REVIEW: "Les Misérables"
- Ava Burns and Zach Watkins
- 1 hour ago
- 4 min read
Filled with passion, power, and top-tier production, “Les Misérables” takes the Tennessee stage.
A Broadway and West End classic, “Les Misérables” came to the Tennessee Performing Arts Center, reminding audiences why the production has remained a defining force in musical theater.
Based on Victor Hugo's 1862 novel, the musical explores redemption, justice, and moral responsibility against the backdrop of post-revolutionary France and the simmering unrest that shapes generations.
The most impressive thing in this performance was the music. The actors have no time for vocal rest in the show since there is never a dialogue break. Instead, they are singing for about two and a half hours straight.
In most musicals, the vocals stand out, but what makes this show so impressive is the range and variety of sounds these actors produce. There are characters like Eponine, played by Jaedynn Latter, who’s known for her belting and extreme range as shown in “On My Own”.
But Latter also displayed a heartbreaking softness in her voice when she died in Maurice’s arms in the second act. Seeing her dynamic contrast brought a new development to the character, leaving the audience in chills.
In contrast to her combination of delicacy and strength, Hayden Tee created an abrasive character for Javert not only through his rich baritone but also through his lines in the song. Generally, changes to classic songs like “Stars” and “Javert’s Suicide” are frowned upon, but Tee made them more realistic.
Specifically, when Javert and Valjean are circling each other during “Confrontation,” Tee breaks off from singing every now and then to emphasize the lyrics by yelling across to Valjean, intensifying the scene's anguish and aggression.
Tee not only highlights Javert’s villainous aspects but also the inner turmoil that leads to his demise. As Javert falls off the bridge and he soars down to the blackness below him, Tee’s vocals remain a constant reminder of Javert’s character development from the first moment the audience sees him right up to his death.
And of course, Jean Valjean has the most incredible range with his vocals, tones, dynamics, varying timbres, truly everything an audience member could crave from a musical performance. Nick Cartell has been with the production for about three years now, having done over 1,500 shows in this role, and has brought many modern aspects of contemporary music into this classic musical.
Opt-ups are becoming increasingly popular across musical theater, but very rarely do actors change the notes in classic musicals as Cartell did. However, these were intentional vocal changes that not only showcased Cartell’s extensive range but also added emotion to the character in a way not many other actors have.
He also uses his falsetto to lend the character a gentleness, and he uses his belt to emphasize his moments of passion. This is extremely prevalent in “Bring Him Home,” and the stark contrast Cartell creates between how Valjean speaks about himself and how he speaks about Maurice.
Though the cast was amazing, they were not the only thing that made the show come alive. The set designed by Matt Kinley was leagues above many touring shows today. While many productions rely on LED screens or mass projections to save on expenses, labor, and ease of access Kinley chose to build a practical set, a decision which paid off.
While the show did use projections, the set made of worn wood and rusted metals was complemented by them rather than overshadowed. Rather than relying on them as the show's setting, they became artistic elements that complemented the fully realized world Kinley created.
Technically, the show was amazing; but in this show were many mistakes, particularly in the lighting and flying of set pieces that became quite noticeable to the audience. Between the flawed lighting cues illuminating the stage uncharacteristically during ballads and the scrim lifting on only one side before tumbling back down to the floor, the mistakes weren't in the design but in the daily execution.
Something that was executed perfectly, though, was the staging.
Creating the perfect stage picture is something theatrical designers and directors spend months refining. One of the coolest tableaus directors James Powell and Laurence Connor made was the show's opening scene. Waves crashed onto a red, black and blue projector screen as the orchestra trumpeted and a massive staircase rolled centerstage, carrying Javert on top.
To further the message that Javert is in total power in this scene, they had the prisoners beneath him in a pyramid-like formation, not only creating this power dynamic but also making the ensemble feel like part of the boat they were working on. Using people for scenic images is one of the many ways to spark emotion and draw meaning from a scene, and Powell and Connor executed this scene flawlessly.
Not only were people used to create glorious stage pictures, but massive set pieces were also employed to fully immerse the audience in the show's time and place. The barricade, the tavern, the bridge, and the apartments were designed to draw the audience further into the story. The textures, materials, and scale used created eye-catching pieces that were jaw-dropping, to say the least.
Not only did these larger-than-life set pieces leave the audience in awe, but their integration with the average-sized cast and small props kept the stage balanced. Everyone who worked on that set should be incredibly proud of themselves and the artwork they created.
As audiences drift away from the golden age classics and mega-musicals like this one, patrons need to remember the importance of these works before Broadway became inundated with biopic jukeboxes and IP-based projects.
With the direction of Broadway right now, there might never be another Les Misérables, so even if you prefer the new-age style of theatre, it is important to respect the operatic dramas that came before.
To see the show:
This article was written by Ava Burns and Zach Watkins
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