Review: ‘Les Misérables’ – classic literature, powerful music

“Les Misérables.” “Les Mis.” If those words don’t conjure up vivid memories of the lifelong struggles of Jean Valjean, the pursuit of him by Inspector Javert, and the wondrous music and lyrics by Claude-Michel Schönberg and Herbert Kretzmer, you’ve either missed seeing the sixth-longest-running Broadway musical or it’s just been too long. Either way – or if you’ve only seen the 2012 Hugh Jackman-Russell Crowe film version of the musical – head to the Loop soon. Broadway in Chicago’s touring production of “Les Misérables” is, pardon my limited French, très magnifique.

“Les Mis” – based on Victor Hugo’s classic 1862 novel – formally opened on Broadway 36 years ago, receiving 12 Tony Award nominations that year and winning eight Tonys, including Best Musical, Best Book of a Musical and Best Original Score. The original run lasted for 6,680 performances; revivals in 2006-2008 and 2014-2015 added almost 1,500 more NYC performances combined. But those statistics don’t hold a candle to the fact that, according to Broadway in Chicago, “Les Mis” has been seen by over 130 million people worldwide in 53 countries and 22 languages.

You may not be 1 in 130 million, though, so here’s a synopsis, which isn’t brief, because “Les Mis” is a huge Hugo book, after all.

In a prologue set in Digne, France, in 1815, we see prisoners rowing a huge ship, and bemoaning their fate through lyrics such as “Look down, look down; you’ll always be a slave. Look down, look down; you’re standing in your grave.” One of those being paroled after almost 20 years is Jean Valjean (Nick Cartell), whose initial crime – compounded later by escape attempts – was the theft of bread for his sister’s starving child. Inspector Javert (Preston Truman Boyd) warns “Prisoner 24601″ (Valjean) that he eagerly will await Valjean’s return to incarceration. As an ex-con on parole, Valjean isn’t welcomed with open arms by townspeople, only being shown mercy by a bishop who lies that the church’s silver items Valjean was found with were, in fact, gifts. The bishop even adds two valuable candlesticks to help him get a new start.

Eight years later, in another French city and under a new name, Valjean has become mayor and owns a factory where, unbeknownst to him, the foreman is an abusive harasser of the staff, including Fantine (Haley Dortch). She’s an assembly line worker; her secret is that she has a young daughter, Cosette, who is being watched over by a thief/corrupt innkeeper and his wife, the Thénardiers (Matt Crowle, Christina Rose Hall). They’re continually demanding more money for Cosette’s care, while spoiling their own daughter, Éponine. When Fantine loses her job, succumbs to working as a prostitute, and becomes deathly ill, Valjean offers to raise Cosette. That decision – and others – puts Valjean in Javert’s crosshairs.

Nine more years later, now in Paris, Valjean has followed through on his promise to Fantine. Cosette is a young woman (Addie Morales) who has a meet-cute with Marius (Gregory Lee Rodriguez), one of the idealistic students planning what could be a tragic uprising. Marius’ best friend? That’s Éponine (Christine Heesun Hwang), who has an unrequited love for Marius, who now only has eyes for Cosette. What happens with this triangle, the safety of the students, the no-longer-innkeeping-but-still-thieving Thénardiers, the conflicted Javert, and our hero Valjean? Wait for Act II; it’s an intricate plot.

As to why this “Les Mis” is a must-see: first and foremost is the music, particularly solos by Cartell (“Bring Him Home”), Hwang (“On My Own”) and Boyd (“Stars”), as well as rousing ensemble numbers like the hilarious, larceny-filled “Master of the House,” and the Act I closer, “One Day More,” that brings together the motivations and feelings of multiple characters. The 15-member orchestra under the direction of Brian Eads ably boosts the audience’s excitement from the first chords of the Prologue.

There was also no dead weight on stage. From leads to ensemble members, casting directors Felicia Rudolph and Merri Sugarman and artistic directors Laurence Connor and James Powell have brought together and fine-tuned an all-star cast.

Projections and sets were outstanding, thanks to Finn Ross, 59 Productions and Matt Kinley. Perfect examples include Valjean and Cosette’s mansion exterior and gate, the feeling of movement through a sewer, and the believability of actions in Javert’s final scene. Paule Constable’s lighting design – including the appropriate use of almost entire darkness in that Javert scene and spotlighting individual characters for even the briefest of solos – was also impressive.

Enunciation and articulation were occasionally an issue, especially in some of the group numbers. I never heard any lyric or dialogue that mentioned the name of the leader of the students’ rebellion, for instance. (It was Enjolras.)

That concern aside – “I Dreamed a Dream” that you snatch up tickets for “Les Mis” by March 5, whether for the first or 21st time, because you’ll regret it if you don’t have “One Day More.”

• Paul Lockwood is a singer, local theater actor (including the recent Theatre 121 adaptation of “A Christmas Carol”), Grace Lutheran Church (Woodstock) and Toastmasters member, theater reviewer, podcaster, columnist, business proposal writer, and past president of TownSquare Players. He’s lived in Woodstock for over 22 years.

IF YOU GO

WHAT: “Les Misérables”

WHERE: Cadillac Palace Theatre, 151 W. Randolph St., Chicago

WHEN: Through March 5

INFORMATION: www.broadwayinchicago.com/show/les-miserables-2023