For a show as beloved as Les Misérables, it’s amazing how rarely audiences are exposed to a professional production of it. While there’s a film adaptation and several concert versions, they differ greatly from seeing the show as intended with moving set pieces and actors navigating a massive stage. Even if the music has become some of the greatest standards in late 20th-century Broadway history, one can argue that it doesn’t entirely work without the action. It’s only in recognizing the grand scope that its vision becomes clear. The size of the show is a sight to behold unto itself, and the way it navigates between minimalism and maximalism is some of the best theater one is likely to see in any given year. In fact, this current touring production is arguably one of the best-designed shows in several tour cycles.
The truth is that Les Misérables is one of those shows that practically spoil the audience with quality. The orchestra from the first notes is a rich tapestry that thrusts the audience into the world of Jean Valjean as he goes from prisoner to redemption. Every new set has a visual splendor that cinematically transitions into the next. There are even points where a rear screen projection is used to create optical illusions that enhance the otherwise practical settings. Everything about the show is constantly moving. Nothing stays in place for long, and it’s a miracle that what ends up happening is a fluid piece of storytelling that juggles some of the most emotionally rich characters in theater history while often presenting it in quadruple-part harmony.
To expand on the harmony, there are few shows that seem as actively difficult to perform as this. The solos are often quiet or build in complex manners. There is a need for one to transition without losing their physical acting, and the cast continually delivers on that. Similarly, there are scenes that feature the entire cast doing cross-harmonies or even asynchronous ones that create a new pitch. Everything about it allows for a discordance to form and reflect how despite each character’s differences, they share something similar on an unexplainable level. At one point, even Jean Valjean holds a high note that blends with the orchestra. To highlight every moment that jumps off the stage would be a fool’s errand. These are all quality actors doing some of the best work on the touring circuit right now. They deliver every note with passion and precision that shakes the audience to their core.
More than anything, having the sets enhances what many are already familiar with. There are points where entire two or three-story sets emerge and have actors singing from high up. They come and go without any jagged movement. These transitions feel effortless because the songwriting is so on point that it manages to provoke intrigue in every scene. Again, even when the stage is barren, there is something full about it. The actors have such control over the perspective that darkness feels more lived in, where a cloud of smoke is just as part of the emotions as any line sung throughout the show. Everything feels crucial to making the story pop.
As a result, it’s difficult to truly pick out which one of these actors qualifies as a standout. Each has its own moments to shine, and I’d argue it reveals why this show has remained as in demand as it has. There’s heart a lot of the time, but it knows when to pull back and use small bits of comedy. It’s one of the most lived-in shows of its time, and as a result never drags. There’s always someone’s story evolving. Given that this is about how everyone is working to survive and is deserving of compassion, it makes the final thesis, even in its simplicity, all the more powerful.
For theater fans, it’s unlikely that there’s a more fulfilling show touring for the remainder of the year. The material is already rich with purpose and this current take only improves upon what is already seen. By tweaking some minor details, the performance feels more alive and inventive. One can’t help but be in awe of how every facet of this show came to be. If you’re around Segerstrom Theater and have a chance to see it, then do yourself a favor and go now. While the three-hour running time may seem like a chore, I’d argue that it’s only a minor quibble. Stick with it long enough and you will see its magic play out. There are few shows as deserving of your attention as this. Many blockbuster shows have graced the stage, but none quite as rebelliously as Les Miserables. It’s destined to give you chills, not only making you appreciate the themes in your own life but also what a stage is capable of conveying with the right people involved.
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