There is something special happening on stage at the Aurora Theatre. This small, but bustling, company in Gwinnett County has routinely produced exceptional work, but has forced itself towards the forefront of the crowded Atlanta theatre scene over the last two seasons. Now, I suspect, the company will take another giant step forward with its record-breaking production of "Les Miserables." Capitalizing on the already-popular show's Academy Award nominated film adaptation, Aurora's first-rate, multicultural cast proves that there are in fact performers who can both sing and act at the same time.
While the show did have a few overly theatrical moments; some over-choreographing here and some overly dramatic character choices there; the Aurora Theatre production is the most flawless version of "Les Miserables" that I have ever seen, and I've seen my share. I filled pages upon pages with notes about the exciting and insightful choices made by the always genius director Justin Anderson and his near-perfect cast.
If you are unfamiliar with the story of the sung-through "Les Miserables" (Claude-Michel Schonberg- music, Alain Boublil and Herbert Kretzmer- lyrics), I certainly don't have the space here to detail the entire epic plot based on the classic novel by Victor Hugo, however, I will give you the basics; in addition, I advise that you become familiar with the
general plot before you head to the theater, as it will greatly enhance your appreciation of the sweeping story. Set across two decades in France, "Les Mis" (or "Les Miz"
if you prefer) tells the story of petty-thief Jean Valjean who has broken his parole, and his noble, but flawed pursuer Inspector Javert. Through the generosity of a saintly bishop, Valjean rededicates his life to charity and good works. Despite Javert's continued pursuit, the now rich Valjean adopts the young daughter of a former employee to whom he feels beholden. Years later, when his daughter, Cosette, falls in love with Marius, a student revolutionary, Valjean is forced to make choices that will jeopardize his life and freedom.
Despite the much beloved story, Anderson ably employs an exceptionally fresh approach to the storytelling that makes many of the show's familiar elements and characters seem completely new. In a show so densely packed with lyrics and plot points, the cast uses bits of information that are often ignored to create new, but pitch-perfect, approaches to their iconic characters.
Leading the cast is
Suzi Bass Award winner
Bryant Smith as Valjean. While one familiar with Smith's talents might think of him as being more suited to play Javert, he delivers an incredibly powerful and passionate performance that just might earn him his second Suzi. Smith's Valjean sings with a passion and grace that provides the perfect cornerstone for a production of a classic show that feels brand new. While his voice doesn't have all of the role's traditional tenor notes, Smith delivers an incredibly warm and moving performance of "Bring Him Home" that literally had audience members on their feet mid-show.
Many casual fans assume that Javert is the show's villain, however, in
Kevin Harry's performance, we see a man driven by the certainty that his duty to the law and the Lord is the only acceptable path. While Harry doesn't always show the fire that often exemplifies Javert, his rich, baritone voice and nuanced performance succeeds in making the conflicted character sympathetic.
One of the highlights of Anderson's direction is the unconventional character choices that add new life and dynamics to the familiar show. This is most obvious in the characterizations of two of the show's central women. The often underdeveloped Cosette is generally played as a whiney, uncertain waif. However, fantastic Suzi nominee
Kelly Chapin Schmidt adds a strength and sense of wonder to the role that makes her a far more compelling figure than normal. Her voice is an exceptionally delightful blend of legit opera and powerful musical theatre, making her Cosette the best I have ever seen on stage or screen.
In kind, Suzi-winner Leslie Bellair's take on the down-trodden Eponine is one of the most refreshing and unexpected performances you will ever see. Her youthful and fun approach to the traditionally dreary character brings out unbelievably insightful layers of personality; in fact, I am not sure that I have ever seen an Eponine smile before. While "On My Own" is always the highlight of Eponine's time on stage (and Bellaire's rendition is extraordinary), there was not a moment that she was on stage that I did not find my eyes drawn to her rich and original performance.
The remaining members of the featured cast also provide exceptional performances starting with Suzi winner
Natasha Drena's powerful and firey Fantine, whose "I Dreamed a Dream" demonstrates her immense vocal and acting abilities. As young lover Marius,
Michael Stigger brought a powerful clarity to the role, although his rich voice sounded a little weary when I saw him. As the show's true villain's, Producing Artistic Director
Anthony Rodriguez and
Marcie Millard as Monsieur and Madame Thenardier add a sinister hilarity to the otherwise somber show.
Christopher Lewis and Lowery Brown are also strong as Grantaire and Enjolras respectively. As a whole, there were many goose bump-inducing moments from the ensemble ("One Day More," "Drink with Me," "Turning"), which did not have a weak-link amongst them.
Associate Producer and Music Director Ann-Carol Pence's band was exceptional, even though they were tucked away, unseen backstage; which led many audience members to assume that the wonderful music must have been recorded.
The show's designers (Phil Male-Set,
Daniel Terry- Sound, and Mike Post- Lighting; all under the technical direction of James M. Helms) do a great job enhancing the show's emotions and settings, but it was Male's set that most impressed. It deconstructs all of the show's locations and fuses them into a singular multifaceted set. With various wooden items strewn around the second story landings flanking the stage, the set extends into the audience, giving the feeling that the audience is fighting on the barricades as well.
As a last note to the elderly man who leaned over to me while the students were building the barricade, despite the fact that I told you that "Les Mis" takes place during the French Revolution, technically that's not true. The barricade scenes are actually from the
June Rebellion and occurred some three decades after the revolution ended, but that just didn't seem like an important differentiation to make during the show.
If you couldn't tell by my long-winded love letter, when all is said and done, I believe that their box-office record-breaking production of "Les Mierables" will be a watershed moment for the
Aurora Theatre, director Justin Anderson, and many members of the cast. It is yet another reminder that the Atlanta metro area is home to one of the deepest and most talented theatrical communities in the country. When this show closes on September 8th, there will be two groups of theatre fans; those who saw the show, and those who wish they had. You simply do not want to be in the latter category. So, to get your tickets, call
678-226-6222 or visit
their website.
(Check Broadway World Atlanta on Tuesday for an article on the the Aurora's broken box-office record, featuring comments from Rodgriguez, Pence, and Marketing Director and "Les Mis" cast member Al Stilo.)
Photo: Bryant Smith and Michael Stigger
Photo Credit: Aurora Theatre
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