Review: Les Miserables

On the way out of the Grand Opera House’s fortieth anniversary production of Les Miserables I bumped into noted director who said, rightly, the musical adaptation of Victor Hugo’s 1862 novel, is a big beast of a show. It’s a big ask for an amateur group, which this was, albeit highly talented and in some cases near professional members of the Belfast Operatic Company, performing with St Agnes Choral Society and Ulster Operatic Company. Overall, they did jolly well although one could argue it was curate’s eggish, good to very good in parts.

What of Valjean, the anti hero turned hero? David McCrossan was good, remorseful when considering his crimes, humble when necessary, defiant when required, tender with Cosette, the little girl he adopts when her mother is on the way out and whose wellbeing represents his redemption. The principals were all pretty good, although Fantine’s acting, except at the end, wasn’t the strongest. Inspector Javert (Boyd Rodgers) scored well in the uptight functionary role. There was comedy and the husband and wife duo, the Thenardiers, in the pub scene went ott but were good, in slightly pantomime fashion, as the abusive carers of young Cosette. Jordan Arnold was a hit with the packed audience. There was even a scene with lovely ladies, ie working girls and the prostitutes, which risqué, definitely gave their moment some welly.  

In a way the highlight is Claud-Michel Schonberg’s music. There are two or three world class songs, that I found myself humming this morning. On my Own from Eponine, for example, sung while she is pining for Marius, the student revolutionary who actually loves Cosette. This was a star turn from Caroline McMichael. Also of course, I Dreamed a Dream, made even more famous if possible when Susan Boyle sang it touchingly on Britain’s Got Talent. For the rest, the chorus belted out the lovely ladies song, Look Down and so on.

There were some great deaths and this show is about love, loss, redemption, revolution, the whole damn thing. Eponine, in particular died beautifully in Marius’ arms, where she’d always wanted to be while knowing he was pining for Cosette. Marius (Aodhan Halfpenny)  nearly ruined it but was good elsewhere, amorous and warlike when required. Valjean aged and died well, having gained good guy status via saving Marius’ life as well as harbouring Cosette. Fantine (Beth Tiffney) also expired well, if quickly.

The slices of politics maybe don’t always mesh so well with the personal narratives although I felt the group scenes, including aux barricades with scenes from the 1832 Paris uprising, were well directed overall. But that’s maybe a tiny flaw in this great musical, going strong for forty years which has wowed something like 150 million people since its launch. Apart from me, a Les Mis virgin.

Would I see it again? Yes, in a heartbeat to follow the Paris Uprising a bit more, enjoy the stand-out solos and relish the people power. For it’s called Let the People Sing and the people have the last word.  With a standing ovation last night which was deserved for their sheer energy at tackling this legendary show.

Jane Hardy