Review: LES MISÉRABLES at Bass Concert Hall

The story of Les Misérables (the book), written by Victor Hugo and published in 1862, is set in post-revolutionary France, beginning in 1815, more than two decades after the French Revolution (1789-1799). Sparked by economic hardship, inequitable taxation, and the monarchy’s indifference, the Revolution led to the overthrow of King Louis XVI in 1789 but quickly descended into chaos, including the Reign of Terror. Les Misérables continues through to the July Monarchy of the 1830s, a time of political instability and economic struggle, culminating in the failed June Rebellion of 1832, where revolutionary ideals were crushed despite hopes for change.

At its core, Les Misérables tells a story about the struggle between the individual and the oppressive forces of government. It explores themes of romance, redemption, faith, and the broader issues of societal injustice. The novel critiques the inequities of 19th-century French society, particularly the devastating effects of poverty, ignorance, and a deeply flawed justice system. Hugo, inspired by both the failed Rebellion and his own personal experiences (such as his exile in 1829), used characters like Jean Valjean, Fantine, and Cosette as symbolic representations of the broader social and political struggles of the time. Through their stories, Hugo hoped to inspire a movement toward a more democratic and equal society, firmly believing that grassroots movements and revolution were necessary for progress.

Adapting a novel of Hugo’s text to a dramatic form is daunting (the audio book of Les Misérables is over 58 hours of listening), but Alain Boublil, Jean-Marc Natel, Herbert Kretzmer and Claude-Michel Schönberg transformed Hugo’s novel into a quick, compressed three-hour, musical LES MISÉRABLES. This adaptation premiered in Paris in 1980 and, with its powerful score and emotional depth, it quickly became a hit. The show moved to London in 1985 and opened on Broadway in 1987, where it became one of the longest-running musicals in both cities. Notable performances, particularly by Colm Wilkinson as Jean Valjean, have solidified the musical’s status as one of the most beloved and influential works in musical theater history.

Broadway in Austin presents the touring production of LES MISÉRABLES from February 4-9, 2025, at The University of Texas at Austin's Bass Concert Hall. This epic musical centers on the redemption journey of Jean Valjean, a man determined to escape his past and make amends after being released from prison for stealing bread. His narrative is intertwined with those of several other unforgettable characters: Fantine, a tragic figure who falls into desperate circumstances, becoming a symbol of the suffering endured by society’s most vulnerable; Cosette, Fantine’s daughter, who is taken in by Valjean and raised as his own; Inspector Javert, the unyielding lawman who represents the cold, relentless pursuit of justice, blending legality with an unshakable faith in the system; Marius, a passionate revolutionary who falls in love with Cosette, embodying the ideals of the youth, and the voice of those who fought in the failed June Rebellion of 1832; and Éponine, the Thénardiers' daughter, whose unrequited love for Marius leads to her tragic end.

An incredibly short summary of the story for the person unfamiliar with the story might be: Set in 19th-century France, LES MISÉRABLES begins when Jean Valjean is released from prison after serving 19 years for stealing bread to feed his sister’s starving children. Upon being forgiven by a bishop, Valjean vows to redeem himself. By 1823, he has become a wealthy and influential man, taking on the role of mayor in Montreuil-sur-Mer. He meets Fantine, a single mother forced into dire straits, and promises to care for her daughter, Cosette. As the years pass, revolution brews in the streets, and Marius, a young idealistic revolutionary, falls in love with Cosette. Meanwhile, Éponine, the daughter of the cruel innkeepers the Thénardiers, harbors an unrequited love for Marius. The political unrest culminates in the June Rebellion of 1832, where Marius fights at the barricades. Éponine dies protecting Marius, and Valjean saves his life, all while trying to evade the obsessive Inspector Javert. In the end, Javert is consumed by his inability to reconcile his strict view of justice with Valjean’s mercy, leading to his tragic suicide. Marius and Cosette marry, but Valjean, feeling unworthy, withdraws from their lives to protect them. In his final moments, he is visited by the spirits of Fantine and Éponine, finding peace knowing that his sacrifices were not in vain. Valjean dies, redeemed, knowing that he has made a difference in the lives of those he loved. 

From the opening notes of Claude-Michel Schönberg’s score, accompanied by a projected backdrop of a Victor Hugo painting, the audience is immediately transported into a world of stark contrast—despair entwined with hope. The prologue sets the tone, with a powerful male chorus that vocally expresses the collective anguish and yearning of the characters. Under the superb direction of Laurence Connor and James Powell, this fusion of tragedy and the faintest glimmer of hope is expertly crafted, establishing the emotional tension that will permeate the entire production. Dark forces overshadow fleeting moments of light: armies overthrowing the powerless, despair and poverty crushing the spirits of the most vulnerable, while hope flickers, almost imperceptibly, in the shadows. This interplay of darkness and light forms the emotional backbone of LES MISÉRABLES, keeping the audience rooted in a state of empathy, shock, and wonder. From the earliest moments to the final curtain, this powerful tension holds us captive, inviting us to bear witness to the resilience of the human spirit in the face of overwhelming adversity.

As is often the case with touring Broadway productions, the actors and ensemble are truly splendid. Nick Cartell is nothing short of exceptional as Jean Valjean, showcasing a remarkable range of acting skills and vocal virtuosity. His voice effortlessly spans a wide range of pitch and emotional depth, as demonstrated in the powerful song “Who Am I?” and the iconic “Bring Him Home.” The latter soars with a tender, measured onset that gradually builds into a passionate plea for Marius' life, leaving a lasting emotional impact. Cartell’s acting is equally impressive, portraying Valjean with raw authenticity—his tenderness toward Cosette is palpable, his frustration and eventual mercy toward Javert are deeply moving, and his final moments, filled with resignation and faith, resonate with profound emotional truth.

Nick Rehberger delivers a commanding performance as Inspector Javert, bringing to life a character defined by rugged determination and an unwavering sense of duty. His vocal prowess and acting range match the depth of his counterpart, Nick Cartell. Rehberger’s portrayal of Javert is strikingly believable—he embodies the inspector’s relentless, almost vindictive pursuit of justice through a rigid Christian lens, making his internal conflict all the more apparent. The emotional weight of his character culminates in a powerful moment when Javert, faced with Valjean’s mercy, is overcome with despair and tragically leaps from the bridge. Rehberger, in this moment, is both poignant and heartbreaking.

Lindsay Heather Pearce interprets the character of Fantine with authenticity, capturing the desperateness of a mother willing to sacrifice everything for her child. Her character offers a poignant glimpse into the harrowing circumstances women faced in 19th-century France, and Pearce’s sensitive acting allows us to feel the full weight of Fantine’s tragic journey. Through clever use of costuming, wig, and makeup effects, the physical decay of Fantine’s pride and dignity is starkly visible, making her downfall all the more devastating. Pearce’s lovely mezzo-soprano voice enhances her role, especially in the song “I Dreamed a Dream”, drawing the audience deeply into her character's plight. Her voice, both powerful and tender, reflects Fantine’s hopes and dreams that ultimately go awry, resonating with anyone who has ever faced hardship or loss. 

Emerson Mae Chan beautifully brings to life Young Cosette, delivering a heartfelt rendition of “Castle on a Cloud” that showcases her natural innocence and hopeful spirit. Her skill as a young actor allows us to feel the vulnerability and dreams of this character, making her truly captivating. Delaney Guyer, as Cosette, is equally stunning, with a soprano voice that is both pure and crystalline, filling the hall with an exquisite clarity and beauty. Her acting reflects the full emotional depth of Cosette, from her youthful optimism to the sorrow and longing that follows.

Jake David Smith shines as Marius, Cosette’s love interest, matching Guyer’s stage presence with ease. He skillfully expands his stage craft, transitioning from the passionate lover to a distraught friend of Éponine, a young revolutionary, and ultimately a defeated survivor. Smith’s singing of "Empty Chairs at Empty Tables" is particularly poignant, filled with anguish and heartache, and his superb vocal delivery captures the raw emotion of the moment, leaving a lasting impact on the audience. 

David Andino and Victoria Huston-Elem deliver stellar humor as Thénadier and Thénadier's wife, offering much-needed comic relief amid the intense tragedy of the musical. Their embrace of the larger-than-life, seamy, and self-serving nature of their characters is both captivating and entertaining, making their scenes a delight to watch. Both actors showcase flexible vocal skill, effortlessly handling complex rhythms and quick key changes. Their witty dialogue is delivered with crisp diction, each line lands perfectly, while their chemistry and comedic timing add a lighthearted and enjoyable layer to the overall production. 

Mya Rena Hunter realizes Éponine with a remarkable blend of pride, sensitivity, and emotional depth. Her warm mezzo-soprano voice resonates with the audience, particularly in her rendition of "On My Own," which conveys both the loneliness and strength of her character. As Éponine dies during the Rebellion, the tenderness between Hunter and Jake David Smith (Marius) brings a profound emotional weight to the stage. Their connection during this heart-wrenching moment highlights not only the tragic end of Éponine's life but also the unrequited love she carries, leaving the audience to witness the loss of her dreams and her final, quiet hope for love.

Other notable performances in this production include Jackson Parker Hill as Petit Gervais/Gavroche, whose young voice rings with clarity and energy, capturing the mischievous yet endearing nature of his character. Hill’s presence brings a sense of youthful defiance to the stage, which is both charming and poignant. Christian Mark Gibbs, portraying Enjolras, delivers a powerful rendition of "Do You Hear the People Sing?" His commanding voice, coupled with his leadership on stage, inspires the revolutionary fervor of the chorus. Gibbs' performance is a standout, both as an individual performer and as a galvanizing force within the ensemble, embodying the spirit of revolution with passion and strength.

A special shout-out must be given to the entire performing ensemble, whose contributions were integral to the success of this production. The chorus, in all its variations, was remarkably well-blended, with vocal strength matched by a range of compelling emotion. Every note conveyed the weight of the narrative and themes, from the most intimate moments to the full-throated anthems. Equally effective was the orchestra, which skillfully navigated through a diverse range of styles and instrumental groupings. Music Director Will Curry's leadership is refined and professional, solidifying the musical backbone of the production. A heartfelt thank you is due to the musicians who rarely receive mention but whose talent and dedication are undeniable. A round of applause for Eric Ebbenga, Tim Lenihan, Ally Jenkins, Jarvis Benson, Nathan Hsu, Brad Lovelace, Alicia Maloney, Peter Scuderi, Anson Carroll, Elizabeth Harraman, Joshua Norton, Nayib González, and Max Meyer—your musicianship makes this musical unforgettable!

The production elements of this musical are just as extraordinary as the acting and music, bringing LES MISÉRABLES  to life in a visually stunning and immersive way.

The costume design by Andreane Neofitou, Christine Rowland, and Paul Willis is absolutely stunning, providing a visually authentic representation of 19th-century France. Each costume is carefully crafted to reflect the character's social standing and the period’s aesthetic, adding layers of depth to the storytelling. The attention to detail is especially notable in the transformation of Fantine’s character, where her gradual decline is poignantly mirrored in her costume changes, makeup, and hair, showcasing the harshness of her circumstances. The Innkeeper’s Wife also benefits from intricate design choices, with her costume capturing the larger-than-life, self-serving nature of her character. The wigs, hair, and makeup are well done, enhancing the realism and allowing the actors to fully inhabit their roles.

The sets, designed by Matt Kinley with assistance from David Harris and Christine Peters, are nothing short of breathtaking. The complexity and detail of the multiple settings—particularly the three-story buildings, Valjean and Cosette’s home, and the monumental barricade—captivate the audience and transport them into the world of 19th-century France. The staging, directed by Geoffrey Garratt and assisted by Jesse Rob, is masterfully executed, with moving sets, a whirlwind of actors, and seamless transitions that create a dynamic, constantly shifting world. The sets are often complemented with marvelous effectiveness by projections of Hugo's artwork, and manipulations of these are powerful, especially in Javert's death scene.

Lighting design by Paule Constable, with assistance from Ben Jacobs and Karen Spahn, is notable. The lighting is often dark, reflecting the tension and despair of the play, while bursts of light during the Rebellion add urgency and clarity to the action. The strategic use of bright spots on deceased characters and the warm, tender lighting during emotional moments further enrich the audience's emotional engagement. The opening prologue's splash of water effect, a subtle yet impactful touch, sets the tone for the rest of the show.

And no musical would be complete without stellar sound design, which Mick Potter, assisted by Nic Gray, delivered. The balance between the chorus, the actors, and the sound effects was impeccable, ensuring a perfectly mixed and immersive live experience. The clarity and amplification of the actors' voices were spot-on, and the high-quality sound effects added an extra layer of realism to key moments. All together, the production elements work in harmony to create an unforgettable theatrical experience.

Ultimately, LES MISÉRABLES remains a triumphant exploration of the human spirit, with its unforgettable characters, soaring melodies, and poignant storylines. It’s a musical that balances epic history with deeply personal stakes, and its resonance is as strong now as it was when it first hit the stage. 

In both its literary and musical forms, LES MISÉRABLES continues to resonate deeply with audiences worldwide, with its themes of revolution, justice, and redemption remaining as relevant today as they were during the tumultuous period Hugo depicted in 19th-century France. The struggles of characters like Marius and Cosette, who hold onto their love amidst hardship, mirror the experiences of contemporary individuals and movements—particularly young activists and marginalized groups who, in the face of adversity, continue to fight for justice and equality. At its core, LES MISÉRABLES is a story of personal struggle against systemic oppression, reflecting the ongoing tension between the powerful and the marginalized, and serving as a call to challenge established systems of power. The narrative underscores that, even in the darkest times, love and hope can transcend suffering and injustice, offering a beacon for change. And although the Paris Uprising ends in tragedy, LES MISÉRABLES concludes on a hopeful note, reminding us that the spirit of justice, love, and hope endures, inspiring audiences with its timeless message that change is possible through love, sacrifice, and unwavering belief in a better future.

I highly recommend this production of  LES MISÉRABLES to all audiences for its rich layers of storytelling, its relevance to the pressing issues of our time, and its outstanding orchestral and vocal score. The skillful blend of professional acting and singing with profound production elements are superb, creating a truly immersive experience. I was completely awestruck by the performance, as was my companion for the show. This production will take you through the tenderest and most honest emotions of lived experience—hope, faith, tragedy, love, and redemption—and leave you with a deeper sense of empathy and grace. However, it is important to note that there are some cautions for youth and/or children, including light foul language, a few sexualized gestures, violence, gunshots and cannon booms, depictions of suicide and the death of children, and flashing lights.

LES MISÉRABLES

Novel by Victor Hugo, Original Book in French by Alain Boublil and Jean-Marc Natel, Book by Alain Boublil and Claude-Michel Schönberg, Lyrics by Herbert Kretzmer, Music by Claude-Michel Schönberg, Additional Material by James Fenton, Adaptation by Trevor Nunn and John Caird, Original Orchestration by John Cameron, New Orchestrations by Stephen Metclafe, Christopher Jahnke, and Stephen Brooker

Theater Company: Broadway in Austin

Venue: The University of Texas at Austin’s Bass Concert Hall, 2350 Robert Dedman Dr. Austin TX

February 4-9, Tuesday, Wednesday, Thursday at 7:30 p.m., Friday at 8:00 p.m., Saturday at 2:00 and 8:00 p.m., Sunday at 1:00 and 6:30 p.m.

Running Time: 2hrs, 55mins with 1 intermission

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