Les Misérables continues at Edinburgh Festival Theatre until 19 February 2019 and on tour until 4 January 2020.
Star rating: five stars ★ ★ ★ ★ ★
Returning to Edinburgh with this new production, Les Misérables continues to impress. Victor Hugo’s classic work is certainly ‘in vogue’ with new film renditions (including Boublil and Schönberg’s sung-through version) and the BBC’s commission from Andrew Davies for television. However faithfully or beautifully rendered, these are left standing when compared to the shared experience of live theatre.
Styles change, expectations change, tastes change. This production was devised to mark the 25th anniversary of Les Misérables in 2009. The beauty of the re-staging of this beloved classic piece of musical theatre is conveyed through its simplicity. Losing the revolving stage and scenic trickery, this production focuses in on the characters and relationships far more keenly.
Killian Donnelly brings a great deal of light and shade to his Jean Valjean, realising the character’s arc of the story with bold, confident command of the stage. The sense of a genuinely dangerous man is palpable; the pitchfork and flame wielding townspeople justified in rejecting him.
The changing of Valjean’s character expressed in ‘The Soliloquy’ is conveyed by Donnelly through extraordinary long phrases sung to perfection. His performance never falters for a second, drawing the audience in, there is intimacy within this epic piece.
Every Jean Valjean needs a strong Javert to play against: Nic Greenshields plays Javert with utter precision. His stillness in scenes with a great deal of movement around him is effective in adding to his ‘otherness’: his upright commanding figure distinguishing him from every other person onstage.
The conflict between Valjean and Javert is pitched perfectly. The tension is sustained in every scene they share – fine acting and stunning singing. Both ‘Stars’ (Javert) and ‘Bring Him Home’ (Valjean) are show-stopping moments. Deservedly so as both are outstanding.
Fantine (Katie Hall) is a joy to watch and to hear. ‘I Dreamed a Dream’ sweeps along with a joy that turns to bitterness and despair. Her scenes almost fly by as the pace builds, with excellent ensemble work from the ‘ladies’ throughout. Her scene in the hospital bed is disarmingly child-like, increasing the pathos. The contrast in the following scene between Valjean and Javert is all the stronger, picking up the pace once again.
‘Master of the House’ is always a crowd-pleaser and Sophie-Louise Dann with Martin Ball mine every double-entendre and gag for all they’re worth. Deftly directed, the mini-narratives amongst the clientele are witty, bawdy and thoroughly appreciated.
The ensemble works really well together – these are distinct characters, bringing a rich authenticity to all ‘crowd’ scenes. This is particularly true of the students, led by an ideal Enjolras (Will Richardson), resplendent in the classic gold-braided scarlet jacket.
The inter-play of the students is packed with detail, especially the relationship with the cheeky charmer Gavroche and Grantaire (Ruben Van Keer). Marius (Harry Apps) is the eager young pup in the first few scenes and gradually matures ever so well as the story unfolds. Apps’ physical and vocal performance is authentic, bringing a great deal of depth to the role.
The pairing of Apps with Bronwen Hanson as Cosette is beautifully touching. Their duets soar emotionally as well as musically, sending shivers of delight through the audience. Eponine (Tegan Bannister) is a tough, brittle bundle of energy who takes ‘On My Own’ almost to a point of anger until she admits her love for Marius.
The pace is brisk throughout with new arrangements of the score suggesting resonances that are seldom immediately obvious. Details such as these encourage listening with a ‘fresh ear’ whilst seeing the story in a slightly different light.
The increased tempo does mean that the moments of stillness, to take pause are used to great effect in emphasising an important detail of the plot. For those unfamiliar with the synopsis, the lack of any indication of time passing between scenes may cause some confusion but this is a small matter that could be remedied easily.
The audience rose to the company as one for a thunderous ovation. This energised Les Misérables ensures that this show will have another 25 years and more to come. The world’s longest-running musical shows no sign of slowing down and with sold-out houses many would still have to kill for a ticket!
Fiona Orr
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