THE LOWRY, SALFORD – UNTIL 23 APRIL 2022
REVIEWED BY ANGELOS SPANTIDEAS
5*****
Les Misérables is a musical that needs no introduction, being the longest running musical of London’s West End, debuting in 1985 having been watched by millions of people it is a show that sets high expectations. Known for its powerful message, its inspiring songs and the demanding staging, Cameron Mackintosh’s acclaimed production of Boublil and Schönberg’s musical surely meets a breathtaking degree of excellence.
The story begins on a ship where prisoners have to row under very hard conditions as a punishment and where the audience meets for the first time Jean Valjean, who is being punished for stealing a loaf of bread but soon is reluctantly being released by officer Javert. With the sad realisation that as an ex-convict Jean Valjean will always be treated as an outcast, he breaks his parole, goes on the run and rebuilds his life. With his past always catching up to him the audience witnesses how the turbulent life of Jean Valjean unfolds as he adopts Cosette and tries navigating raising her during a time that France, and more specifically Paris, is met with immense social changes.
This almost three hour show feels like a journey, and although a long one, going through the different stories which cross over and build up makes time pass effortlessly. Some stand out scenes were Master of the House, where the Thénardiers accompanied by their guests put up a hilarious show, while Ian Hughes and Helen Walsh as the Thénardiers in any scene ensures instant comedic gold and judging by the deafening applause that they receive they become cast favourites. Another unforgettable moment is Eponine’s On my Own, with Nathania Ong holding her own performing one of the most iconic and vocally formidable musical theatre songs. Her talent transcends reality and drags the audience in her heartbreak and even though she has big shoes to fill, the way she expresses the raw emotion of this song is spot on.
Will Callan’s Marius and Paige Blackson’s Cosette both make an incredible impression as the youthful and passionate love interests, especially this being their professional debut. Additionally, Nic Greenshields’ Javert is authoritarian and tenacious and he perfectly embodies his personal vendetta while his singing becomes a vessel for his emotional performance, showing him as loyal to his virtues but also human and flawed.
Dean Chisnall’s Jean Valjean is simply immaculate, with Chisnall transforming on stage evolving from angered to stoic, from virtuous to vulnerable, and his ability to portray this character in his different life stages is impeccable. This show would not be the same without him, as he is able to perform Who Am I with an honesty of a person who has questioned his own identity, while his delicate and unguarded rendition of Bring Him Home touches everyone in the audience making it almost impossible to not become emotional.
Finally, one of the most unforgettable parts of this tour of Les Misérables is Matt Kinley’s set that is one of the most intricate and detailed sets, and it is obvious that a lot of work and thought was put behind creating it to ensure that even on tour no part of it is subpar. The set changes quickly on stage between different scenes and the way it transforms is just impressive, with the staging changing more times that one can count, bringing a realism that should set the standard on what good scenography looks like.
Overall, the talent of the cast, the orchestra, and the quality of the set draws audiences and words could not do justice to the awe-inspiring effect that Les Misérables has on the people who are lucky enough to experience it in person, being one of the few musicals you leave feeling exalted and sentimental at the same time.