After sitting
through a disappointing 2012 film adaptation and the lackluster 25th
anniversary touring production that made a stop at the Auditorium Center back
in May, I admit that, despite my fondness for the show, I wasn’t quite sure I
was ready to subject myself to yet another staging of “Les Misérables.”
Thankfully, I decided to disregard my hesitancy, as Pittsford Musicals’
exceptional new production of the wildly popular musical served as a heartening
reminder about why I ever liked the show in the first place. Credit goes to an
exceptionally talented cast and resourceful staging that places an emphasis on
the heightened emotions behind the tale of love, hardship, and rebellion rather
than the overblown spectacle you might be used to seeing.
If you’re bothering to read this review,
it’s probably safe to assume that you know the plot to “Les Misérables”
like the back of your hand. But what the hell? Let’s
recap it anyway. Based on Victor Hugo’s 1862 novel of the same name, the
musical follows the plight of prisoner Jean Valjean,
jailed for stealing a loaf of bread to feed his sister’s starving child. After 19
years in prison, he is released on parole, only to break it when his criminal
past makes it impossible to find work. Despite constant pursuit from Javert, a policeman with an uncomfortably one-track mind, Valjean eventually claws his way up from nothing, managing
to become mayor and a wealthy factory owner. When he inadvertently gets one of
his workers fired, he makes a promise to the dying woman that he will raise her
young daughter, Cosette, as his own. We then flash
forward nine years as Cosette, now a young woman, falls in love with an idealistic young revolutionary named
Marius. As their love story plays out against the backdrop of the Paris
Uprising, eventually there’s a happy ending for the lucky few who manage to
survive the tale.
Epic in just about every
sense, “Les Misérables”
is an ambitious undertaking for any community-theater group, even one with as
sterling a reputation as Pittsford Musicals. Faced with the task of coming up
with ways to engage new audiences in all the story’s melodrama, the response
from most directors seems to be doubling down on spectacle. Tom Hooper’s lavish
film adaptation expanded the world with a misguided focus on the grimy realism
of 19th century France, while the overproduced anniversary tour added
background projections and even more elaborate sets.
Lacking the budget of either of those
productions, Pittsford Musicals Artistic Director Mike Pincelli
was more or less required to simplify the more technical aspects of the show.
Scaling back the production, and dialing down the bombast, has done wonders for
the show, and the result is invigorating to watch. While retaining the story’s
scope, the smaller scale makes for an experience that feels more intimate,
making it easier to get invested in the story and uncover the real emotions
underneath. Particularly impressive is the utilization of simplified, but
remarkably effective, sets designed by David Fisher to accommodate the
relatively small stage of Pittsford Sutherland High School.
It’s a testament to the deep pool of local performing talent that the
entire cast, from leads down to each member of the ensemble, is so strong. Joey
Campagna makes for a powerful Jean Valjean, conveying the pain at the heart of the character
without resorting to the histrionics that can sometimes sneak into certain
portrayals of the character. He even manages to overcome the truly unfortunate
wig with which he’s saddled. (This might come across as an unreasonable
criticism, but it’s the one aspect of the show that frustratingly betrays the
production’s community-theater roots.)
Chris Streeter is also quite good as
the self-righteous inspector Javert. His strong voice
is used to great effect during “Stars,” Javert’s big
moment to shine, and he nails the character’s significant rage that lies hidden
under the stoic exterior. JCC CenterStage veteran
Laura Jean Diekmann makes a lasting impression as the
short-lived Fantine, and Emily Putnam gives an
incredibly moving performance as the tragically lovesick Éponine.
Mark Smillie and Dresden Engle prove to be an excellent team, turning in suitably hammy, scene-stealing
performances as Master and Madame Thénardier. The
love story between Marius and Cosette is always the
least engaging part of any production of “Les Mis,”
so a special mention must be given to Jimmy Boorum,
who besides having a stellar voice, is able to take the traditionally dull
character of Marius and actually invest him with a bit of life.
With its production of “Les Misérables,” Pittsford Musicals proves that you don’t need
a Broadway-sized budget to deliver Broadway-caliber theater.
A committed, passionate, and skilled cast and crew is
better than all the razzle dazzle money can buy.
This article appears in Nov 13-19, 2013.
