Les Miserables
Sep. 10th, 2026 03:48 pmLast Saturday a friend of Sis had tickets to a local -- I think semi-professional -- production of Les Mis.
I haven't seen it since three weeks after the London production opened at the Palace Theatre. Yes, I'm old. I was a huge fan of Colm Wilkinson having heard the concept album of Evita and seen his Judas in Jesus Christ Superstar, so as soon as I heard he was in it my housemate and I got tickets in the front row of the balcony. This is how we were able to get a Saturday night performance. Once the official opening had passed, Saturday nights were sold out nearly immediately.
I didn't remember, until I went to Wikipedia, that the original British reviews were decidedly mixed.
Anyway, it's been awhile.
This Savannah production was surprisingly good for a tiny theater (The Palace Theatre had been selected at least partially for the dimensions of its stage). There were very minimal set pieces that could be placed and exited easily, there was a riser in the middle with a small stairway up on either side and two diorama frames on short risers placed in front of the stairways to help hide the actors until they were ready to be seen. They were used as rooms in Thenardier's inn, as sections of the factory, and as space in the cafe for Enjolras and Marius to meet with the revolutionaries. Seriously, for a stage with very little depth, they managed to do a great deal.
The Jean Valjean (Michael Valentine) was excellent. His voice held up through everything including the difficult high note at the end of Bring Him Home. (https://savannahtheatre.com/shows/les-miserables/ has pictures of the entire cast in mufti.)
Javert (Matthew Meece)... I know that not every Javert has been a bass/baritone. It's a difficult range to cast for. This production put his songs in a higher register which might have worked had his voice been stronger.
Most of the women's voices were pretty, but not remarkable in any way. Marius was, sadly, frequently off key in his upper register. I'll assume he was just fatigued after a week of shows.
They took out the first act use of Little People which is a pity. The Gavroche that I saw (Gibson Evans) was, in my opinion, better than Ian Tucker on the original cast recording. His voice was supported, which you don't often hear in such a young singer.
The ensemble had to keep circulating. At least some of them were in most scenes, so quickly changing a jacket or scarf was the primary way of getting them into the scenes on time. The harmonies were good, and they gave a much bigger effect than the actual size of the group.
Empty Chairs at Empty Tables had a lovely effect. As the women start singing a verse of it, the men we'd seen as revolutionaries appear on the right hand stairs and mid-riser behind them. I wish I knew more about lighting, but the lighting had an ethereal cast just on the men which made them seem like phantoms. It was perfect for the song, and genuinely moved me.
***
On the political side of my life, I've signed up for postcards to send to get out the vote. This may just be the first group. It depends on how much money I have for postage.
Also, I saw a sign on my street which read "Vote Your Bottoms and Ossoff" which is a good way of grouping Keisha Lance Bottoms for Governor with Jon Ossoff who has a similar shirt (Vote your Ossoff) with a Georgia peach cheekily beside the phrase.
I haven't seen it since three weeks after the London production opened at the Palace Theatre. Yes, I'm old. I was a huge fan of Colm Wilkinson having heard the concept album of Evita and seen his Judas in Jesus Christ Superstar, so as soon as I heard he was in it my housemate and I got tickets in the front row of the balcony. This is how we were able to get a Saturday night performance. Once the official opening had passed, Saturday nights were sold out nearly immediately.
I didn't remember, until I went to Wikipedia, that the original British reviews were decidedly mixed.
Anyway, it's been awhile.
This Savannah production was surprisingly good for a tiny theater (The Palace Theatre had been selected at least partially for the dimensions of its stage). There were very minimal set pieces that could be placed and exited easily, there was a riser in the middle with a small stairway up on either side and two diorama frames on short risers placed in front of the stairways to help hide the actors until they were ready to be seen. They were used as rooms in Thenardier's inn, as sections of the factory, and as space in the cafe for Enjolras and Marius to meet with the revolutionaries. Seriously, for a stage with very little depth, they managed to do a great deal.
The Jean Valjean (Michael Valentine) was excellent. His voice held up through everything including the difficult high note at the end of Bring Him Home. (https://savannahtheatre.com/shows/les-miserables/ has pictures of the entire cast in mufti.)
Javert (Matthew Meece)... I know that not every Javert has been a bass/baritone. It's a difficult range to cast for. This production put his songs in a higher register which might have worked had his voice been stronger.
Most of the women's voices were pretty, but not remarkable in any way. Marius was, sadly, frequently off key in his upper register. I'll assume he was just fatigued after a week of shows.
They took out the first act use of Little People which is a pity. The Gavroche that I saw (Gibson Evans) was, in my opinion, better than Ian Tucker on the original cast recording. His voice was supported, which you don't often hear in such a young singer.
The ensemble had to keep circulating. At least some of them were in most scenes, so quickly changing a jacket or scarf was the primary way of getting them into the scenes on time. The harmonies were good, and they gave a much bigger effect than the actual size of the group.
Empty Chairs at Empty Tables had a lovely effect. As the women start singing a verse of it, the men we'd seen as revolutionaries appear on the right hand stairs and mid-riser behind them. I wish I knew more about lighting, but the lighting had an ethereal cast just on the men which made them seem like phantoms. It was perfect for the song, and genuinely moved me.
***
On the political side of my life, I've signed up for postcards to send to get out the vote. This may just be the first group. It depends on how much money I have for postage.
Also, I saw a sign on my street which read "Vote Your Bottoms and Ossoff" which is a good way of grouping Keisha Lance Bottoms for Governor with Jon Ossoff who has a similar shirt (Vote your Ossoff) with a Georgia peach cheekily beside the phrase.