LES MISÉRABLES is one of my favorite stories. I read the Victor Hugo novel in 8th grade, and despite its length, I couldn’t put it down. I discovered the musical in middle school not long after it started its run on Broadway at the Broadway Theatre and I saw it at the Imperial Theatre only a few years after it became a permanent installment there. I always loved the story, but seeing it love gave it a whole new life. This was the second time I’ve seen a touring company version of the show and the fourth time I’ve seen it ever. It’s always been a favorite. I’ve always loved Cosette’s vocal range but related much more to Eponine.
The company of LES MISÉRABLES performs “One Day More.” Photo by Matthew Murphy.
With glorious new staging and dazzlingly reimagined scenery inspired by the paintings of Victor Hugo, this breathtaking production of LES MISÉRABLES has already broken box office records during its pre-Broadway tour, leaving audiences and critics awestruck.
Producer Cameron Mackintosh said, “I‘m delighted that after a 4-year absence this glorious production is once again touring the major cities across North America and is more spectacular than ever.”
Set against the backdrop of 19th-century France, LES MISÉRABLES tells an enthralling story of broken dreams and unrequited love, passion, sacrifice, and redemption—-a timeless testament to the survival of the human spirit. Featuring one of the greatest scores of all time, with thrilling and beloved songs including “I Dreamed A Dream,” “On My Own,” “Stars,” “Bring Him Home,” “One Day More,” “Do You Hear the People Sing” and many more, this epic and uplifting story has become one of the most celebrated musicals in theatrical history. Along with the Oscar-winning movie version, it has now been seen by more than 130 million people in 44 countries and in 22 languages around the globe. LES MISÉRABLES is still the world’s most popular musical, breaking box office records everywhere in its 32nd year. While the story is certainly compelling and timeless, it’s one that resonates loudly in our current political climate.
“Bring Him Home” – Nick Cartell as ‘Jean Valjean’ in the new national tour of LES MISÉRABLES. Photo by Matthew Murphy.
I think the more times you see a show, the harder it is to fall in love with a casting of a character. You come to have expectations based on reading, seeing, listening to various renditions.
You won’t be disappointed by Nick Cartell as Jean Valjean. I was blown away by his performance. His raw intensity stole every moment of the show and his vocal ability is out of the world. You almost forget there’s an entire rest of the cast while you’re watching. Almost. “Bring Him Home.” Just, wow.
“I Dreamed A Dream” – Mary Kate Moore as ‘Fantine’ in the new national tour of LES MISÉRABLES. Photo by Matthew Murphy.
Mary Kate Moore’s range is pure gold. “I Dreamed A Dream” is one of those songs that every girl who loves musical theatre wants to sing but only about 2% of them actually have the range and control to consider pulling off. Mary Kate is one of those. And she does it memorably well.
“Empty Chairs at Empty Tables” – Joshua Grosso as ‘Marius’ in the new national tour of LES MISÉRABLES. Photo by Matthew Murphy.
Joshua Grosso’s Marius was excellent. Early on I was unsure how I felt about him as Marius. By the end, Grosso’s rendition of “Empty Chairs at Empty Tables” gave me chills. Incredibly moving.
Javert. Sigh, if I had to pick one thing about this version of LES MISÉRABLES that I did dislike? I would be Josh Davis as Javert. I’m not saying he was bad. Maybe he had an off night, but I couldn’t wait for Javert’s scene to end each time. I liked his presence as Javert, but the rest of it was a no for me.
Cameron Mackintosh’s production of Boublil and Schönberg’s LES MISÉRABLES has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer from the original French text by Alain Boublil and Jean-Marc Natel, additional material by James Fenton and original adaptation by Trevor Nunn and John Caird. The original LES MISÉRABLES orchestrations are by John Cameron with new orchestrations by Christopher Jahnke, Stephen Metcalfe, and Stephen Brooker. The production is directed by Laurence Connor and James Powell, designed by Matt Kinley inspired by the paintings of Victor Hugo with costumes by Andreane Neofitou and Christine Rowland, lighting by Paule Constable, sound by Mick Potter, musical staging by Michael Ashcroft and Geoffrey Garratt and projections by Fifty-Nine Productions. Music Supervision is by Stephen Brooker and James Moore, with casting by Kaitlin Shaw for Tara Rubin Casting.
LES MISÉRABLES originally opened in London at the Barbican Theatre on October 8, 1985, transferred to the Palace Theatre on December 4, 1985 and moved to its current home at the Queen’s Theatre on April 3, 2004 where it continues to play to packed houses and is the only version of the original production left in the world. The original Broadway production of LES MISÉRABLES opened at the Broadway Theatre on March 12, 1987, and transferred to the Imperial Theatre on October 17, 1990, running for 6,680 performances. The original US National Tour began in November 1987 and visited more than 150 cities before closing in St. Louis, MO in 2006. Broadway audiences welcomed LES MIZ back to New York on November 9, 2006, where the show played the Broadhurst Theatre until its final performance on January 6, 2008.
The new production was conceived in 2009 to celebrate the 25th Anniversary, with record-breaking productions in the U.K., Australia, Korea, Japan, Spain, France, Manila, Singapore, and Dubai. The new production is currently playing to sold out houses around Japan, São Paulo and Mexico with an upcoming U.K. National Tour. The North American Tour traveled across the U.S. for two years then played a five-month engagement in Toronto before returning to the Imperial Theatre on Broadway in March 2014 for more than 1,000 performances.
To date, LES MISÉRABLES remains the 5th longest-running Broadway production of all time.
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TICKET AND PERFORMANCE INFORMATION
LES MISÉRABLES will be at Portland’s Keller Auditorium for eight performances. The schedule for the Portland engagement is:
Tuesday, June 19 7:30pm
Wednesday, June 20 7:30pm
Thursday, June 21 7:30pm – ASL Interpreted Performance
Friday, June 22 7:30pm – Audio Described Performance
Saturday, June 23 2:00pm and 7:30pm
Sunday, June 24 1:00pm
6:30pm – Open Caption Performance
Wheelchair seating is available at all performances. For information on ADA seating, please call the Broadway in Portland Box Office 503-417-0573, email broadway@portlandopera.org or visit the Broadway in Portland Box Office in person (Monday – Friday, 9:00am – 5:00pm)
Tickets can be purchased:
www.BroadwayInPortland.com
or at Portland’5 Box Office: 800-273-1530
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