Les Misérables hits Cardiff

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Les Misérables is a musical that precedes itself and needs no introduction. Nonetheless, for those who are yet to experience the phenomenon that is Les Mis – it is an adaptation of Victor Hugo’s novel set in 19th century France amidst the French Revolution. Cameron Mackintosh’s production is written by Claude-Michel Schönberg and Alan Boublil; it is undisputedly one of the world’s most popular musicals and a staple of Broadway and the West End.

This UK tour has been a long time coming having been postponed by the pandemic, but that doesn’t stop it from hitting Cardiff with a bang. The stage is set with a backdrop featuring Victor Hugo’s abstract painting Town at Dusk before the overture kicks in and the Chain Gang convicts appear, donned in red jumpsuits. One of the early solo lines “it’s hot as hell below” is sung out with gusto and one thing is apparent: the audience are in for a treat.

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To the first-time viewer, the opening scenes are very frantic, moving from one to another so quickly that you barely have time to process what is happening. This is strongly driven by the structure of the music; the orchestra were brilliant under the direction of Giles Deacon, however the music definitely seemed to move at a faster pace than normal and at times, the singing almost seemed rushed. Even the spine-tingling One Day More felt far too fast.

Dean Chisnall as Jean Valjean grew throughout and played a brilliant part, from rugged and brutish to sophisticated and gentle. Once he opened up, he showcased his powerful voice as well as his high and refined tone. This made for a wonderful combination when it came to the beloved Bring Him Home; the purity of the falsetto notes alongside the powerful belted phrases demonstrated just how the song should be sung, and it was truly captivating.

The familiar instrumental signals the curtain making way for the factory gates; the ensemble gave a sterling performance. The power and sheer volume from the factory workers during At the End of the Day was impressive. The set was effective and the movement of everyone on stage was very slick considering the size of the cast.

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Despite her relatively short appearance, one of the standout performers was Lauren Drew (Fantine) who gave such an emotional performance. Her acting was superb and goosebump-inducing during her misfortunes and ill-health where she seemed almost feral. I Dreamed a Dream was strong and pure, and she showcased a beautiful vibrato tone which is quite unusual for the role.

The comedic relief is provided by the Thénadiers (Ian Hughes, Helen Walsh) and what a fantastic job they did! Ian Hughes played the part with such cheekiness and animated expression that it made for very funny viewing; Master of the House was excellently choreographed too.

As for Javert, from his first appearance, he had a dominating presence. Broad-shouldered with a powerful voice, the show’s main antagonist was played superbly by Nic Greenshields who showed a real blend of stoic monotony and emotion. His rendition of Stars was passionate, as was his haunting soliloquy atop a bridge over the river Seine. This scene cleverly used a moving screen, a feature that was repeated later in the show, which was really well done.

One noticeable reoccurrence is that the principal characters all seemed to sing with rubato, extending phrases and pulling the rhythms of their parts around, perhaps in a bid to put their own stamp on music that a lot of people know inside out. What is also apparent is just how long the first act is for anyone who is unfamiliar with the show; there is so much packed in.

The introduction of the students signals a political direction and a focus on the revolutionary period. Leader of the rebels Enjolras (Samuel Wyn-Morris) has a powerful voice. He is commanding and tall in stature and is great casting. However, he has quite a bizarre singing style whereby he sings out of the corner of his mouth in an almost caricature fashion.

The use of light and sound is impactful to portray the fighting at the barricade and the rebels make up a talented and impressive cast. Those familiar with the revolving set of years gone by will know how effective the staging of Enjolras’ sacrifice was and sadly, the new staging just does not have the same impact.

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Young lovers Cosette (Paige Blankson, in her professional debut) and Marius (Will Callan) don’t have a great deal of chemistry. Furthermore, Cosette’s voice is an acquired taste – very operatic and almost jarring combined with her strongly British accent, although her top notes were very pure and refined. In a similar vein, Éponine, played by Siobhan O’Driscoll had a very apparent Scouse accent which was distracting at times during On My Own. Her belted notes were brilliant but she was almost talking during parts of the song.

In fact, there were regional accents everywhere. Young Gavroche had a strong Geordie accent as opposed to the usual Cockney offering. There were also snippets of Welsh, Scottish and Northern accents throughout which made for a confusing sense of continuity. Clearly, this is something the touring version of Les Mis have embraced but it is a little different from what some might be used to.

Finally, Marius’ tortured solo Empty Chairs at Empty Tables was fantastic. The use of candles and the interaction of the fallen rebels was heartfelt and emotional. The choral sounds of Do You Hear the People Sing? close out the show and the lilting and haunting sounds of the dead ring out.

Les Misérables is worth a watch every time, whether it be the first or one of many. Ultimately, it is a moving story with gut-wrenching and memorable songs that never gets old despite its long-running success.

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