LES MISÉRABLES
Cast : Simon Gleeson, Earl Carpenter, Chris Durling, Patrice Tipoki, Kerrie Anne Greenland, Emily Langridge, Paul Wilkins
Run Time : 2 hrs 55 mins (With 20 mins interval)
Runs : 31 May to 24th July 2016 at Esplanade Theatre
When one thinks of juggernaut
musical theatre extravaganzas, the show that immediately comes to mind (apart
from the one about a disfigured genius who kills a bunch of people in an opera
house) is Les Misérables. Based on
Victor Hugo’s 1862 novel, considered to be one of the greatest works of 19th
Century literature, the musical was composed by Claude-Michel Schönberg, with
French-language lyrics by Alain Boublil and Jean-Marc Natel. After becoming a
hit in Paris, an English-language version with lyrics by Herbert Kretzmer
premiered on the West End in 1985 at the Barbican Theatre. Weathering some
nasty reviews from the British press, the show has gone on to be a worldwide
sensation, with touring productions, translations into multiple languages,
anniversary gala concerts and a 2012 Oscar-winning film adaptation. Touring
productions have previously visited Singapore in 1994 and 1996.
It is 1815, and Jean Valjean is a convict who was
sentenced for stealing a loaf of bread to feed his sister’s dying son. Valjean
breaks parole to start a new life, eluding the capture of Inspector Javert. Following
an encounter with a gracious bishop, Valjean reinvents himself as “Monsieur
Madeleine”, eventually becoming the mayor of Montreuil-sur-Mer and a factory
owner. Factory worker Fantine gets fired and is forced into prostitution. As
she lies dying, Valjean vows to care for Fantine’s daughter Cosette. He rescues
Cosette from the cruel innkeeper Thénardier and his wife. Years later, Cosette
meets and falls in love with Marius, a dashing young student drawn into a
rebellion led by the passionate Enjolras. In the meantime, Thénardier’s
daughter Éponine pines for Marius but goes unnoticed. Through all this, Javert
continues his relentless pursuit of Valjean, who he sees as no more than
“Prisoner 24601”.
The show has such an in-built following that one has to
remember that for audiences who have had no prior exposure to the story in any
form, there’s some legwork to be done. While the lush score and exceedingly
memorable songs do sweep one up, it’s clear that even at a running time of 3
hours (including intermission), the story has been greatly truncated. There are
two major time skips: the story begins in 1815, then skips to 1823, and then
further ahead to 1832. Characters reunite out of what seems like sheer
convenience –Thénardier even references the serendipity that fuels the plot
with the line “Ain’t the world a remarkable place?”. The bulk of the story is
set against the 1832 June Rebellion in Paris, but even given spirited speeches
from student revolutionary Enjolras, we don’t get all that clear of an idea
what exactly they’re rebelling against, apart from vague injustice.
That said, this is still a show with tremendous emotional
impact, enhanced by big-budget spectacle. This new production, patterned after
the 25th anniversary reworking of the show, features set designs by
Matt Kinley, inspired by the original paintings of Victor Hugo. Hugo’s
paintings are also worked into the projected backdrops. The multimedia effects
include splashing water projected onto the scrim in front of the chain gang
rowing away in the galley, as well as 3D animation of the cavernous sewers
through which Valjean carries Marius. It’s a tiny bit tacky. The set is
detailed and elaborate, with hinged flats swinging open to let in shafts of light;
Paule Constable’s lighting design always dramatic. The askew back-alleys do
look authentic enough, though the stage does often seem cluttered because so
much is going on at once. Fans of the original staging might find themselves
missing that turntable once the barricade goes up or pining for the way the
sewer scene was originally lit, but there’s still no shortage of awe-inspiring
visual splendour in this staging. Also, those gunshot effects are wont to give
everyone in the first five rows mild tinnitus.
Simon Gleeson’s Valjean is a man who begins as violent
and bitter, and through his quest for redemption, never completely shakes that.
It’s an interpretation that this reviewer found quite compelling, as Gleeson
constantly reminds us that the feral beast with nigh-superhuman strength has
never really gone away, and that Valjean is a man who has never been at peace
with himself. While he delivers Valjean’s Soliloquy with great conviction,
Gleeson has a tendency to go a little shouty during the opening act. His take
on Bring Him Home, typically thought
of as a tender song, is a little angrier than fans might be used to, but it
does work with Gleeson’s characterisation of Valjean. Gleeson has, quite
touchingly, said that the moment in each performance he most looks forward to
is when Valjean meets little Cosette for the first time. One does get the sense
that Valjean is valiantly trying to better himself for the sake of his adopted daughter,
and the conclusion of Valjean’s odyssey is both satisfying and heart-rending.
Earl Carpenter reprises the role he’s played on the West
End and in other touring productions, the antagonist Javert. The character is
driven by a singular obsession and is unwavering in his hunt for the fugitive
who has eluded his capture, so it is easy to make him a moustache-twirling
villain. Carpenter stays a safe distance away from that, but his Javert is
still easy to root against. The superciliousness and condescension that are
vital components of the character are very much present in Carpenter’s
interpretation, and the actor’s imposing physical stature certainly helps. His
take on Javert’s signature tuned Stars
is a genuine show-stopper and is one of the best renditions this reviewer has
heard.
Patrice Tipoki’s Fantine is perfectly serviceable and her
rendition of the iconic song I Dreamed a
Dream is a decent one, but she ultimately doesn’t plumb the depths of the
character’s tragedy, failing to make enough of an impact in her limited time on
stage. Incidentally, her sister Laura is the conductor and musical director for
this production.
Both
Paul Wilkins and Emily Langridge are expectedly pretty in appearance and vocals
as Marius and Cosette respectively. The “love at first sight” arc, complete
with a meet cute in the town square, will set more than a few eyes rolling.
Enter
the hypotenuse in our love triangle, everyone’s favourite character Éponine.
Kerrie Anne Greenland is plucky and feisty, but is also capable of becoming
heart-achingly vulnerable during On My
Own and A Little Fall of Rain.
Her Australian accent creeps in quite often (listen out for how Greenland sings
the word “only”), but it actually adds to ‘Ponine’s charm. She might just be
this reviewer’s favourite performer in the show.
The designated scene-stealers, Mr. and Mme. Thénardier,
played by Cameron Blakely and Helen Walsh respectively, with great aplomb. The
characters provide much of the comic relief in a relatively downbeat show (it’s
there in the title), but also have to possess actual malice and make the
audience’s skin crawl. Some of the slapstick in Master of the House is a little too silly, but an elaborate gag
involving a blind traveller and his pet bird is downright hilarious. We have to
laugh at the Thénardiers and also find them utterly despicable; Blakely and
Walsh have got all the bases covered. Over at the barricade, Chris Durling
imbues Enjolras with great vigour, but did go off-key a few times while issuing
his calls to arms.
Because of the nature of the 1900-page (in the original French) source novel, Les Misérables might not be a work
that’s readily understandable in full, but it is a musical that is easy to
connect with. The stirring music, powerful characters and dazzling eye candy
stagecraft all make for a thrilling night at the theatre. Despite the long
running time, there’s nary a dull moment in this show rife with incident. Rather
than pulling one out of it completely, the moments of melodramatics and overall
lack of subtlety add considerably to the charm of the show. Those attached to
the original staging might bemoan what seems like change for change’s sake, but
if you’re experiencing the show for the first time, it will be difficult to
resist.
Summary: The storytelling is hampered by various practical limitations and some of the changes in this new production are unnecessary, but there’s no denying that this beloved musical remains a visual and aural treat, with powerful performers leading the cast.
RATING: 4 out of 5 Stars
Jedd Jong
Photos by Matthew Murphy, courtesy of MediaCorp VizPro International
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