{"id":15241,"date":"2019-05-12T17:35:59","date_gmt":"2019-05-13T00:35:59","guid":{"rendered":"http:\/\/cahighways.org\/wordpress\/?p=15241"},"modified":"2019-05-12T17:49:11","modified_gmt":"2019-05-13T00:49:11","slug":"%f0%9f%8e%ad-death-on-stage-done-right-les-miserables-pantages","status":"publish","type":"post","link":"https:\/\/cahighways.org\/wordpress\/?p=15241","title":{"rendered":"🎭 Death on Stage, Done Right | “Les Mis\u00e9rables” @ Pantages"},"content":{"rendered":"

\"Les\"\"Yesterday, I wrote about\u00a0Falsettos\u00a0<\/em>at the Ahmanson Theatre<\/a>, and how the death at the end of that show closed the show on a down note, leaving with the audience impressed with the performances, but an ultimate “eh” for the overall feeling. Contrast that with the death that occurs at the end of Les Mis\u00e9rables<\/em><\/a> at the\u00a0Hollywood Pantages<\/a>\u00a0(FB<\/a>): almost the entire company on stage, marching and singing and celebrating the life and glory. You walk out humming an uplifting anthem, with a completely different feeling. Now that’s how you do death!<\/p>\n

Also as with\u00a0Falsettos<\/em>, this is the second time we’ve seen the show. The first was also in 2011 when it was at the Ahmanson. This was also the year we first saw Falsettos<\/em>. Back then I wrote about the show<\/a>:<\/p>\n

Back in 1985,\u00a0a musical juggernaut was created:\u00a0Les Mis\u00e9rables<\/a><\/i>, the musical version of\u00a0the Victor Hugo novel<\/a>. It hit\u00a0Los Angeles in 1988<\/a>, opening at\u00a0a rejuivenated Shubert Theatre in Century City<\/a>, where it ran for fourteen months. It returned to Los Angeles numerous times since then\u00a0under Broadway\/LA\u2019s banner<\/a>\u00a0(2004, 2006). However, it wasn\u2019t until\u00a0the current 25th<\/sup>\u00a0anniversary production at the Ahmanson Theatre\u00a0that I finally saw the show. As my wife said as it ended last night, \u201cWow!\u201d.<\/p>\n

\u201cLes Mis\u00e9rables<\/i>\u201d (the musical)<\/a>\u00a0tells the story of Jean Valjean, also known as prisoner 24601, and his adopted daughter, Cosette. It is based on the\u00a0Victor Hugo<\/a>\u00a0of\u00a0the same name<\/a>, but does\u00a0cut a few elements of the story<\/a>. The story, which covers 17 years, is so complicated that\u00a0a synopsis needed to be published in the program (seemingly, a bad sign). Given that, I\u2019m not going to attempt to repeat it here. You can read it yourself in the Wikipedia Page on the show<\/a>. Suffice it to say that the show condenses the 1,200 page, five volume novel into two acts of 90 minutes and 65 minutes respectively. The first act covers Jean Valjean\u2019s release from prison and the interaction with the Bishop at Digne, the mayoral years at Montreiil-Sur-Mer where Valjean meets Fantine and takes responsibility for Cosette, the visit to Montfermeil where Valjean obtains Cosette from the Th\u00e9nardiers, and the years in Paris where the student revolt begins and Marius and Cosette fall in love\u2026 all of this while the police officer Javert is chasing Valjean. The second act is solely in Paris and covers the student revolt, its failure, the subsequent growth of the relationship between Marius and Cosette, the final confrontations of Valjean and Javert, and the final redemption of Valjean. That\u2019s a lot of material to cover\u2014trying to cover so much material and so much time is the reason many great novels, such as\u00a0Gone With The Wind<\/a><\/i>, never make it to the Broadway stage. It is a testament to the original authors\u00a0Claude-Michel Sch\u00f6nberg<\/a>\u00a0(music) and\u00a0Alain Boublil<\/a>\u00a0(a French-language libretto) that they were able to take the beast of a novel and turn it into something understandable (although, arguably, this is really a full opera presented in the guise of a \u201cmusical\u201d\u2014at times, the lines between the two blurs). It is also a testament to the English language adapters,\u00a0Herbert Kretzmer<\/a>\u00a0who developed the English language libretto, and\u00a0Cameron Mackintosh<\/a>, the original producer, who discovered the French production in 1982 and has sheparded it ever since (I\u2019ll note Mackintosh\u2019s\u00a0full bio in the program\u00a0was: \u201cProduces musicals.\u201d). The production was adapted by\u00a0Sir Trevor Nunn<\/a>\u00a0and\u00a0John Caird<\/a>.<\/p>\n

The translation does have its weak parts, however, primarily in how manipulative it is for the audience. By this, I mean the show in engineered to be a pleaser, with music that builds and leaves the toes tapping; with moments designed to permit the actors to shine; and with act-ending finales designed to stir the soul. In that sense, it is truly operatic as opposed to dramatic. It it also, at times, emotionally overwrought\u2014again, a hallmark of the more operatic side. To some that is a fatal flaw that reduces the worth of the show, but I do enjoy the general effect.<\/p>\n

[Some story credits I missed including the first time: Claude-Michel Sch\u00f6nberg<\/a>\u00a0Music<\/em><\/span>; Herbert Kretzmer<\/a>\u00a0English Lyrics<\/em><\/span>; James Fenton<\/a>\u00a0Additional material<\/em><\/span>]<\/p><\/blockquote>\n

It is now 8 years since I saw that production. What has changed, other than Cameron Mackintosh now having a full bio? Does the new touring production<\/a> reach the same heights? After all, the story hasn’t changed at all.<\/p>\n

Sad to say, the answer is decidedly mixed. The performances are soaring, and the direction and choreography makes the best use of what they have to work with. Voices are remarkable, and the audience is excited. But production decisions make the ultimate effort hard to embrace. At the Ahmanson, the tour was designed to use the entire stage, which is needed for the company to express the broadness and scope of the production. At the Pantages, the set artificially constrained the stage space, cutting the width of the Pantages stage by an estimated one-sixth on each side (that’s a one-third cut overall, for those math challenged). This limited movement, and obscured sight lines from the side. Further, the lighting was dark dark dark, and then smoke and fog effects were added. This made it hard to see. I recall that the Ahmanson staging was better lit and you could see the actors from a distance. The constrained stage and the lighting served to tone down the show. At least the sound was, for the most part, good (which can be a problem in the Pantages).<\/p>\n

This is not to say that the production was bad or poorly executed: only that it could have been better. The performances themselves were stunning. The comic bits with the Th\u00e9nardiers were hilarious (in particular, Mme. Th\u00e9nardiers reprise to “Master of the House” with the bread), and there were some remarkable sustained high notes. The voices were phenominal, and the music for this show is just a delight. You can just float away on that alone. It just didn’t have the impact of the first time we saw the show.<\/p>\n

Some of the problems with this production — at least design wise — may be the results of decisions by the directoral team of Laurence Connor<\/a> and James Powell<\/a>. But they did do a great job with their performers about bringing out effective and strong performances that conveyed both the story and the emotions of the characters. They helped their acting team inhabit their characters and tracks, and generally made the performances the strongest part of this show.<\/p>\n

In the lead position of this story was Nick Cartell<\/a> (⭐FB<\/a>, FB<\/a>) at Jan Valjean. Cartell had soaring vocals in songs such as “Bring Him Home”, and captured the angst and torment of the character well, Opposing him throughout much of the story was Josh Davis<\/a> (⭐FB<\/a>, FB<\/a>) as Javert. Davis also had soaring vocals in songs like “Stars” and his Soliloquy — a common trait in this cast — and provided solid opposition.<\/p>\n

This brings us to the adult women in the cast: Mary Kate Moore<\/a> (FB<\/a>) as Fantine; Jillian Butler<\/a> (FB<\/a>) as the adult Cosette; and Paige Smallwood<\/a> (FB<\/a>) as the adult \u00c9ponine. All were beautiful and spectacular and sang like angels — Moore in “I Dreamed a Dream”, Butler in “A Hear Full of Love”, and Smallwood in “On My Own”. They made the same casting decision that was done in the 2011 production that required a bit of suspension of disbelief (little white girl turns into stunning black singer), but this is a stage fantasy, so who really cares.<\/p>\n

Then there are the kids: Cate Elefante<\/a> (FB<\/a>) as Little Cosette (alternating with Aubin Bradley<\/a>), Aubin Bradley<\/a> as Young \u00c9ponine (alternating with Cate Elefante<\/a> (FB<\/a>)), and Parker Weathersbee<\/a> as Petit Gervais \/ Gavroche (alternating with Parker Dzuba<\/a>, who came in for Jonah Mussolino<\/a>\u00a0(⭐FB<\/a>) in August 2018, when Jonah moved to Falsettos<\/em>). Elefante was spectacular in her opening scene singing “Castle on a Cloud”, and Weathersbee was strong as Gavroche in the second act in all of his numbers. All were astonishingly cute.<\/p>\n

Joshua Grosso<\/a> (⭐FB<\/a>) made a strong Marius, whom we see as Cosette’s love interesting and a leader of the students in the second act.\u00a0 He has a touching rendition of “Empty Chairs at Empty Tables”, and a lovely duet with \u00c9ponine in “A Little Fall of Rain”.<\/p>\n

Lastly, in terms of the major characters in the story, there is the comic relief duo of J. Anthony Crane<\/a> (⭐FB<\/a>, FB<\/a>) as Th\u00e9nardier and Allison Guinn<\/a> (⭐FB<\/a>, FB<\/a>) as Mme. Th\u00e9nadier. We don’t meet the characters until the wonderful “Master of the House”, and then they keep reappearing in funny situations throughout the story. The actors play off each other well and are having fun with their roles, and that comes across to the audience well.<\/p>\n

All of the other characters are in smaller roles, often not well named on stage, or in ensemble positions: John Ambrosino<\/a> (FB<\/a>) \u2013 Bamatabois, Claquesous<\/em><\/span>; Felipe Barbosa Bombonato<\/a> (FB<\/a>) \u2013 Grantaire (at our performance), Farmer, Babet (normally)<\/em><\/span>; Olivia Dei Cicchi<\/a> (FB<\/a>) \u2013 Innkeeper’s Wife<\/em><\/span>; Kelsey Denae<\/a> (FB<\/a>) \u2013 Wigmaker<\/em><\/span>; Caitlin Finnie<\/a> (FB<\/a>) \u2013 Ensemble<\/em><\/span>; Mont\u00e9 J. Howell<\/a> (FB<\/a>) \u2013 Innkeeper, Combeferre<\/em><\/span>; Stavros Koumbaros<\/a> (FB<\/a>) \u2013 Joly<\/em><\/span>; Andrew Love<\/a> (FB<\/a>) \u2013 Champmathieu, Brujon<\/em><\/span>; Andrew Maughan<\/a> (FB<\/a>) \u2013 Bishop of Digne, Lesgles, Loud Hailer<\/em><\/span>; Maggie Elizabeth May<\/a> (FB<\/a>) \u2013 Old Woman<\/em><\/span>; Darrell Morris, Jr.<\/a> (FB<\/a>) \u2013 Constable, Montparnasse<\/em><\/span>; Ashley Dawn Mortensen<\/a> (FB<\/a>) \u2013 Factory Girl<\/em><\/span>; Bree Murphy<\/a> (FB<\/a>) \u2013 Ensemble<\/em><\/span>; Domonique Paton<\/a> (FB<\/a>) \u2013 Ensemble<\/em><\/span>; Talia Simone Robinson<\/a> (FB<\/a>) \u2013 Ensemble<\/em><\/span>; Patrick Rooney<\/a> (FB<\/a>) \u2013 Constable, Fauchelevent, Jean Prouvaire<\/em><\/span>; Mike Schwitter<\/a> (FB<\/a>) \u2013 Laborer, Feuilly<\/em><\/span>; Matt Shingledecker<\/a> (FB<\/a>) \u2013 Enjolras<\/em><\/span>; Brett Stoelker<\/a> (FB<\/a>) \u2013 Swinging in to Babet, Major Domo (at our performance)<\/em><\/span>; Addison Takefman<\/a> \u00a0\u2013 Ensemble<\/em><\/span>; and Christopher Viljoen<\/a> (FB<\/a>) \u2013 Factory Foreman, Courfeyrac<\/em><\/span>. Matt Hill<\/a> \u2013 Normally, Grantaire, Major Domo<\/em><\/span> was out at our performance.<\/p>\n

Swings were Julia Ellen Carter<\/a> (FB<\/a>); Jillian Gray<\/a>; Tim Quartier<\/a> (FB<\/a>); Brett Stoelker<\/a> (FB<\/a>); and Kyle Timson<\/a> (FB<\/a>).\u00a0 Understudy allocations are not shown.<\/p>\n

This show isn’t a dance show per se<\/em>, but there is lots of movement. The musical staging was by Michael Ashcroft<\/a> and Geoffrey Garratt<\/a> (FB<\/a>). Kyle Timson<\/a> (FB<\/a>) was both the Dance Captain and the Fight Captain. Given the small stage space, the movement was very effective in utilizing that space and doing its best to create the illusion of a larger space. Still, this resulted in a lot of people going in a lot of circles.<\/p>\n

The orchestra (under the Musical Direction of Brian Eads<\/a> (FB<\/a>)) was larger than the typical touring orchestra, and had that wonderful large orchestral sound that this show needs. No indication was provided as to who was local and who was not, but I recognize a number of names, so my educated guess as to locals is indicated with 🌴. The orchestra consisted of: Brian Eads<\/a> (FB<\/a>) \u2013 Conductor<\/em><\/span>; Eric Ebbenga<\/a> (FB<\/a>) \u2013\u00a0Assoc. Conductor, Keyboards<\/em><\/span>; Tim Lenihan<\/a> (FB<\/a>) \u2013\u00a0Asst. Conductor, Keyboards<\/em><\/span>; Danielle Giulini<\/a> (FB<\/a>) \u2013\u00a0Violin, Concertmaster<\/em><\/span>; Karen Elaine<\/a> (FB) \u2013\u00a0Viola<\/em><\/span>; 🌴 Ira Glansbeek<\/a> \u2013 Cello<\/em><\/span>; 🌴 Michael Valerio<\/a>\u00a0(FB<\/a>) \u2013 Double Bass<\/em><\/span>; 🌴\u00a0Amy Tatum<\/a> (FB<\/a>) \u2013\u00a0Flute, Piccolo, Alto Flute, Recorder<\/em><\/span>; 🌴 Richard Mitchell<\/a> \u2013 B Flat Clarinet, E Flat Clarinet, Bass Clarinet, Tenor Recorder<\/em><\/span>; 🌴 Laura Brenes<\/a> (FB<\/a>) \u2013 French Horn 1<\/em><\/span>; 🌴\u00a0Allen Fogle<\/a> (FB<\/a>) \u2013\u00a0French Horn 2<\/em><\/span>;\u00a0🌴\u00a0John Fumo<\/a>\u00a0(FB<\/a>) \u2013 Trumpet, Flugelhorn, Piccolo Trumpet<\/em><\/span>; Phil Keen<\/a> (FB<\/a>) \u2013\u00a0Bass Trombone, Tuba<\/em><\/span>; Jared Soldivero<\/a> (FB) \u2013\u00a0Drums, Percussion, Mallets, Timpani<\/em><\/span>; Mary Ekler<\/a> (⭐FB<\/a>) \u2013\u00a0Keyboard Sub<\/em><\/span>; Stuart Andrews<\/a> \u2013 Keyboard Programming<\/em><\/span>; Jean Bellefeuille<\/a> \u2013 Asst. keyboard Programming<\/span>.<\/em> Other Orchestral credits:\u00a0🌴\u00a0Eric Heinly<\/a>\u00a0(FB<\/a>) \u2013 Orchestra Contractor<\/em><\/span>; John Cameron<\/a> \u2013 Original Orchestrations<\/em><\/span>; Christopher Jahnke<\/a>, Stephen Metcalfe<\/a>, and Stephen Brooker<\/a> [UK] \u2013 New Orchestrations<\/em><\/span>; Stephen Brooker<\/a> [UK] and James Moore<\/a> (FB<\/a>)\u00a0 [US] \u2013 Musical Supervision<\/em><\/span>; and John Miller<\/a> \u2013 Musical Coordinator<\/em><\/span>.<\/p>\n

Lastly, turning to the production and creative aspects: I’ve already mentioned the constrained stage space and the problems with the darkness of Paule Constable<\/a> (FB<\/a>)’s lighting design. Setting that aside, the rest of the production worked well. Matt Kinley<\/a>‘s set and image design used a balcony on one side and archways on the other to create a wide variety of spaces, using a combination of rolled on, flown in, and projected set pieces. Some were extraordinarily effective, such as the catacomb effect in the sewers in the second act. Credit also goes to 59 Productions<\/a> for the projection design, which also used images inspired by the paintings of Victor Hugo<\/a>. This was also augmented by the Costume Design of Andreane Neofitou<\/a> and Christine Rowland<\/a>, which seemed both appropriately poor and rich depending on the scene, and seemed to fit the characters and their stations well. The wig and hair design of Campbell Young Associates<\/a> also worked well. Mick Potter<\/a>‘s sound design generally worked well, although there were points that it was muddled in the cavernous space that is the Pantages. Other production credits: Laura Hunt<\/a> \u2013 Associate Costume Designer<\/em><\/span>; Nic Gray<\/a> \u2013\u00a0Associate Sound Designer<\/em><\/span>; Richard Pacholski<\/a> \u2013\u00a0Associate Lighting Designer<\/em><\/span>; David Harris<\/a> and Christine Peters<\/a> \u2013\u00a0Associate Set Design<\/span>;<\/em> Corey Agnew<\/a> \u2013\u00a0Assoc. Director<\/em><\/span>; Richard Barth<\/a> (FB<\/a>) \u2013\u00a0Resident Director<\/em><\/span>; Tara Rubin CSA<\/a>\u00a0(FB<\/a>), Kaitlin Shaw, CSA<\/a>\u00a0\u2013\u00a0Casting<\/em><\/span>; Ryan Parliment<\/a> \u2013\u00a0Company Manager<\/em><\/span>; Jack McLeod<\/a> (FB<\/a>) \u2013\u00a0Production Stage Manager<\/em><\/span>; Jess Gouker<\/a> (FB<\/a>) \u2013\u00a0Stage Manager<\/em><\/span>; Joseph Heaton<\/a> (FB<\/a>) \u2013\u00a0Asst. Stage Manager<\/em><\/span>; Broadway Booking Office NYC<\/a>\u00a0\u2013\u00a0Tour Booking &c<\/em><\/span>; NETworks Presentations<\/a> \u2013\u00a0Production Management<\/span>; <\/em>Gentry & Associates<\/a> \u2013\u00a0General Management<\/span><\/em>. A Cameron Mackintosh<\/a> and NETworks <\/a>Presentation.<\/p>\n

Les Mis\u00e9rables\u00a0<\/em>continues at the\u00a0Hollywood Pantages<\/a>\u00a0(FB<\/a>) through June 2, 2019. If you haven’t seen the show before, it is worth seeing. If you have seen the show before and love the show, you’ll certainly enjoy this outing. If you have seen the show and are looking for a new take, this might be hit or miss with the darker lit staging. Tickets are available through the Pantages box office<\/a>.\u00a0 Discount tickets may be available through Goldstar<\/a> or through TodayTix<\/a>.<\/p>\n

🎭<\/p>\n

Ob. Disclaimer<\/strong>: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I\u2019ve been attending live theatre and concerts in Los Angeles since 1972; I\u2019ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I\u2019m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted (or I\u2019ll make a donation to the theatre, in lieu of payment). I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at\u00a05 Star Theatricals<\/a>\u00a0(FB<\/a>), the\u00a0Hollywood Pantages<\/a>\u00a0(FB<\/a>),\u00a0Actors Co-op<\/a>\u00a0(FB<\/a>), and the\u00a0Ahmanson Theatre<\/a>\u00a0(FB<\/a>). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children\u2019s production, I focus on the positive \u2014 one gains nothing except bad karma by raking a child over the coals). I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.<\/p>\n

Upcoming Shows<\/strong>:<\/p>\n

Tonight brings another tour:\u00a0Les Miserables\u00a0<\/em>at\u00a0the\u00a0Hollywood Pantages<\/a>\u00a0(FB<\/a>). The third weekend of May brings\u00a0The Universe (101)<\/em><\/a>\u00a0at\u00a0The Main<\/a>\u00a0(FB<\/a>) in Santa Clarita (we loved it at HFF18<\/a>), as well as\u00a0The Christians\u00a0<\/em>at\u00a0Actors Co-op<\/a>\u00a0(FB<\/a>).\u00a0 May closes with two concerts: Lea Salonga at\u00a0the Saroya\u00a0[nee<\/em>\u00a0the Valley Performing Arts Center (VPAC)]<\/a>\u00a0(FB<\/a>) and\u00a0Noel Paul Stookey<\/a>\u00a0at\u00a0McCabes<\/a>\u00a0(FB<\/a>) \u2026 and that\u2019s not even the weekend. The last weekend of May will see me at\u00a0Bronco Billy \u2013 The Musical<\/a>\u00a0<\/em>at\u00a0Skylight Theatre<\/a>\u00a0(FB<\/a>).<\/p>\n

June, as always, is reserved for the\u00a0Hollywood Fringe Festival<\/a>\u00a0(FB<\/a>). If you are unfamilar with Fringe, there are\u00a0around 380 shows<\/a>\u00a0taking place over the month of June, mostly in the stretch of Santa Monica Blvd between 1 bl W of La Brea to 1 bl E of Vine, but all generally in Hollywood. On a first pass, there were lots I was interested in, 30 I could fit on a calendar, but even less that I could afford. Here is my current Fringe schedule\u00a0as of the date of this writeup. [Here\u2019s my post with all shows of interest \u2014 which also shows my most current HFF19 schedule<\/a>. Note: unlike my normal policy, offers of comps or discounts are entertained, but I have to be able to work them into the schedule with\u00a0the limitations noted in my HFF19 post<\/a>]:<\/p>\n