LES MISÉRABLES SOARS AT HARTFORD'S BUSHNELL PERFORMING ARTS CENTER
By Kiersten Bjork (October 29, 2024)
The national tour of Les Misérables, which played at The Bushnell in Hartford October 29-November 3, is the latest installment in the Les Miz saga. Based on the novel by Victor Hugo, Les Misérables has been raising its banner and building the iconic barricade around the globe for decades. I have had the privilege of seeing the show on Broadway, in the West End, and on tour previously. The current North American tour is yet another example of why the show continues to draw audiences to this day. The tour of Les Misérables absolutely soars, boasting a powerhouse cast that takes the classic story and lifts it to new heights. Featuring music by Claude Michel Schönberg, lyrics by Herbert Kretzmer, original French text by Alain Boublil and Jean-Marc Natel, and original orchestrations by John Cameron, the current production is adapted by Trevor Nunn and John Caird and also contains additional material by James Fenton and new orchestrations by Stephen Metcalfe, Christopher Jahnke, and Stephen Brooker. The tour features original direction by Laurence Connor and James Powell, with resident direction from Brendan Stackhouse and musical director Will Curry. The associate director is Corey Agnew, musical staging is by Geoffrey Garratt and associate Jesse Rob, and Stephen Brooker and James Moore serve as the music supervision team.
Les Misérables tells a number of overlapping and intertwined stories set in the 1800s in France, in the time before, during, and after the June Rebellion of 1832. We primarily follow ex-convict Jean Valjean as he seeks redemption, while also getting a taste of the lives of a range of other characters, from Javert, the cop who relentlessly pursues Valjean across the years, to the student revolutionaries Enjolras and Marius, to the tavern-owning Thénardiers and their ward, Cosette, whose mother Fantine eventually places her in the care of Valjean. Throughout the piece, the audience is invited on a journey of love and redemption, hope and sorrow, joy and pain. The North American Tour continues the tradition of telling this heart-wrenching yet moving tale to packed houses, and it was clear that the audience in attendance on press night was absolutely thrilled to be experiencing this musical theatre phenomenon.
The national tour of Les Misérables, which played at The Bushnell in Hartford October 29-November 3, is the latest installment in the Les Miz saga. Based on the novel by Victor Hugo, Les Misérables has been raising its banner and building the iconic barricade around the globe for decades. I have had the privilege of seeing the show on Broadway, in the West End, and on tour previously. The current North American tour is yet another example of why the show continues to draw audiences to this day. The tour of Les Misérables absolutely soars, boasting a powerhouse cast that takes the classic story and lifts it to new heights. Featuring music by Claude Michel Schönberg, lyrics by Herbert Kretzmer, original French text by Alain Boublil and Jean-Marc Natel, and original orchestrations by John Cameron, the current production is adapted by Trevor Nunn and John Caird and also contains additional material by James Fenton and new orchestrations by Stephen Metcalfe, Christopher Jahnke, and Stephen Brooker. The tour features original direction by Laurence Connor and James Powell, with resident direction from Brendan Stackhouse and musical director Will Curry. The associate director is Corey Agnew, musical staging is by Geoffrey Garratt and associate Jesse Rob, and Stephen Brooker and James Moore serve as the music supervision team.
Les Misérables tells a number of overlapping and intertwined stories set in the 1800s in France, in the time before, during, and after the June Rebellion of 1832. We primarily follow ex-convict Jean Valjean as he seeks redemption, while also getting a taste of the lives of a range of other characters, from Javert, the cop who relentlessly pursues Valjean across the years, to the student revolutionaries Enjolras and Marius, to the tavern-owning Thénardiers and their ward, Cosette, whose mother Fantine eventually places her in the care of Valjean. Throughout the piece, the audience is invited on a journey of love and redemption, hope and sorrow, joy and pain. The North American Tour continues the tradition of telling this heart-wrenching yet moving tale to packed houses, and it was clear that the audience in attendance on press night was absolutely thrilled to be experiencing this musical theatre phenomenon.
(from L) Jake David Smith as Marius, Mya Rena Hunter as Éponine, Delaney Guyer as Cosette, Nick Cartell as Jean Valjean in the North American Tour of Les Misérables (Matthew Murphy)
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“One Day More” from the North American Tour of Les Misérables (Matthew Murphy)
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While the role of Jean Valjean is usually played by Nick Cartell, at the performance I attended Valjean was covered by understudy Randy Jeter, who absolutely did not disappoint. At the start of the show, Jeter brings that wild yet guarded energy to Valjean, showcasing the transformation from convict to gentleman as the story progresses. Jeter does an excellent job of portraying the whole arc of Valjean, one of the characters who we see age the most over the course of the show, as we are shown the better part of his whole life. Both with physical and vocal choices, Jeter crafts a full, grounded performance that had the audience on their feet at the final curtain call – a truly phenomenal performance.
Javert is played by Nick Rehberger with all the gruffness and scorn you could hope for in the part. Rehberger has a lovely, powerful voice that is well-suited to Javert, and he creates an imposing presence onstage that is needed for a man of the law. Both “Stars” and Javert’s “Soliloquy” are soaring testaments to Rehberger’s impressive ability.
Lindsay Heather Pearce is wonderful as Fantine. “I Dreamed a Dream” has always been a favorite song of mine to see performed live, and Pearce’s rendition is no exception. Her voice is gorgeous, and her acting choices throughout are strong. For Fantine’s death, it is important to find just the right balance between the macabre beauty of Fantine and the heartbreaking hallucinations she experiences in her last moments, and Pearce captures that moment exquisitely.
Victoria Huston-Elem is a riot as Madame Thénardier. Her solos in “Master of the House” have the audience in stitches, and throughout the performance, she was one of my favorites to watch. She has very dynamic facial expressions that add another layer of humor to the scenes that she is in, which is quite enjoyable to see.
Her counterpart, Thénardier, is played to perfection by Matt Crowle. Thénardier is always a hilarious track, but Crowle goes above and beyond as the drunken tavern owner. “Master of the House” is tons of fun, and throughout the show Crowle adds his own brand of comedy whenever he can. I liked the vocal choices that Crowle made, taking different moments to add more of a character voice than other Thénardiers I have seen in the past.
Javert is played by Nick Rehberger with all the gruffness and scorn you could hope for in the part. Rehberger has a lovely, powerful voice that is well-suited to Javert, and he creates an imposing presence onstage that is needed for a man of the law. Both “Stars” and Javert’s “Soliloquy” are soaring testaments to Rehberger’s impressive ability.
Lindsay Heather Pearce is wonderful as Fantine. “I Dreamed a Dream” has always been a favorite song of mine to see performed live, and Pearce’s rendition is no exception. Her voice is gorgeous, and her acting choices throughout are strong. For Fantine’s death, it is important to find just the right balance between the macabre beauty of Fantine and the heartbreaking hallucinations she experiences in her last moments, and Pearce captures that moment exquisitely.
Victoria Huston-Elem is a riot as Madame Thénardier. Her solos in “Master of the House” have the audience in stitches, and throughout the performance, she was one of my favorites to watch. She has very dynamic facial expressions that add another layer of humor to the scenes that she is in, which is quite enjoyable to see.
Her counterpart, Thénardier, is played to perfection by Matt Crowle. Thénardier is always a hilarious track, but Crowle goes above and beyond as the drunken tavern owner. “Master of the House” is tons of fun, and throughout the show Crowle adds his own brand of comedy whenever he can. I liked the vocal choices that Crowle made, taking different moments to add more of a character voice than other Thénardiers I have seen in the past.
“Master of the House” from the North American Tour of Les Misérables
(Matthew Murphy & Evan Zimmerman for MurphyMade) |
“Prologue” - Nick Cartell as Jean Valjean in the North American Tour of Les Misérables
(Matthew Murphy & Evan Zimmerman for MurphyMade) |
The angelic Cosette is portrayed by Delaney Guyer. She has a lovely soprano voice and brings out the playful yet sophisticated side of Cosette well. Guyer has excellent chemistry with Jake David Smith, who plays opposite her as Marius. Smith is charming and polished as the young student, and his rendition of “Empty Chair at Empty Tables” is stunning.
Finishing out the love triangle with Cosette and Marius is Mya Rena Hunter as Éponine. Hunter is powerful and passionate in her track, knocking “On My Own” out of the park. I always enjoy the banter between Éponine and Marius, and Hunter and Smith have created a fun dynamic between the two characters, adding their own flare to the relationship that I particularly enjoyed.
Leading the revolutionaries is Christian Mark Gibbs as Enjolras, who commands the stage from the moment he enters. He has a strong voice and even stronger presence, which is essential to the charismatic and inspiring leader of the group. His moments in “Red and Black” with Marius and Grantaire also provide a chance to show a softer side, while still maintaining the dedication and passion of the character.
Little Cosette was played at my performance by Greta Schaefer, and she was just right for the role. Her sweetness and soft yet precise voice are well-suited to the scared child who then finds herself bound for a new life hand-in-hand with Valjean.
The role of Gavroche at my performance was played by Jack Jewkes. Though he be but little, he is fierce! Jewkes steals every scene that he is in, making it all the more heartbreaking when he goes over the barricade.
Les Misérables would be nothing without the power and sound of the large ensemble. Rounding out the current touring cast are Steve Czarnecki (Fight Captain), Daniel Gerard Bittner, Eden Mau, David T. Walker, Jeremiah Alsop, Jonathan Young, Paige McNamara, Ashley Alexandra, Emily Fink, David Andino, J.T. Wood, Andrew Marks Maughan, Emerson Mae Chan, Jackson Parker Gill, Danny Martin, Kyle Adams, Jenna Burns, Arianne DiCerbo, Nicole Fragala, Audrey Hoffman, and Kaitlyn Sumner. Ben Cherington, Mikako Martin, Ashley Dawn Mortensen, Tim Quartier, Juliette Redden, Matt Rosell, Christopher Robin Sapp, and Kyle Timson (Dance Captain) serve as swings for the production, many of whom were on the night that I was in attendance.
Finishing out the love triangle with Cosette and Marius is Mya Rena Hunter as Éponine. Hunter is powerful and passionate in her track, knocking “On My Own” out of the park. I always enjoy the banter between Éponine and Marius, and Hunter and Smith have created a fun dynamic between the two characters, adding their own flare to the relationship that I particularly enjoyed.
Leading the revolutionaries is Christian Mark Gibbs as Enjolras, who commands the stage from the moment he enters. He has a strong voice and even stronger presence, which is essential to the charismatic and inspiring leader of the group. His moments in “Red and Black” with Marius and Grantaire also provide a chance to show a softer side, while still maintaining the dedication and passion of the character.
Little Cosette was played at my performance by Greta Schaefer, and she was just right for the role. Her sweetness and soft yet precise voice are well-suited to the scared child who then finds herself bound for a new life hand-in-hand with Valjean.
The role of Gavroche at my performance was played by Jack Jewkes. Though he be but little, he is fierce! Jewkes steals every scene that he is in, making it all the more heartbreaking when he goes over the barricade.
Les Misérables would be nothing without the power and sound of the large ensemble. Rounding out the current touring cast are Steve Czarnecki (Fight Captain), Daniel Gerard Bittner, Eden Mau, David T. Walker, Jeremiah Alsop, Jonathan Young, Paige McNamara, Ashley Alexandra, Emily Fink, David Andino, J.T. Wood, Andrew Marks Maughan, Emerson Mae Chan, Jackson Parker Gill, Danny Martin, Kyle Adams, Jenna Burns, Arianne DiCerbo, Nicole Fragala, Audrey Hoffman, and Kaitlyn Sumner. Ben Cherington, Mikako Martin, Ashley Dawn Mortensen, Tim Quartier, Juliette Redden, Matt Rosell, Christopher Robin Sapp, and Kyle Timson (Dance Captain) serve as swings for the production, many of whom were on the night that I was in attendance.
“On My Own” – Mya Rena Hunter as Éponine in the North American Tour of Les Misérables (Matthew Murphy)
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“Bring Him Home” - Nick Cartell as Jean Valjean in the North American Tour of Les Misérables (Matthew Murphy)
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Set and image designs by Matt Kinley, supported by associate set designers David Harris and Christine Peters, are beautiful. The designs are inspired by the paintings of Victor Hugo, and over the course of the piece the design showcases locations from churchyards to taverns, factories to cafes. I love the tower elements that are brought on from stage left and right, allowing for multiple different levels to be utilized and creating a variety of interesting entrances and exits for cast members to play with. The colors of the scenic elements reflect the darkness and sadness of much of the piece, but this allows the touches of color in costumes and props to really pop. Projections for the tour are realized by Finn Ross and Fifty-Nine Productions and supported by associate projection designers Simon Harding and Jonathon Lyle. My favorite projection work in the show is the sewer sequence following “Dog Eats Dog.”
Lighting designer Paule Constable, supported by associate designers Ben Jacobs and Karen Spahn, has created a visually stunning design that mixes with the scenic elements to create the world of 1800s France in all of its glory. From the spotlights that pin characters as they pass on, to the intriguing shadows that create dynamic visuals throughout the piece, the lighting is beautiful across the board.
Costumes by original designer Andreane Neofitou, with additional costume designs by Christine Rowland and Paul Wills, are well-suited to the characters and the world of the show. There are such a range of characters in this piece, and to costume them all so well, in the necessary periods, is no small feat. My favorite costumes are the colorful dresses in the wedding sequence, as they always provide a breath of fresh air after the heaviness of the past scenes. Hair, wig, and makeup design by Stefan Musch is equally well done.
Sound design by Mick Potter, supported by associate designer Nic Gray, is quite effective. Les Misérables boasts a hefty score and a large cast, and Potter and team have crafted and balanced the sound effortlessly.
Lighting designer Paule Constable, supported by associate designers Ben Jacobs and Karen Spahn, has created a visually stunning design that mixes with the scenic elements to create the world of 1800s France in all of its glory. From the spotlights that pin characters as they pass on, to the intriguing shadows that create dynamic visuals throughout the piece, the lighting is beautiful across the board.
Costumes by original designer Andreane Neofitou, with additional costume designs by Christine Rowland and Paul Wills, are well-suited to the characters and the world of the show. There are such a range of characters in this piece, and to costume them all so well, in the necessary periods, is no small feat. My favorite costumes are the colorful dresses in the wedding sequence, as they always provide a breath of fresh air after the heaviness of the past scenes. Hair, wig, and makeup design by Stefan Musch is equally well done.
Sound design by Mick Potter, supported by associate designer Nic Gray, is quite effective. Les Misérables boasts a hefty score and a large cast, and Potter and team have crafted and balanced the sound effortlessly.
“Dog Eats Dog” – Matt Crowle as Thénardier and Gregory Lee Rodriguez as Marius in the North American Tour of Les Misérables (Matthew Murphy & Evan Zimmerman for MurphyMade)
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“Beggars at the Feast” from the North American Tour of Les Misérables (Matthew Murphy)
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The current North American Tour of Les Misérables is breathtaking, in the best way possible. It is everything you know and love about Les Misérables, bolstered by a talented company making their mark on the renowned show. Experience the iconic story for yourself – see the North American Tour of Les Misérables on their route later this year or in 2025. Dates and venues can be found at us-tour.lesmis.com.
Les Misérables ran October 29-November 3, 2024, at The Bushnell in Hartford, CT. Learn more and purchase tickets for upcoming Bushnell events online at bushnell.org or by calling the Box Office at (860) 987-5900.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.
Les Misérables ran October 29-November 3, 2024, at The Bushnell in Hartford, CT. Learn more and purchase tickets for upcoming Bushnell events online at bushnell.org or by calling the Box Office at (860) 987-5900.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.