One or two venues in London are
not
presenting
Les Misérables
this autumn. The musical celebrates its silver jubilee by bringing the
current touring production into the Barbican, where the original
version began in 1985 before moving to the West End where it’s still
running; in addition, a concert presentation will shortly be staged at
the O2 Arena. Is it worth all the fuss? Well, almost. More even than
Andrew Lloyd Webber, Alain Boublil and Claude-Michel Schönberg
rewrote the rules of the modern musical with this show, turning it more
or less into opera for people who mistakenly feel that "real" opera is
above them – a kind of
ersatz
high culture. But the material is not by any means inferior; perhaps
“contemporary high culture” puts it better.
When I last saw the show, ten years ago in the West End, I felt that
for performers and audience alike it had become something of a ritual
rather than an immediate experience. Ten years is too long ago to make
detailed comparisons, but it strikes me that reimagining the staging
along slightly simplified lines for a touring production has been
advantageous. Designer Matt Kinley has created a series of projected
backdrops based on the drawings of Victor Hugo: brooding, blurred land-
and skyscapes, which Paule Constable’s lighting alternately harmonises
with and contrasts as it picks out the players. John Owen-Jones gives
the requisite powerhouse performance as Jean Valjean, living a virtuous
life whilst pursued for parole-breaking by the too-zealous Javert (Earl
Carpenter), and Rosalind James is also excellent as Éponine,
cherishing her unrequited love for Marius (a Gareth Gates-looking young
chap who turns out actually to be Gareth Gates). Ashley Artus and Lynne
Wilmot as the grasping Thénardiers are as brash as their musical
numbers, which sound as if they have blown in from a show by Lionel
Bart.
The evening could so easily boil down into industrial quantities of
syrup and bombast. It is also tempting to assume that what redeems it
is Hugo’s original material, but that isn’t necessarily so... remember
the flop musical of his
Notre Dame
de Paris? It just seems to be one of those once-in-a-blue-moon
fortuitous combinations, which even Boublil and Schönberg have
been unable to replicate (coming nearest with
Miss Saigon). Yes,
Les Mis can still make the heart
leap and the eyes mist.