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International agreeable hit makes its third appointment to Sarasota’s Van Wezel
‘Les Miserables’: Book and music by Claude-Michel Schonberg; concept, book and aboriginal French lyrics by Alain Boublil. English lyrics by Herbert Kretzmer. Directed by Laurence Connor and James Powell. Reviewed Feb. 26, Van Wezel Performing Arts Hall, 777 N. Tamiami Trail, Sarasota. Through March 1. 941-953-3368; vanwezel.org
The aftermost time I saw “Les Miserables” was on Broadway in July 1998. I was a distinct mom braving a cruise to the burghal with my two children, ages 13 and 10. We denticulate three hard-to-get tickets for a Wednesday matinee, but we acquainted the appearance lagged during the recitatives and didn’t absolutely accomplish the affecting affiliation because of the called form. Apparently, we were critics alike aback then.
The “restaged” adaptation of “Les Miserables” directed by Laurence Connor and James Powell isn’t new to the United States. Producer Cameron Mackintosh had them put calm a beginning booty on the agreeable for its 25th ceremony and set it out on an all-embracing tour. Some admirers absent the aboriginal staging, while others admired seeing the appearance in a new way. Regardless of the alloyed reaction, the bout awash well, and Mackintosh brought it to Broadway in 2014.
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The assembly is aback on the alley and alternate to Sarasota’s Van Wezel Performing Arts Anteroom Wednesday for a run through Sunday. I thoroughly enjoyed it and acquainted it was a far stronger appearance than the aboriginal production.
It does abroad with the revolving turntable that was as abundant a above architecture aspect of the aboriginal as the chandelier in “The Phantom of the Opera.” But the artistic aggregation makes up for it with moody, able lighting by Paule Constable, intricate sets by Matt Kinley, endless of fog and projected backdrops. The set pieces are a assignment of morphous art; one moment a trench, the abutting a genteel home on the streets of Paris. The projections are beneath successful, at times aggregate in and complementing the sets and at others a broken-down distraction.
It may attending altered from the original, but it’s still the archetypal Victor Hugo adventure about Jean Valjean, who was confined for abounding years for burglary a loaf of bread. After his parole, a angelic abbey sets Valjean on a added adorning course. He creates a factory, becomes a ambassador and a agent ancestor to Cosette, the adolescent babe of Fantine, one of his abject branch workers. He brings Cosette to Paris, area she eventually avalanche in adulation with the adolescent apprentice Marius, about the time of a apprentice rebellion. Throughout the years, Valjean is pursued by the bent badge ambassador Javert, who believes already a thief, consistently a thief.
The performers are outstanding and above to the casting I aftermost saw on Broadway.
Patrick Dunn as Jean Valjean explodes onstage with megawatt energy. He doesn’t aloof comedy Valjean, he bound and about flies in the air throughout the opening. It’s a big, rock-star achievement in one of the better roles in the agreeable amphitheater repertoire. Valjean requires a gorgeous, abundant tenor articulation with the adeptness to admission an extraordinary falsetto. And your boilerplate Irish tenor will not do. It charge be a falsetto with all-overs and depth. Dunn provides all of this forth with the ability to ample the stage.
Dunn doesn’t abort in the character’s signature song, “Bring Him Home,” as he embraces every agenda of the adored aria. I ability accept adopted a little beneath of a hamfisted achievement and added subtlety, but Dunn fills the big hall.
The casting additionally includes a astonishing Joshua Grosso, who melts our socks as Marius with his baby articulation and a achievement that has subtlety to spare. Phoenix Best as his acquaintance Eponine provides a able and alluring articulate performance, and Jilllian Butler as Cosette has a astounding lyric acute voice, accouterment a antithesis to the added singers with a lovely, aerial quality. Parker Dzuba as Gavorche is a assuming assertive with his amazing articulation and appalling performance.
Mary Kate Moore as Fantine gives a solid, affecting performance, but she seemed to be disturbing vocally Wednesday night, which fabricated it a claiming for her to absolutely connect. Preston Truman Boyd as Javert turns in an asperous performance. His abandoned moments are august and he hits every mark, but he is vocally inconsistent.
But there is article about this revamped “Les Mis” that affiliated with me, conceivably for the aboriginal time.
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