Les Misérables

A brilliant production!

10 years ago Les Mis was given a re-tread, with the theatrical equivalent of botox, facelift, and tummy tuck. Twenty minutes were cut from the original run time, pictures added to the backdrop, more sets, more props, fancier effects, less barricade, more moving around on stage by everybody. This souped-up version was designed to appeal to a generation brought up on Marvel movies and the Fast & Furious franchise. This was the version that played in the Australian pro-revival from 2015 – 2017.

It is this version that director Rod Herbert brilliantly recreates on the Glen Street stage. The rear-projections, sets, props, blocking of cast, interpretation of characters, even the Thenardier’s ad libs are so faithfully reproduced here one would think the director watched a frame-by-frame replay for guidance. The few times the production strays from its facsimile recreation is when limitations of venue and budget force it to adapt. This tribute to the pro-revival is not surprising when you consider the director’s son played Gavroche in that production.

There’s one major difference between this and the pro-revival (with no disrespect to the director’s son): Manly have the better cast.

In terms of singing, focus, and passion, this cast made me wish they were playing in the pro-revival. Marcus James Hurley as Jean Valjean fits the role like a glove. He is equally matched by Joshua Rogers as Javert. Elizabeth Cornwall as Eponine will have you in tears. It’s worth the ticket price alone just to hear them sing “Bring Him Home”, “Stars” and “On My Own”.

And just wait ‘til you hear the rest of the cast! Keira Connelly gives us a Fantine that shows the character’s fiery determination. Reece Lyndon channels Heath Ledger as Enjolras with some powerfully-delivered top notes. Sam Hamilton as a very young-looking Marius shows his promise as a full-time music theatre performer. Isabelle Kohout as Cosette gives the character a third dimension, making her more than just the token love interest. Harrison James does a really good Gavroche. It wasn’t made clear who was playing Young Cosette and Young Eponine at my performance, but whoever those girls were they also deserve kudos for their roles. Garth Saville and Sally Redman stole the show for me as the scenery chewing Thenardiers.

But wow! That Chorus! Every one of them delivered vocal and stage magic. Always in character. Always in the moment. Every cameo, interjection, and harmony nailed brilliantly. They prove there’s no such thing as a “bit part”. Their rendition of “Do You Hear the People Sing” was amazing. No offence to the impressive set design but you could have done away with the set and other stuff and just have the Chorus alone work their magic.

It’s always risky when channeling so much intense emotion and energy that singing can become strident and yelling, and acting can stray into histrionics. This happened here but only a very small number of times.  Besides, I’d rather have that than performers not fully committed to the moment.

A further credit to all the cast and crew for their offstage behavior: audience sitting on the side get to see into the wings. Not once did any of the cast break character when getting off or on the stage while waiting or moving in the wings. And more credit to the stage manager and cast for handling an unexpected break in Act 2 to fix a sound issue (to the audience member who blurted out “is this a joke?”: no, it most definitely wasn’t).

Two things did concern me: one was that some of the orchestra weren’t always in tune and some cues were missed. I’d understand if it was opening night but five shows in I thought there’d be no problems. The other one was the overtly simulated sex by the Chorus during the “Lovely Ladies” scene, which distracted attention from what was happening to Fantine. I’d seen the show before but this was my Plus One’s first time, so she missed important story beats. Is there any way of toning it down, perhaps changing to mere “negotiating”? After all, we know these women are prostitutes, and we know the men aren’t there for a knitting circle.

I know such things may seem like nitpicking but I felt they were important enough to warrant a mention in this otherwise spectacular production.

A production worthy of storming the barricades to see.

Peter Novakovich

Photographer: Grant Leslie