Review by: Paul Towers, 14 November 2018
Les Miserables based on the Victor Hugo novel. Music by
Claude-Michel Schonberg, Lyrics by Herbert Kretzmer. Additional material by James Fenton and adapted by
Trevor Nunn and John Caird
A Cameron Mackintosh production
Curve – 3rd November to 24th November
“spectacularly emotional”
Victor Hugo’s Les Miserables was set around the 1830
revolution which saw the poor rise up against King Charles X and his obvious
bias towards the rich. Hugo’s first novel, Notre Dame de Paris featuring the
hunch back Quasimodo, was a success and in 1845 he started to write Les
Miserables.
Set against the background of the uprising it is a story of
the struggle between Jean Valjean and Javert and the love story of Cossette and
Marius.
As the curtain rises Valjean is seen coming to the end of a
19 year sentence on the chain gang but struggles to make a living given his
background. Javert vows to hunt him down as so begins a lifelong feud.
As much of the story revolves around the enmity of Valjean
and Javert it is essential that the parts are cast well. In Killian Donnelly
and Nic Greenshield the producers have found the perfect pairing. The other superb
casting is Katie Hall’s Fantine who broke the hearts of the entire audience when
she expired.
Light relief is provided by Martin Ball and Sophie-Louise
Dann as the disreputable inn keeper and his wife, the Thenardiers. Their rendition
of Master Of The House is a Hogarth painting come to life.
The set, designed by Matt Kinley, is an incredible piece of
planning; a jig saw of many pieces that fly in, turn round and drop down to
form the various parts of Paris. Two three story towers frame the side of the
stage and surprised us all by sliding
in and forming a complete street.
Add to this the incredible back projections which not only
provide scenic references but are often animated making an escape through the
sewers of the city incredibly realistic. The sound and light designed by Mick
Potter and Paule Constable add to the atmosphere and are especially effective
in the second act depiction of the barricade massacre.
This is a spectacularly emotional musical which is
celebrating its 33rd year with an international tour.
The remaining dates at Curve are sold out and your only
chance of a ticket is to call the box office in the hope that someone has
fallen ill. Next stop Dublin, if you fancy your chances. But, given that Curve
sold out within hours of tickets being released, it is unlikely you will be lucky.
First published on Western Gazette
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