THEATRE REVIEW: "Les Misérables" -- Turning, Turning, and Returning Through the Years

      Sometime during 1991, my mom, dad, sister, and I saw the Alain Boublil / Claude-Michel Schönberg musical "Les Misérables" at the Auditorium Theatre of Roosevelt University in Chicago, Illinois.  This was the First National Tour of the musical, which was back in Chicago for another six-month engagement.  The First National Tour was nicknamed The Valjean Company, the Second National Tour was nicknamed The Fantine Company, and the Third National Tour was nicknamed The Marius Company.  The First National Tour had already wowed Chicago audiences in 1989 to sold-out performances.  By the time my sister and I got to see the musical in 1991, my mom had already seen it twice.  I think my dad had seen it once.  

     The First National Tour of "Les Misérables" opened in Boston at the Shubert Theatre on December 5th, 1987.  The tour went on to perform in such cities as Philadelphia, Washington D.C, Detroit, Baltimore, Los Angeles, and of course... Chicago.  This touring production often required the rebuilding of the massive set design, whether it be for the smaller stages of Philadelphia's Forrest Theatre and Detroit's Fisher Theatre, or for the larger stages such Washington D.C's Kennedy Center Opera House or Chicago's Auditorium Theatre. 

Mark McKerracher as Jean Valjean 

     Truthfully, I don't remember much of seeing this performance.  Back in 1991, the musical not only still featured John Napier's scenic design and turntable mechanism, but none of the songs had been abridged yet.  Back then, the duration of the musical was three hours and twelve minutes, including a fifteen-minute intermission.  In December of 2000, the Original Broadway Production was shortened by fourteen minutes.  I think it was within the next couple of years that the Third National Tour was abridged too.   This was done so the production members wouldnt have to be paid overtime.  December 8th, 2000 was the first performance of the Broadway Production where both Act One and Act Two were both abridged. 

1991 ad from The Trib printed on the day that the Return Engagement of "Les Misérables" premiered in "The Windy City."

     Anyway, I remember my dad, mom, sister, and I sharing two pairs of opera glasses that my parents purchased at the Auditorium Theatre's souvenir kiosk.  Our seats were pretty far back in one of the balcony sections.  I also remember "Javert's Suicide" where Javert (played by Richard Kinsey) steps off the bridge, the music swells, and the bridge ascends up into the rafters to make it look like he is falling.  Another scene I remember is "Beggars at the Feast" where the silverware falls out from under Madame Thénardier's (played by Rosalyn Rahn Kerins) gown when she tried to steal it.  I have no recollection of Thénardier (played by Drew Eshelman) singing "Master of the House."  I remember the musical starting with the song "Look Down," and being confused by that.  Leading up to seeing the show, my mom frequently played the casette tape of the Broadway Cast Recording of "Les Misérables."  Similar to the LP version (but unlike the CD version)  the casette tape format started with "At the End of the Day."  So I thought that was the first song of the musical.  

Anne Runolfsson as Fantine 

    The role of Jean Valjean was played by Mark McKerracher.  I don't remember his performance too much.  I suppose that is odd, since Jean Valjean is in nearly every scene of "Les Misérables."  I remember "A Little Fall of Rain" where Marius (played by Peter Gunther) comforts Eponine (played by Susan Tilson)  as she lay dying at the barricade, while Enjolras (played by Christopher Yates) and the others looked on solemly.  I also remember the part of the "ABC Café" scene where Gavroche says "General Lamarque is dead."  I think I remember that line because it was one of the only spoken lines in the musical, or pop opera, that is almost entirely sung through.  The role of Gavroche was either played by Joey Morano or Jerrod Spector, depending on the performance.  I remember little of Anne Runolfsson's performance as fantine, though I'm sure it was great.

Just as the 1989 Premiere Chicago Engagement of "Les Misérables" was originally booked for a 16-week run at the Auditorium Theatre, the 1991 Return Engagement was originally booked for a 12-week run at that venue.  Both engagements kept getting extended and ended up staying in Chicago for over six months. 

     Unfortunately, I don't remember much of either Young Cosette (the roles of Young Cosette and Young Eponine were played by Natalie Berg, Raegan Kotz, or Lee Alison Marino, depending on the performance) or Cosette as an adult (played by Kimberly Behlmann).  Even though I don't remember all of the show, I'm still glad I saw it back then.  For awhile, the only place you could see "Les Misérables" with the original John Napier scenic design was in the West End at the Queens Theatre.  But as of 2019, the Queens Theatre became the Sondheim Theatre, and the staging of the London Production of "Les Misérables" got a 25th Anniversary Tour makeover.

Richard Kinsey as Javert. 

     By the time "Les Misérables" returned to Chicago in 1991, the musical had already been seen in Paris, London, Washington D.C, New York, Tokyo, Tel Aviv, Szeged, Budapest, Sydney, Boston, Reykjavik, Nagoya, Oslo, Osaka, Los Angeles, Vienna, Philadelphia, Tampa Bay, Toronto, Gdynia, Detroit, San Francisco, Melbourne (Australia), Baltimore, Calgary, Sendai, Sapporo, Vancouver, Stockholm, Perth, Adelaide, Montreal, Amsterdam, Brisbane, Miami, Orlando, St. Petersburg, Atlanta, Kansas City, St. Louis, Columbus. Grand Rapids, Cincinnati, East Lansing, Bloomington, Louisville, Nashville, Birmingham, Jacksonville, New Orleans, Houston, Memphis, Dallas, Pittsburgh, Cleveland, St. Paul, Denver, Iowa City, Des Moines, Champaign, Schenectady, Syracuse, and the list goes on.  By this time, the "Les Miz" slogan "the musical sensation" had been changed to "the world's most popular musical."

     Besides two pairs of opera glasses, my mom also bought me a sweatshirt with the Les Miz logo on it at the Auditorium Theatre that night.  I wore it to school the next day.  A classmate commented on the shirt, asking me if I had seen Les Miz.  When I said that I had, she said that she saw it too.  I'm not sure if she saw the production in 1989 or 1991.  If I remember correctly, I only wore the sweatshirt once.  In all likelihood, I reached a growth spurt shortly after that.  As for the opera glasses, I think they both ended up broken.

Drew Eshelman as Thénardier. 

     Besides in 1989 (March 18th through September 2nd) and 1991 (March 16th through September 29th),  the "turntable" / John Napier production of "Les Misérables" came to Chicago in 1994-5 (November 22nd through January 1st), 1998 (January 6th through March 1st), 2001-2 (December 24th through February 3rd), and 2005 (March 15th through April 24th).  Besides the 1989 and 1991 engagements, all the other Chicago engagements were of the Third National Tour of "Les Misérables," which ran from 1988 through 2006.  

 

     It's been a little over ten years since I read the book version of "Les Misérables."  Firstly, The Thénardiers were not comedic characters in the novel.  Also, Gavroche was mentioned to be the Thénardiers' son.  At the end of the novel, Valjean's grave is unmarked except for something etched into it.  Though the edition I read was in English, the words written on Valjean's gravestone were in French.  Not only that, but those were the last lines of the novel!  So until someone translated them for me, I felt like I couldn't finish the book.  Also, if I remember correctly, the Thénardiers went to America and Monsieur Thénardier became a slave trader.

     

      

Susan Tilson as Eponine. 

     Seeing the First National Tour of "Les Misérables" in 1991 frightened also me a little.  Seeing the rigid gender roles was scary to behold, yet it wasn't lost on me that Eponine was disguised as a boy most of Act Two.   I thought the fate of most of the characters (an untimely death) would match my own one day.  I thought the message to take from "Les Misérables" was that a desolate world to wander through was part of growing up.  I suppose it is to a degree, but in other ways, I couldn't have been more wrong.  But I don't think my interpretation of "Les Misérables" was all that inaccurate.  Then again, I failed to comprehend one of the most profound lines in the musical: "...to love another person is to see the face of God."  

One of the first ads for the 1991 Chicago Engagement of "Les Misérables."  This ad was printed before the Engagement was gradually extended from 12 weeks to 6 months.

     The same year I saw "Les Misérables" for the first time, Alain Boublil and Claude-Michel Schönberg's other epic megamusical, "Miss Saigon," premiered on Broadway.  Then, in 1992, "Miss Saigon" had its Chicago Premiere--also at the Auditorium Theatre.  My mom and dad saw that production, but didn't bring my sister and I along to see it.  To this day, I've never seen "Miss Saigon," except for clips on YouTube.  If "Miss Saigon" comes up in conversation, so does "the helicopter."  It most likely serves as a distraction from the "unpleasant" Vietnam War theme of the musical.  I don't mind talking about "Les Misérables" to people.  I guess I have no problem with the Paris Uprising or "designer suffering."  

Christopher Yates as Enjolras. 

    As is the case with many musicals with dualing productions, some cast members of "Les Misérables" had previously been in other productions of thr musical.  Prior to the 1991 Chicago Engagement of "Les Misérables,"  Anne Runolfsson was in the Original Los Angeles Production.  Richard Kinsey was in the Original San Francisco Production prior to joining the First National Tour.  He and Mark McKerracher (as well as Drew Eshelman) would go on to reprise their roles on Broadway after the First National Tour closed in Chicago in September of 1991.  After playing Jean Valjean on Broadway, Mark McKerracher went on to play Valjean in the London Production of "Les Misérables."  He would also go on to originate the title role in the Edinburgh Premiere of "The Phantom of the Opera. 

     What is odd, yet no more than coincidental, is that it would be exactly twenty years until I saw "Les Misérables" again.  I didn't know I would see the show again.  I suppose whenever it was that Susan Boyle sang "I Dreamed a Dream" on Britain's Got Talent that something was set into motion again.  Unfortunately, it wasn't the turntable which was set into motion.  Yet, while I would see "Les Misérables" again and again," I would grow fond of the production I saw in 1991, which I took for granted at the time, when the Auditorium Theatre was host to one megamusical after another.  It's not my intention to make the passage of time sound so tragic, or to be melodramatic.  I simply wanted to make mention while lacking pretention. 

Peter Gunther as Marius. 

     Earlier on in this review, I talked about the different National Tours of "Les Misérables," as well as their nicknames.  However, it is a little more complicated than someone like me can explain without some more incessant rambling.  While I pretty much covered the First National Tour, there are two other National Tours I only talked about a little.  The Second National Tour, or The Fantine Company, used to be called the Los Angeles Production.  It ran from 1988 to 1989 at the Shubert Theatre in Century City, Los Angeles.  After it closed there, the production moved to the Curran Theatre in San Francisco, where it ran until 1991.  The Third National Tour, or The Marius Company, used to be called the Second National Tour (mostly while The Fantine Company was still in Los Angeles).  It was also known as the Bus and Truck Tour.  After closing in 2006, the production ran from 2006 to 2008 at the Broadhurst Theatre, known both as a Return Engagement and a Broadway Revival. 

     Besides the cast my family and I saw in 1991, the First National Tour of "Les Misérables" featured many notable Broadway Actors.  Among these actors were William Solo, Hugh Panaro, Victoria Clark, Diane Sutherland (also known as Diane Fratantoni), Hollis Resnik, Michael McCormick, Susan Dawn Carson, J. Mark McVey, Richard Poole, John Herrara, Olga Merediz, Gary Morris, Craig Schulman, and Carolee Carmello.  Of course, the list goes on and on.  While the First National Tour of "Les Misérables" only ran for a little over four years, it was a powerhouse of exemplary performances--and at times, comic relief. 

Kimberly Behlmann as Cosette and Peter Gunther as Marius. 

     While both Chicago Engagements of the First National Tour of "Les Misérables" stayed in the city for a long time, they do not hold the record for staying in Chicago the longest.  The Premiere Chicago Engagement of the Stephen Schwartz musical "Godspell" ran at the Studebaker Theatre from September 30th, 1972 through April 30th, 1973.  The Premiere Chicago Engagement of the Andrew Lloyd Webber / Tim Rice musical "Evita" ran at the Shubert Theatre (now called the CIBC Theatre) from September 24th, 1980 through August 22nd, 1981.  The Andrew Lloyd Webber musical "Cats" ran at the same venue from March 22nd, 1985 through May 31st, 1986.  Yet don't get me started on "Wicked," "Jersey Boys," or "Hamilton."  These musicals played at smaller venues than the Auditorium Theatre though.  It's only natural for "Les Misérables" (along with "Phantom and "Miss Saigon") not to play as long at a venue with such a large seating capacity.  The Auditorium Theatre has a total seating capacity of 3,901 seats, but for most performances, only the main floor seats and the seats on the first balcony are sold.  That means 2,570 seats are, and were, still sold.

     To this day, I'm not sure why the 1980's and 1990's were the era of big-budget megamusicals.  I don't know if producers invested well, spent more money than they had, or if the economy was just doing really well.  Economics is too complex a topic of discussion for me.  Plus I find it rather boring.  But if I understood it better, I might also be more understanding as to why big, lavish musical theatre productions don't exist anymore (for the most part).  For now, though, I guess I opt for ignorance.  But who says ignorance is bliss?

Rosalyn Rahn Kerins and Drew Eshelman as the Thénardiers. 

     Besides the cast I listed above, the company of this engagement of "Les Misérables" also included Daniel C. Cooney (Chain Gang, Worker, Sailor, Old Couple, Joly), Andy Gale (Chain Gang, Sailor, Young Man, Freuilly), Daniel Guzman (Chain Gang, Labourer, Young Couple, Montparnasse), Gordon Paddison (Chain Gang, Bamatabois, Other Drinker, Grantaire), Todd Thurston (Chain Gang, Foreman, Traveler, Combeferre), Christopher Carothers (Farmer, Worker, Drinker, Courfeyrac), Ann Arvia (Innkeeper's Wife, Whore, Other Drinker), J.C. Montgomery (Innkeeper, Drunk, Pimp, Jean Prouvaire), Stephen Frugoli (The Bishop of Digne, Diner, Lesgles), Ray Frewen (Constable, Traveler, Babet), Frank Mastrone (Constable, Pimp, Fauchelevent, Other Drinker, Claquesous), Eydie Alyson (Worker, Crone, Old Couple), Kay Elise Kleinerman (Worker, Whore, Young Girl), Regina O'Malley (Worker, Old Woman, Other Drinker, Old Beggar Woman), Sandy Rosenberg (Worker, Whore, Diner), Jeanne Croft (Factory Girl, Young Prostitute), Christa Justus (Whore, Young Girl), Gretchen Kingsley (Whore, Young Couple), and Richard Poole (Chain Gang, Sailor, Other Drinker, Brujon).

Ad from April, 1991 for the Return Chicago Engagement of "Les Misérables" at the Auditorium Theatre of Roosevelt University. 

     For this production, these actors and actresses were understudies for the following roles: Frank Mastrone, Richard Poole (Jean Valjean); Ray Frewen, Todd Thurston (Javert); Christopher Carothers, Daniel C. Cooney (Marius); Gretchen Kingsley, Kay Elise Kleinerman (Cosette); Christa Justus, Gretchen Kingsley (Eponine); Stephen Frugoli, Frank Mastrone (Enjolras); Eric Jay Alexander, Gordon Paddison (Thénardier); Regina O'Malley, Sandy Rosenberg (Madame Thénardier); and Ann Arvia, Jeanne Croft (Fantine).  Now, if only I could properly conclude this chapter of the blog post.

"At the Barricade/Upon These Stones" (I think)

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     On February 20th, 2011, my mom, my sister, and I went to see the 25th Anniversary Touring Production of "Les Misérables" at the Cadillac Palace Theatre in Chicago, IL.  The tour was playing in Chicago for about a month.  This production didn't have a turntable mechanism, or scenic design by John Napier.  This production featured set and image design by Matt Kinley, and was inspired by the paintings of Victor Hugo.  I think it was in late 2010 when I found out that "Les Misérables" was coming to Chicago.  I told my mom, who said "We are going to see it."  I was so excited.  

     Chicago was one of the first tour stops of this production.  If I remember correctly, the tour launched at the Papermill Playhouse in Millburn, New Jersey.  The Cadillac Palace was the fourth tour stop.  The tour then ran until the end of 2013.  The cast of this production featured Lawrence Clayton (Valjean), Andrew Varela (Javert), Betsy Morgan (Fantine), Jeremy Hays (Enjolras), Jenny Latimer (Cosette), Justin Scott Brown (Marius), and Chasten Harmon (Eponine).  The production was directed by Lawrence Connor and James Powell, unlike the original production which was directed by Trevor Nunn.

Lawrence Clayton as Jean Valjean (Image by Deen Van Meer)

 

               

       A noticable difference about this production verses the Royal Shakespeare Company Productions was that the score was sped up, as were some of the songs.  Also, the date and setting of the next scene wasn't projected onto the scrim.  Furthermore, as I previously mentioned, there was no turntable mechanism for a stage, but rather a stationary stage.  There was also new costumes.  

     Noticeable differences with individual performances are as follows: Lawrence Clayton's voice kept cracking while singing "Bring Him Home."  Also, Betsy Morgan sang "I Dreamed a Dream" more angrily.  Not only that, but the first part of the song was cut.  Still, it was great to see "Les Misérables" again, so much so that I would be seeing it yet again within a few months during its tour stop in Los Angeles. 

Betsy Morgan as Fantine (photo by Deen Van Meer)

     Just a couple weeks before we saw "Les Misérables" on February 20th, 2011, Chicago experienced a snowstorm that would later be known as the Groundhog Day Blizzard.  From January 31st through February 1st, 2011, more than 20 inches of snow fell in just a few hours.  Approximately 700 people were trapped in their vehicles on Lake Shore Drive for hours.  The 25th Anniversary Tour of "Les Misérables" opened in Chicago the next day.  

     My mom got us great seats for this production.  Our seats were located in the center of the loge section.  From our seats, we could see the entire cast at all times during the show.  I think that the loge section is my favorite section to watch a show--even more so than the first couple rows of the orchestra level.  The loge section was an especially good section from which to view the new production of "Les Misérables."  While it was a visually captivating production, I think it is best viewed from further back in the theatre.  Not too different from Victor Hugo's impressionist paintings that inspired the scenery and backdrops of the 25th Anniversary Tour, this production was a bit of a blur when viewed up close, which I would learn when I would see the show the following November.  Either that, or I was the one who had trouble staying focused.  

Betsy Morgan as Fantine; Lawrence Clayton as Jean Valjean; Chasten Harmon as Eponine; Jenny Latimer as Cosette; Justin Scott Brown as Marius (photo by Deen Van Meer).

**On November 2nd, 2020, Lawrence Clayton died after a two year battle with glioblastoma cancer.  

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     On July 3rd, 2011,  my dad and I saw "Les Misérables" at the Ahmanson Theatre in Los Angeles, California.  He was living in San Diego at the time; so he, his girlfriend, and I took the Amtrak Surfliner train from San Diego to Los Angeles the morning of the show, had breakfast. and met up with an old school friend of mine near the theatre box office.  The four of us then saw the show.  This was my first time seeing a show at the Ahmanson Theatre.  I have never seen shows at the two other Music Center theatres (Dorothy Chandler Pavilion and the Mark Taper Forum).  

     The cast was the same for the most part as it had been in Chicago.  The only change was that Jean Valjean was no longer played by Lawrence Clayton.  Playing that role instead was J. Mark McVey.  He had played the role of Valjean many times on Broadway and on tour.  He had a strong voice and was a bold addition to the cast.  While the tour was in Los Angeles, the company sang the act one showstopper "One Day More" on an episode of "America's Got Talent."   If I remember correctly, this was after I saw the show in Los Angeles.  

My dad and I outside the Ahmanson Theatre in Los Angeles

     It tended to annoy me that shows play at the Ahmanson longer than they do in Chicago.  Nothing seems to perform there for less than six weeks.  Although, nothing has performed there for as long as the Los Angeles production of "The Phantom of the Opera," which ran at the Ahmanson Theatre from May 18th, 1989 to August 29th, 1993.   I don't know why I feel, or felt, annoyed when shows would stay longer in Los Angeles than in Chicago.   It makes sense though.  Los Angeles is densely populated, so of course shows would stay longer.  On the other hand, shows only tend to stay a couple weeks at the Hollywood Pantages Theatre.  Now I'm off topic... which is probably a relief to the reader.  Anyone who has known me awhile probably remembers the times when I wouldn't shut up about "Les Miz."  

     My dad and mom are who I have to thank for purchasing the majority of my theatre tickets over the years.  I am especially grateful to my dad for buying for tickets to the 2011 Los Angeles Engagement of "Les Misérables."  The 25th Anniversary Tour of the musical was produced by NETworks Productions, a company that typically produces non-equity touring productions.  Not only was the 25th Anniversary Tour of "Les Misérables" presented as an equity production, but ticket prices reflected that as well.  If I'm not mistaken, theatre tickets for equity productions in Los Angeles are especially expensive.

J. Mark McVey as Jean Valjean (Deen Van Meer most likely took this photo).

     

     Not to be hyper-critical, but I also noticed that there was too little allotted time for applause between songs in this production.  I specifically remember that being a problem after Andrew Varela's powerful rendition of "Stars."  The audience was clapping, and kept doing so during the first half of Gavroche's song about how he, not the inspector, runs the streets of Paris.  Also, because our seats were towards the back of the orchestra level, the mezzanine level, which hung over where we were sitting, blocked the top of the set design.  This was only problematic during the part of "One Day More" when the Thénardiers sing their lines.  While they emerged from a trap door in the original production to sing their lines, they sing from an open window three levels up in this production. 

     It was around this time that I read Victor Hugo's novel "Les Misérables."  Not only did I read it once, but I read it twice.  It is such a long book.  My tactic was to keep reading even if I stopped paying attention to the book.  There are some details in the novel that weren't in the musical.  For instance, Gavroche is Eponine's brother and the Thénardiers' son.  Also, Fantine not only sells her hair, but also her teeth (which happens in the movie).  After Valjean admits to Javert who he is in the novel, Fantine doesn't get a proper burial, but is buried in an unmarked, mass grave.  Those are just some of the details I can still remember.  

Chasten Harmon as Eponine (photo by Deen Van Meer).

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     On November 14th, 2012, I saw "Les Misérables" when the 25th Anniversary Tour made a return engagement in Chicago --once again at the Cadillac Palace Theatre.  Our seats were in the front row of the orchestra level.  The last time I had a seat like that was when my dad and I saw "Young Frankenstein" at that same theatre.  The night before seeing "Les Misérables" yet again,  I saw "Sister Act: the musical" at the Auditorium Theatre.  

     By this time, most of the leading cast members had been replaced.  Andrew Varela, Betsy Morgan, and Shawna Hamic were still in the show.  But everyone else was gone.  Peter Lockyer now played Valjean.  Other new cast members included Max Quinlan (Marius), Jason Forbach (Enjolras), Briana Carlson-Goodman (Eponine), Lauren Wiley (Cosette), and Timothy Gulan (Thénardier).    As one, this production featured an exceptionally strong cast this time around. 

Timothy Gulan and Shawna Hamic as the Thénardiers (photo by Deen Van Meer).

                                                                          

     Sitting in the front row, I noticed more about the show.  During one of the battle scenes,  a woman picks up a rifle from a fallen Parisienn and joins the fight.  After the show ended, I noticed something else.  Andrew Varela was making a speech to the audience in support of Broadway Cares / Equity Fights AIDS, and Betsy Morgan was trying unsuccessfully to remove a rubber band from a rolled up "Les Miz" poster that was signed by the cast.  I think the poster would go to whoever donated a certain amount of money to the cause.  Anyway, Andrew Varela said "You're so bad at this," at which point Betsy Morgan said "I Know."  There was laughter in the audience as a result of this good natured banter between Javert and Fantine.

     The movie version of "Les Misérables" was released into theaters around Christmas time in 2012.  So when I saw this return production, it was pretty much the last time to see it before comparisons to the film would constantly be made.  Or, much to my chagrin, it was the last chance to see the show before the pop-culture masses would simply go see the movie, having never bothered to see the stage production before.  At first, that prospect made me feel elitist.  But after I realized no one cared, I felt ... you guessed it... miserable.  Or, better yet, Misérable.

Peter Lockyer as Jean Valjean and Max Quinlan as Marius (photo by Deen Van Meer).

     After seeing "Sister Act" on November 13th, 2012, and then "Les Misérables" on November 14th, I needed a break from theatre-going for awhile.  By a break, I mean a week-long respite.  Just joking.  2013 was right around the corner.  In 2013, I saw quite a lot of shows too, but I don't think I ever saw musicals two nights in a row again.  Though I occasionally saw shows a week apart (hence my "week respite" joke).  

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           In Spring of 2014, Kathryn and I saw a production of "Les Misérables" at the Drury Lane Theatre in Oakbrook Terrace, Illinois.  I didn't think the tour would be back.  I wasn't sure what to expect from this production of "Les Misérables."  I was enthralled by the production I saw as a child, yet could only remember some of it.  I loved the 25th Anniversary Touring Production of the musical, but had mixed feelings about it all the same.

     This was a great production.  The scale of the barricade was immense and impressive.  The cast was superb.  Valjean was played by Ivan Rutherford, who also played the part on tour and on Broadway (he even played Valjean when the Third National Tour of "Les Misérables" was at the Ahmanson Theatre... la dee da!  Jk).   The cast also included Jennie Sophia (Fantine), Quentin Earl Darrington (Javert), Skyler Adams (Marius), Emily Rohm (Cosette), Travis Taylor (Enjolras), and Christina Nieves (Eponine).   

    

The Barricade (photo by Brett Beiner).

     One of my favorite musical numbers of this production of "Les Misérables" was "Empty Chairs at Empty Tables."  In this musical number, Marius gets so alarmed by seeing his dead friends peering at him from outside the cafe windows that he starts backing up the stairs.  This happened while he sings the lines "...phantom faces at the window..."  I thought it was a great way to stage this song.

      

 

     Over the years, I saw three productions at Drury Lane Theatre.  I think "Les Misérables" was my favorite production at that theatre.  I am not just saying that because "Les Misérables" is my favorite musical.  It really was a fabulous production.  My second favorite production (a close second) would have to be "Next to Normal."  I don't want to shame the Drury Lane production of "Sunset Boulevard," but it could have been a lot better.  I don't know if I will ever see a show at Drury Lane Theatre again.  But who knows?

Jennie Sophia as Fantine (photo by Brett Beiner).

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     On the evening of July 19th, 2016, my sister and I saw a performance of "Les Misérables" at the Imperial Theatre in New York.  I was in New York visiting my mom for my birthday.  On my birthday, she handed me a souvenir brochure from "Les Misérables" with a sticky note on the cover that said "At the end of the day you get nothing for nothing."  Then I knew I was going to see the show again.  My mom was originally the one who was going to see the show with me, but something came up at the last minute.  It was on the train ride into New York City that I texted my sister and asked if she'd like to see "Les Misérables" that night..  Before I knew it, we were both going to see the show again.

      My mom had gotten two rear balcony seats for under thirty dollars each.  I think John Owen-Jones was scheduled to play Jean Valjean, but instead we got the understudy, Will Ray, who actually played Joe Gillis in the production of "Sunset Boulevard" Kathryn and I saw at Drury Lane Oak Brook Terrace in 2013.  Also,  Allison Luff was in the cast, playing the role of Fantine.  Theo and I saw her in "Wicked" as Elphaba in 2013.  Hayden Tee was playing the role of Javert at the time.  Other cast members (at the time I saw the musical) included Rachel Izen (Madame Thénardier), David Rossmer (Thénardier), Brennyn Lark (Eponine), Alex Finke (Cosette), and Chris McCarrell (Marius).

     

     For my birthday, my sister got me a new souvenir brochure as a birthday present.  I started to complain that it didn't have the current Broadway Cast in the pictures.   As soon as she said that we could return it, I stopped complaining.  Even though the souvenir brochure featured Montego Glover and Alfie Boe (who is technically not an actor, but rather an English tenor),  I was happy to have the souvenir brochure for "Les Miz."  Also, I think the brochure featured Earl Carpenter as Javert.

Allison Luff as Fantine (photo possibly by Matthew Murphy).

     Even though I have seen the musical many times, in many forms, I don't think I will ever get sick of "Les Misérables."  For a time,  I was worried that the 2012 film version ruined the musical for me.  But that turned out not to be the case.  It turns out I was trying to be some sort of "Les Miz" purist.  Well, I think that just resulted in more people disliking me.  Well, I guess the importance of that life lesson was to learn from my mistakes, and to pick another musical to be obsessed with for awhile.  Because doing the same thing over and over while expecting different results has never done anyone wrong.  Has it?  Oh, who knows?  

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       On March 24th, 2024, my mom and I saw a performance of "Les Misérables" at the Proctors Theatre in Schenectady, New York.  My mom had gotten two tickets for us back in November as a Christmas present.  It was well worth the wait, because the show was incredible.  In fact, it was better than ever.  I can say that because I hardly remember seeing the First National Tour of the musical back in 1991.  If it was a more memorable experience, the production my mom and I just saw probably wouldn't have seemed so great by comparison.  

     The insanely talented cast included Nick Cartell (Valjean), Preston Truman Boyd (Javert), Haley Dortch (Fantine), Mya Rena Hunter (Eponine), Matt Crowle (Thénardier), Victoria Huston-Elem (Madame Thénardier), Devin Archer (Enjolras), Jake David Smith (Marius), Delaney Guyer (Cosette), and Kyle Adams (Grantaire and Major Domo).  I thought I had read somewhere that the tour wad going to close soon after playing in Schenectady.  But the production and cast were so amazing that more tour dates were added, including a three-week engagement in Chicago this December.  That is not surprising.  The performance my mom and I saw was sold-out. 

Nick Cartell as Valjean.  Photo by Matthew Murphy and Evan Zimmerman. 

     

     One of the pleasant surprises about this production was that the song "I Dreamed a Dream" was restored to its original duration.  The alterations to the song for the 25th Anniversary Tour were disappointing to me (though I saw that production three times).  Of course, to keep this production under three hours, other songs had to be slightly trimmed.  Regardless of that, it was still a great show, which I would see yet again in a heartbeat.  

   

       My mom and I sat in the back row of the orchestra level, which provided a dramatic vantage point of the musical, as well as the opportunity to make a quick exit after the show.  We were both so glad we got to see it again, and I am very grateful for what was an amazing Christmas present.  Looking back (which is fine in moderation), I would say this was one of the most enjoyable, and emotional, theatre experiences.  Yet I can understand why the show is "Still the World's Most Popular Musical."

Haley Dortch as Fantine.  Photo by Matthew Murphy and Evan Zimmerman. 

     A day or so before seeing "Les Misérables," I called the Proctors box office to ask if there were flyers for the show, and if there were printed playbills rather than digital ones.  I was told that both flyers and printed playbills would be available.  Unfortunately, there were no flyers available for the Schenectady Engagement of "Les Misérables."  However, there were printed playbills.   As far as why I want flyers for the shows I see--well, it's for decorating my blog.  In this instance, my mom and I simply went to the box office again and asked for printed tickets.  That way, I could use one of the tickets for my blog.  I also took a screenshot of the "sold-out" notification for our performance of "Les Misérables."

     Although the performance of "Les Misérables" is over, it is the gift that keeps on giving.  Both my mom and I have the music from the show stuck in our heads.  The day after the show, we had much less energy than before seeing the show.  Of course, "Les Misérables" is an emotionally-charged musical, and can understandably leave one feeling drained afterwards.  I won't go into specifics, but 2023 was not the best year for us (put mildly).  Parts of "Les Misérables" stirred up feelings of grief and loss.  But it was a beautiful experience that neither my mom or I regret seeing.

Preston Truman Boyd as Javert.  Photo by Matthew Murphy and Evan Zimmerman. 

     To this day, "Les Misérables" is my favorite musical.  No matter what is added to, removed from, or restored in a production, I absolutely love this musical.  While I don't expect to see the turntable production of "Les Misérables" again, I can't rule out that possibility either.  Maybe that production will return for the show's 50th anniversary.  Who knows?  If that doesn't come to pass though, that is fine with me.  I absolutely love the production my mom and I saw at Proctors. 

     Other changes to the show were apparent in the songs "At the End of the Day," "Lovely Ladies," and "Look Down."  I am sure I am forgetting other changes.  In "At the End of the Day," when Valjean says "This is a factory, not a circus," one of the workers says "Are you sure about that?"  In the song "Lovely Ladies," some of Fantine's lines towards the end of the song were given to other characters.  Finally, though this had been a change I noticed in the Broadway Revival, Gavroche's line about living on crumbs of humble piety was changed to "This is the land that fought for liberty / Now when we fight, we fight for bread / Here is the thing about equality / Everyone's equal when their dead."  That line got a positive reaction from the audience.  That and many other lines... and scenes... and so forth.  I hope I can see "Les Miz" again!  Speaking of which, if anyone wants to see it sooner rather than later, the tour is performing in Toronto until June 1st, 2024.  

The Company, led by Devin Archer as Enjolras.  Photo by Matthew Murphy and Evan Zimmerman. 

     When my mom and I went to see "Les Misérables" at Proctors Theatre, we stayed at the Homewood Suites in Schenectady.  It is such a nice hotel.  As an early riser, I tend to wake up before my mom.  So, the morning after seeing "Les Miz," I went down to the lobby, and was pleasantly surprised to find that there was basically an all-out breakfast buffet set up.  The hotel website had mentioned a free hot breakfast for guests, but I thought that meant a waffle iron and hard-boiled eggs.  But there were eggs, sausage, and hash browns.  I felt like Jean Valjean when he feasted with the Bishop of Digne...prior to stealing from him.  While I didn't steal from anyone, I did bring a bagel and two cups of coffee up to the hotel room.  

     

     Speaking of the scene with Valjean and the Bishop of Digne,  when Valjean loudly  tells the audience that he stole his silver and took his flight, he bellows the last syllable and holds the key as he runs past people.  At that point, my mom leaned over towards me and whispered "he is the worst thief."  It is timed of laughter, stifled laughter, and good-natured laughter that make a fun weekend even better.  That is probably why the Thénardiers, as comic relief, are so essential to "Les Misérables."  While they were not funny characters in the book (as I mentioned before),  moments of laughter between so many sad scenes in a play make seeing a show even better.  Also, I noticed that each time I see "Les Misérables," the actors playing the Thénardiers portray the characters slightly different, with their own unique brilliance.  That goes for all the other characters too.  It was especially apparent with this cast.  If asked, I would say this performance was near perfection.  But I wasn't, so this show wasn't.  How's that for skewed logic?

Mya Rena Hunter as Eponine.  Photo by Matthew Murphy and Evan Zimmerman. 

      We saw "Les Misérables" at the Mainstage Theatre at Proctors, which is right off of an arcade of sorts.  The Proctors building actually features multiple theatres, a dance hall, as well as two separate entrances.  Each entrance to the building is at a separate end of the arcade.  By arcade, I do not mean a game room with "Ski Ball" and tokens.  I mean an ornate hallway of sorts what connects parts of the building with each other.  My mom and I parked near the back entrance of Proctors, so we entered the building that way.  By doing so, we passed all these cases that were labeled "Les Misérables Tour."  I guess since we saw the show on the last day the tour was in Schenectady, it makes since the cases weren't inside somewhere.  Still, it was pretty neat! 

     

     There are a couple shows coming to Proctors Theatre that I wouldn't mind seeing, if given the opportunity.  The first show is "Kite Runner."  I read the book years ago, but I only remember parts of it.  It would be fun to see the play (or is it a musical? ... I probably need to do some research).  The National Tour of "Funny Girl" is also coming to Proctors.  Family and friends have seen the show, both on Broadway and on tour.  For the most part, I've heard good things about the revival and subsequent tour.  The last show I might want to see at Proctors is the touring production of "Life of Pi."  I saw the Broadway Production, and thought it might be fun comparing the two productions.  Of course, I would probably not find the shows as enjoyable as I did "Les Miz."  But you never know...