Cessy Newmon
If you love opera, you’ll love LES MISERABLES. If you don’t love opera, you’ll love LES MISERABLES. The original story was written in the 1800’s by author and artist Victor Hugo, then adapted in 1980 into a French sung-through musical by Michel Schönberg and Alain Boublil. Five years later, it was adapted into English by Cameron Macintosh. It is the longest-running musical in West End history. The Broadway premiere followed in 1987, garnering eight Tony Awards, including Best Musical and Best Original Score. The current tour is an adaptation by Trevor Nunn and John Caird.
Set against the backdrop of early 19th century France, LES MIS conveys misunderstanding, selfishness, selflessness, heartbreak, hope, redemption – a range of emotion not readily captured within three hours (including intermission). To do this, the touring company brought in a powerhouse cast of 41, huge for a touring company, with predominantly seasoned Broadway, Off-Broadway, and/or National Tour performers. Having looked at the company’s background in advance, I had high expectations, and they do not disappoint. I did not look at who the understudies were prior to the performance, and speaking to the caliber of the troupe, they were every bit at the level I would expect from the primary performers.
At the helm of this cast is Nick Cartell, who has performed the role of Valjean over 1300 times. He inhabits this persona from the moment he takes the stage. The role of Javert is played by u/s David T. Walker, who more than holds his own in his national tour debut. He has a wonderfully rich belt that contrasts well with the higher powerhouse vocals of Mr. Cartell.
Randy Jeter plays the Bishop of Digne, who is the first person to show mercy to former prisoner Valjean. At the end of his solo, Mr. Jeter hits a low note that can melt a heart. Valjean uses silver gifted by the Bishop to turn his life around, but violates his parole in the process. He builds wealth as the owner of a factory, but in the process of saving a man’s life, he gives away his identity to Javert, who continues to pursue him through the years.
Owner of a factory, Valjean is unaware of the abuse his foreman lays on the female employees. Employee Fantine (u/s Nicole Fragala) is trying to earn money to care for her daughter. When she rebukes the foreman’s unwanted attention, he has her fired. Broke and alone, she resorts to selling her belongings and hair to send money to her daughter. Finding her beaten and dying, Valjean gets her to a hospital where he promises that her daughter, Cosette, will be raised under his protection. Ms. Fragala’s voice is glorious in “I Dreamed a Dream”.
Meanwhile, young Cosette (Emerson Mae Chan) has been raised by Mr. (Matt Crowle) and Madame (Victoria Huston-Elem) Thénardier along with their spoiled daughter Éponine (Greta Schaefer). One of the only comedic numbers in the show, “Master of the House” shows off Mr. Crowle and Ms. Huston-Elem’s character portrayals with riotous timing welcoming guests and picking pockets. It is after this scene is set at the inn, that Valjean enters to negotiate for Cosette’s guardianship. He pays 1500 pounds sterling, roughly $280k today, to secure her release, and they flee into hiding in Paris.
Nine years later, the country is in turmoil. While in town, Valjean and the now-grown Cosette (Delaney Guyer) run into Marius (Jake David Smith) who immediately fall in love. However, someone else is in love with Marius: the now-grown Éponine (Mya Rena Hunter). When Ms. Guyer hits her first note, you know she has the high ones in her, and she hits them like a songbird. Ms. Hunter has the more resonant, angsty voice that brings out her character. Lovesick Mr. Smith flits between both, blind to Éponine’s feelings for him as he asks for her help to locate Cosette.
This is just a teaser to introduce you to the show. It is intricately woven, and while ending somewhat tragically, there is hope and redemption. This also only introduces most of the principals. Almost every cast member has some cameo in the show, and every voice is worth hearing. The one piece of feedback would be that often many of us wished there were subtitles. Numerous speakers were used for the production, and while it may have helped, because this is such a word-heavy production, it can be hard to catch everything.
As one might expect, it took a lot of trailers to bring in the set. Both cast and crew were moved on/off the stage on sets of electronic tracks, sometimes in 3-story towers. They must feel secure, because they’re singing away as they move. The set starts more minimalist at the beginning of the show and becomes more elaborate in places throughout.
Costumes, makeup and hair. Hair, makeup and costumes. It seems like every time someone walked offstage they went anywhere from slave to rags to riches to prostitutes to rebels. Each with a different costume and coif! Being backstage to see the changing setup would have been a dream, because it must have required almost individual costume/makeup crew for each of the cast to pull off the elaborate transitions.
LES MIS is at the Jacksonville Center for the Performing Arts April 1st-6th, 2025. Ticket prices and show times vary based on show and seating. For tickets, go to fscjartistseries.org or call (904) 632-5000.
Along with Les Mis comes the announcement of the FSCJ Artist Series 25/26 Season, and what a packed Broadway tour season it is! Kicking the bucket (or candlestick) off is CLUE LIVE ONSTAGE. In February comes MRS. DOUBTFIRE, then MOULIN ROUGE! the Musical, A BEAUTIFUL NOISE: The Neil Diamond Musical, and ending the season with BEETLE JUICE!
by Cessy Newmon
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