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When you've been waiting half your life to see a
production in the flesh, and it's a world-renowned musical behemoth such as
this, you can’t help but to have some incredibly high expectations. In many
cases, there would be the odd occasion of a falling flat, of a
'not-quite-there', something in the 'never meet your heroes' sort of vicinity;
but if, like me, you've waited forever and couldn't possibly wait one day more
(pun intended) then put any pre-conceived notions aside and prepare to have
them thoroughly exceeded.
Another aspect was the
almost unbelievable set pieces; being an avid fan I'd seen countless set photos
from both the touring and the London shows, but it's not until you see set
pieces several stories high moving seamlessly together to create an almost
movie-like level of believability that you can quite comprehend the level of
skill and mastery that set and image
designer Matt Kinley has brought to this production. The infamous barricade was
a sight to behold, standing tall and centre stage proudly surrounded by rebels
in an act of defiance that was breathtaking to see brought to life. Similarly,
the use of backdrops inspired by Victor Hugo's own paintings adds a sense of
atmosphere that couldn't have been achieved with just set pieces alone –
something about the way the darkness and despair captured so eloquently in just
a picture, knowing this is how Hugo saw the city he so beautifully wrote about,
brings another level entirely to the suspension of disbelief we're able to
build and a slightly more personal touch to something so heart-wrenching.
For me (and likely many others) a key element of Les Miserables
is its unfaltering ability to capture raw human emotion in all its forms – be
it the lows of despair and desperation, or the highs of loyalty and love. I
can't count the number of times I've curled up on the sofa with a box of
tissues blubbering like a baby at the film version, but put simply, it could
never compare. This production had the strongest cast I've seen, particularly
in the vocals department. It's not often you come across an entire cast so
perfectly placed together who are able to encapsulate emotions into their
performances this well; with live performance you expect to hear the odd flat
note here and there, but not this time.
If ever there was a time to 'ugly cry' in a theatre, it was
during Lauren Drew's hauntingly beautiful rendition of 'I Dreamed A Dream' –
her Fantine was nothing short of absolute perfection. You can't help but fall
in love with her innocent demeanour and dedication, so it's no surprise that
one of musical theatre's most well known heart-wrenchers brought the house to
tears. And make no mistake that this will not be your only opportunity to bring out the tissues; Chisnall's performance of 'Bring Him Home' had me in tears
from the very first note. If I were absolutely forced to look for any possible
improvement, it would be the odd time when the performance was slightly off
with the music; but it's to be expected with emotional numbers and a live band.
Our incredibly talented Eponine (Jenna Innes) and Marius (Will Callan) were
just as devastating with their renditions of 'On My Own' and 'Empty Chairs At
Empty Tables' respectively – as can be expected, there was barely a dry eye in
the house.
An aspect of this production I found incredibly
interesting was the way it handled the death scenes that are peppered
throughout at expertly opportune moments for the most emotional effect. Whether
it was Fantine's peaceful passing from a life that treated her so poorly, Eponine's
last moments in the barricades finally at peace in the arms of the man she
loves, or Javert standing over the body of a young child and realising just
what the price of justice at all costs is [a huge round of applause to young
Lucas Melrose Steel as Gavroche, who was an absolute ray of sunshine], this
production handles it beautifully. These characters aren't simply glossed over
but we're made harshly aware of the fragility of life on the bottom rung and
the desperate need of something to fight for. One stand out, though, was the
death of Javert. Simple and stylised, this poignant moment of a man in madness
as he realises he's spent his life hunting down a merciful man really hits and
is made all the more hauntingly beautiful with a combination of wires, clever
staging and artistic backdrops – this moment alone is one to behold.
With all the lows, it's a good job we had the remarkable
Ian Hughes (Thenardier) and Helen Walsh (Madam Thenardier) for a touch of comic
relief; you know what they say, if you don't laugh, you'll cry – why not get a
good dose of both? The 'Master Of The House' and his lovely lady were the
perfect pick-me-up when needed, and never failed to get a good laugh, which I
can't imagine is easy with a show as famously macabre as this!
Les Miserables is an absolute classic for a reason - it
will bring you to tears and have you riling up your own revolt before you know
it. It was almost impossible to see the iconic red flag and not feel a stir of
something revolutionary – good art goes hand in glove with the politics of its
time, and it's even more effective when some aspects still ring true.
This is perhaps the first show I've seen where I wouldn't
change a thing. I didn't expect to leave more in awe than when I went in – it's
not a show I'll be forgetting any time soon, and it's one I'll jump at the
chance to see again. The cast are sticking around at the Leeds Grand Theatre
until 10th December 2022 for the penultimate leg of its UK tour, so if you're
feeling rebellious then get your tickets while you can because, as can only be
expected of a production this magnificent, they're already flying out of the
box office.
Reviewer - Hazel Kaye
on - 29.11.22
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