealing a loaf of bread, breaks parole and reinvents himself. He adopts a daughter, and years later joins a group of devoted students in their revolutionary fight. His daughter meets her love interest during the revolution. Adapted from Victor Hugo’s novel, the musical spans about three hours and weaves together multiple subplots, with a diverse cast of characters who each make their mark on stage.
Photo by Matthew Murphy, Courtesy of Evenko
What you missed
First of all, I must applaud the cast for their singing. Nick Cartell delivered a stellar performance as Jean Valjean (aka prisoner 24601), his melodious tenor reflecting his extensive experience in the role (over 1200 performances). Preston Truman Boyd stood out as Javert with his deep, rich voice, while Randy Jeter made a memorable impression with his brief yet heartfelt scenes as the Bishop. Jake David Smith impressed as Marius: the boyish innocence of love-at-first-sight was captured in his awkward and endearing meeting with Cosette under her balcony. Mya Rena Hunter acted wonderfully as the lovely Éponine with her longtime unrequited crush on the oblivious Marius. Her On My Own was powerful and convincing. Haley Dortch as Fantine sang a powerful and hopeful — yet breathy — I Dreamed A Dream. Very few of the aforementioned cast members gave perfect performances, but perhaps an exception was Leo Caravano as the little Gavroche; he stole the show as “little people can do,” but his enthusiasm and clear singing were very commendable. Another exception was the two Thenardiers (Matt Crowle and Victoria Huston-Elem) who were absolutely brilliant. Their comedic timing, expressions, and ability to light up the stage renders this a necessary commendation on my behalf. I even think the ensemble in general was great, in scenes such as Lovely Ladies, At The End of the Day, and Master of the House.
Gripes
Unfortunately, I did have many qualms about the show. The whole show seemed a little rushed. For example, there wasn’t enough time to mourn and digest Fantine’s loss of self after I Dreamed A Dream, before an abrupt shift into the rowdy Lovely Ladies. Furthermore, I don’t even recall seeing the initial scene in the prologue where Valjean is made to carry the flagpole for Javert, which sets up Javert’s shock years later when a disguised Valjean lifts a cart to save a man. The lighting was occasionally too dim, making it difficult to make out what was happening on stage.
Photo by Matthew Murphy, Courtesy of Evenko
Furthermore, some of the vocal delivery could benefit from either better balancing of the mics or a different stylistic approach. Right off the bat, an initial issue with amplification rendered Javert’s first lines of the show completely inaudible. Personally, I don’t love the overuse of vocal sliding or scooping, a trait I heard plenty of that night. Some cast members utilized it much more often than others — most notably Hunter — but this repertoire favors precise attacks on notes, instead of portamenti. Hunter’s attack on Éponine’s famous line “every word that he says is a dagger in me” was slightly pushed, with a jarring emphasis on every third syllable. The frequent switching between sung and spoken text, hindering enunciation and making a significant amount of Valjean’s dialogue difficult to understand for those less familiar with the musical.
Delaney Guyer (Cosette) looked beautiful on stage in her full dresses, her voice sweet and melodious. Unfortunately, she was much quieter than she should have been in One Day More, and was a little flat in her first attempt at her highest note in A Heart Full of Love (though she redeemed herself in the reprise). Devin Archer (Enjolras) convincingly portrayed the righteous leader of the revolution, carrying his weight in Red and Black, though he started to sound more nasal towards the end of the last battle. Kyle Adams performed a compelling Grantaire, his physical acting funny in the café, and heartbreaking when he carried the body of the little Gavroche down from the barricade.
Surprising Staging
Given that much of Les Misérables focuses on Paris slums, factory workers, a revolution barricade and the poorer population of France, there is not much room for grandiose ballgowns or vibrant sets. I did enjoy what moving sets and costuming were taken with whatever liberties were left, especially in the later wedding feast and the streets of Paris. However, some of the staging was bizarre — Smith sang an emotional Empty Chairs at Empty Tables surrounded by his dead friends on stage, yet missing any chairs or tables. The background projections were distracting during the sewer scene, though they were creatively utilized during Javert’s suicide.
Photo by Matthew Murphy, Courtesy of Evenko
Despite vocal issues here and there, the ensemble was great; Jean Valjean and many other characters were well-cast; and the heavier, more serious scenes were well balanced with funnier, more innocent scenes. The production definitely satiated my Les Misérables-craving. The timeless themes of love, sacrifice, and redemption continue to resonate deeply, and the production’s energy and passion were palpable. Whether you’re a longtime fan, or new to the world of Victor Hugo’s masterpiece, this performance offers a compelling and memorable experience.
Les Misérables runs in Montréal until August 4 2024. For more information: https://www.montreal-theater.com/shows/salle-wilfrid-pelletier/les-miserables
