BWW Reviews: LES MISERABLES at the 5th Avenue Theatre

There's really nothing like the first time you see one of your favorite shows.  The first time I saw "Hairspray" I leapt to my feet on the final note.  The first time I saw "West Side Story" I was on The Edge of my seat for these tragic lovers.  And the first time I saw "Les Miserables" I wept through the entire thing.  There really is nothing like the first time.  And the 5^th Avenue's current touring production of "Les Miserables" is really nothing like my first time.  With its complete lack of subtlety and heart, the only thing it has going for it is the amazing voices singing these wonderful songs. 

Based on the Victor Hugo novel, this new production tries to reimagine its tone by using Hugo's paintings as the inspiration for its set and backdrops.  And really that seems to be the extent of what's new and different about this production than the other productions we've seen time and time before.  We all know the story so I'll skip the rehash on that.  Suffice to say it's Hugo's classic novel of love and death, revolutions and betrayal, and one man's desperate attempt to make his life matter for good while the universe seems to be thwarting his every move.  So let's not dwell on the story, especially since the directors and actors didn't seem concerned with it.

But let's start with the direction.  I understand that in musical theater there are often times where the characters will face front and deliver their songs right to the audience (even though we're not there).  This presentational style is common.  But when it overshadows any kind of connection of the characters and beats the audience over the head with whatever emotion they are trying to convey, that's when I take issue.  And for some reason most of the performers seem to be directed as if this were a staged concert and give all their numbers directly to us.  Furthermore, there is so much over acting (or shmacting) going that with the constant hand wringing, beating of the breast and fists to God that I thought I might have been watching a parody of "Les Miz".  But alas, no, this was how these actors felt they should convey their feelings.  Unfortunately it resulted in a decided lack of feeling throughout. 

And speaking of the actors, let me just say that they all have amazingly magnificent voices.  These were some of the most breathtakingly powerful and clear vocal performances of the show I have heard.  And in the 5^th Avenue which constantly has problems with their sound mixing, that's saying something.  I was able to hear and understand every word, vowel and consonant.  It was almost like listening to the CD, it was that clear.  And the vocal technique was impeccable.  The powerhouse performance of the cast singing "One Day More" was outstanding.  And J. Mark McVey's rendition of "Bring Him Home" as Jean Valjean was one of the loveliest I've heard ... vocally.  But there was so little feeling behind those vocals that I found it difficult to care.  The same would go for Andrew Varela's Javert from whom I got no sense of urgency or obsession with chasing this fugitive.  It almost felt as if many of these actors have been in the tour too long and were just going through the motions.

I found two noteworthy exceptions.  Betsy Morgan as Fantine was stunning.  She inhabited the role and you could actually feel her pain in her performance and singing.  And Chasten Harmon as Eponine was spectacular.  She kept her Eponine grounded and real with a gorgeous voice and a beautiful character.  Her duet with Justin Scott Brown as Marius for "A Little Fall of Rain" was the one moment of the show I was actually able to feel anything.  She is an incredible performer with amazing presence and I hope some Broadway producers take note of her when it's time to cast the leads for replacements or tours of "The Book of Mormon" or "Sister Act".  Hell, I'd love to see her in "Anything Goes". 

Beyond the performances the sets infused with Hugo's artwork I felt added very little to the show except a few moments where they used some animation projection techniques to force perspective which worked well.  But then they over did it later so it kind of ruined it.  And speaking of forced perspective, the lighting by Paule Constable seemed so forced at every turn as he kept insisting on using stark white spotlights to indicate where we should be looking and feeling.  A prime example was how a new spot illuminated each soldier as they were shot and killed in the battle which came across as just cheesy.

All of this made me wonder what directors Trevor Nunn, John Caird, Laurence Connor and James Powell were thinking.  I guess this just goes to show that even a show like "Les Miserables" isn't bulletproof.  You can have a bad production.  But then I guess that can be said for most shows when you forget to tell the story amidst all the pretty singing.

"Les Miserables" plays at the 5^th Avenue Theatre through August 27^th.  For tickets or information, contact the 5^th avenue box office at 206-625-1900 or visit them online at www.5thavenue.org.

Photo credits: Deen van Meer