Stage Struck Review

Reviews for theater within the greater Pasadena area.

“Les Miz” Rises: Great musical done right in La Mirada

The Company of the McCoy/Rigby Entertainment production of "Les  Miserables" in La Mirada [photo: Michael Lamont]

The Company of the McCoy/Rigby Entertainment production of “Les Miserables” in La Mirada [photo: Michael Lamont]

If I had to make a list of the most fulfilling stage musicals I have ever seen, “Les Miserables” would be up there in the top five. In live performance, it offers a significant combination of strong story (well edited from another medium though it may be), strikingly memorable music, lushness, message, and star turns. When I first saw it in its original London production, one of the things which also struck me was the comparative simplicity of the performance format: tech did not outweigh content. At the time, when musical theater was full of roller skates and falling chandeliers, the production of “Les Miz” was comparatively simple – occasionally stunningly so.

Which is part of what upset me about the 25th anniversary revival tour, when it arrived at the Ahmanson. Though I am never one to insist that any theatrical work be chained to its original staging, the new rendition went higher tech, taking it a direction which, in several critical moments, picked spectacle over substance. And the performers knew it. The heart was drained from the entire proceeding.

All of this brings me to the relief I felt seeing the new rendition by the McCoy Rigby Entertainment series at the La Mirada Theatre for the Performing Arts. It’s like the show has its mojo back: strong performances, tight pacing, and a more performer-centric production. It works. It works the way it always does when it is done right: the cast has chemistry, the story has power, and the audience is swept up in the sheer melodramatic richness of it all.

A strong ensemble powers the piece, creating space for some fine performances. James Barbour brings to Jean Valjean just the right measure of fear, anger and deeply loving regret. His voice handles the extreme range of music with a naturalness which belies its difficulty. Randall Dodge’s Javert vibrates with moral conviction without becoming a complete cartoon. In the brief but powerful part of Fantine, Cassandra Murphy balances desperation and heart-wrenching despair with grace, while Michael Stone Forrest becomes memorable in the even more brief but pivotal role of the Bishop of Digne.

Randall Dodge as Javert and James Barbour as Jean Valjean [photo: Michael Lamont]

Randall Dodge as Javert and James Barbour as Jean Valjean [photo: Michael Lamont]

Kimberly Hessler and Nathan Irvin make a splendid couple as the young and idealistic lovers Cosette and Marius, while Jeff Skowron and particularly Meeghan Holaway have delightful fun as the blatantly evil Thenardiers. Young Jude Mason makes a plucky little Gavroche, and sings with intensity and clarity beyond his apparent years. Anthony Fedorov looks scrappier than is sometimes portrayed, but still lights the egalitarian fires as the passionate student Enjolras. Valerie Rose Curiel’s voice has a slight pop overtone which sometimes seems inappropriate, but she gives the ill-fated Eponine considerable character.

Still, it is by looking at the production as a whole that one finds the most satisfaction. For me, the “tell” as to whether or not the words and story matter most is the death of Javert. This production returns to the simple, stylish, understated concept from the first production – a confirming moment which, I will admit, produced a fist-pump from me: if they got that, they got the whole balance right.

Kudos, thus, to director Brian Kite who took the best of the old and worked with it to make it new. Choreographer Dana Solimando, often in this production more of a movement coordinator, gives the piece visual style. Praise also to set designer Cliff Simon and lighting designer Steven Young. If there was an Achilles heel in this performance it came at the hands of the microphones which had a tendency to blank out at critical moments. I’m sure sound designer Josh Bessom has been on that ever since.

So, if you haven’t ever seen “Les Miserables” done on stage, this is a fine version to check out. If you have, this one will not disappoint. One can only hope that those in the future who wish to keep this remarkable musical alive will learn from the errors of their forebears that when the material is this good, quite often the “less is more” rule definitely applies.

What: “Les Miserables” When: Through June 22, 7:30 p.m. Wednesdays and Thursdays, 8 p.m. Fridays and Saturdays, with 2 p.m. matinees Saturdays and Sundays Where: La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd. in La Mirada How Much: $20 – $70 Info: (562) 944-9801 or (714) 994-6310 or http://www.lamiradatheatre.com

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2 responses to ““Les Miz” Rises: Great musical done right in La Mirada

  1. Anonymous June 11, 2014 at 4:41 PM

    It’s disappointing to me that musical direction is often over looked. Most great musicians are too busy to care but I think’s it’s important to address because live music is a necessity to live theatre. In sung through musicals such as Les Miserables it seems remiss to not at least mention the conductor/musical director since they are keeping the orchestra and the actors together, which is not an easy task by any means.

    • Frances Baum Nicholson June 11, 2014 at 8:42 PM

      I agree. Sometimes I am considering space, as many of my reviews also appear in the string of newspapers I write for. Still, I understand the importance of those who create the music and make it “happen” onstage. Indeed, knowing Georgia Stitt, I also know (at least a bit) her husband Jason Robert Brown, who won two music-related Tonys last Sunday.(Much excitement in that household.) Believe me, I get it. I will consider, as space allows, giving more credit when I feel it is due. I think, for me, I sometimes assume that if I speak of the quality of the vocal ensemble, everyone knows where that comes from. Perhaps they do not. Thank you for your comment.

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