In 1985, on the 8th of October, the musical phenomenon ‘Les Miserables’ debuted at the Barbican Centre theatre in London. It had also opened five years earlier, at the Palais de Sport in Paris, but the reception was unfortunately not as enthusiastic as you may have expected. Closing after three months, the French, original adaptation later inspired director Peter Farago. Farago then encouraged producer Cameron Mackintosh (who worked on the original ‘Cats’), to take on the project, and the cultural phenomenon was born. On the 1st of August, I was lucky enough to see the West End’s adaptation of the musical for the second time. Although the cast was not the same as it was during my first visit, they still provided a wonderful ambiance, doing justice to all the complex characters, which make ‘Les Miserables’ the success it is.
The story follows our protagonist, Jean Valjean, beginning in the Bagne Prison, Toulon, France, 1815. He, and the other prisoners, are hard at work, until he is brought before police captain Javert. Valjean, it is revealed, has finished his nineteen-year sentence, and is free to go. Of course, he may not break parole, and all his employers after leaving prison must recognise that he was once a convict. This leads to widespread rejection, and Valjean wandering the streets until a kindly Bishop takes him in. Desperate for some form of wealth, to help him survive, Valjean attempts to steal some of the Bishop’s silver, but he is caught! The religious man, however, excuses Valjean of his sin, causing our protagonist to reform, break patrol, and run away to begin a new life. Several more dramatic events transpire; the adoption of a young girl following the death of her mother, Javert constantly chasing and catching up with Valjean, in order to bring him to justice, and an attempted revolution by some middle class students. I don’t wish to spoil the ending - but the story is given its title for a reason.
This specific production, of the 2015 West End cast of the Queen’s Theatre, is certainly a spectacular one. Each and every main character, and member of the chorus, undoubtedly worked tirelessly to produce a wonderful show. Despite the understudy of Jean Valjean, who portrayed the protagonist in this specific showing, forgetting one or two lines. Still, the passion and talent was certainly there. Of course, there are some details of the show that will remain the same wherever it is performed. The staging of the number ‘Empty Chairs at Empty Tables’ is enough to break anyone’s heart, and the red waistcoat worn by Enjolras is always a wonderful symbol of the youth and passion of the students. The truly outstanding thing, however, is the music itself. ‘Les Miserables’ only really has a few melodies; yet the strategic repetition and blending of said melodies to reflect moods and characters is what makes the musical.
‘Les Miserables’ is a very, very difficult musical to perform, but when it is done correctly, it is outstanding. Congratulations to the Queen’s Theatre cast, may their run be long, and anything but miserable!
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