The stage adaptation of Victor Hugo’s Les Misérables, performed as part of the PNC Broadway in West
Michigan series at Miller Audition, is luminous and bewitching. The 60-member
cast and crew work together seamlessly to create a well-oiled and evocative production.
Peter Lockyer plays Jean Valjean, the dependable
protagonist, who, per the request of the dying Fantine, rescues Little Cosette
from the clutches of a despicable innkeeper and his wife. Lockyer’s vocals and
stage presence are as sturdy as his character. He leads the cast with ease and
grace in numbers such as “The Bargain” and “In My Life.”
Natalie Beck, who plays the innkeeper’s wife and Andrew
Varela, who plays Inspector Javert, are also a delight to watch. Though minor characters, both actors command
attention when on stage. In the number “Master of the House,” Beck’s use of
body language and props, including a French baguette, are outrageously funny (and
crude). Varela’s soliloquy in Act I, titled “Stars,” is one of the sweetest, richest
vocal numbers of the production.
The children, too, hold their own in the show. The voice of
9-year-old Erin Clearlock as Little Cosette is harrowing and raw. Her rendition
of “Castle on a Cloud” evokes a seismic emotional reaction that sends chills up
the spine. Joshua Colley, who plays the mischievous Gavroche, delivers cheeky
one-liners in a squeaky voice to gruff men twice his height and three times his
age. Colley helps lighten the mood of the somber story and dark musical
accompaniment.
Gloomy as it may sound, the live orchestra, conducted by
Lawrence Goldberg, infuses life into all aspects of the production. Ryu Cipris’
flute solo in the number “On My Own,” for example, is even more haunting than
the words the heartbroken Éponine
sings. The orchestra also makes
set changes nearly undetectable.
Standing
at least 20 feet tall and often jutting far across the stage, the sets are
incorporated effortlessly into the actors’ spheres. The multi-layered barricade
in Act II creates new spaces for the performers to explore and gives breadth
and depth to the stage.
The combat scenes, choreographed by Ben Gunderson and
Heather Chockley, also deserve accolade. While far from complex, the stage
fights are fluid and believable. It is clear the actors trust their bodies and fellow performers.
Heart wrenchingly tragic, but not over-the-top, the Broadway in West Michigan rendition of Les Misérables leaves
little to be desired.
I really enjoyed your review Alaina. Especially as someone who has only seen the film version of "Les Mis" I appreciated a critique of a live performance (which after hearing about "Les Mis" for years yet then being disappointed by the film, I assume is the superior medium for the musical). Not only did you give some great feedback on actor's individual performances, but your note about the orchestra's talent and their ability to aid transitions was something I never would have thought to include. It really made me think about the instrumentation of the musicals I see and not just about the vocals. I also loved your description of the combat scenes and how the actor's performances correlated to their effectiveness. I don't even know if this is relevant, but I guess I was curious about your thoughts on "Les Mis" itself: how it works as a narrative, the quality of the songs, etc. I don't know if that's necessary since it's so well-known and renowned, but I guess I just wanted to hear more of your thoughts and your great writing :)
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