Les Miserables, Tour presented by Broadway in Boston at Citizens Opera House, through August 25. BroadwayinBoston.com
Two million people actually attended the funeral of Victor Hugo in 1885. One of the greatest reasons for such a mass outpouring of respect must have been his masterwork "Les Miserables"(1862)—arguably the greatest French novel ever written. The Boublil & Schonberg musical(1980;1987-Broadway) based on this epic work speaks as compellingly today about poverty, abuse, the needs of children and the power of both individuals and groups to bring change and justice as Hugo's novel must have in his own time.
This critic has seen umpteen revivals of this blockbuster Tony Award-winning effort—some more striking than others. Still, the current very strong tour—presented by Broadway in Boston at the Citizens Opera House—brings Hugo's timely insights home with remarkable feeling and heart
Fans of the novel and/or the musical know that those insights bear not only on the fortunes of hounded ex-convict Jean Valjean—unreasonably punished for stealing a loaf of bread for his family—but also on those of struggling mother Fantine, resourceful urchin Gavroche and the freedom-focused student rebels of the 1832 Paris barricade. In an America where the penal system often fails to rehabilitate, many women suffer from domestic abuse and children often go without proper care and nutrition, Hugo's vivid depictions resonate as forcefully as ever. While the busy musical may often lack the subtlety and complexity of the novel, the messages—by turns grim, defiant and ultimately hopeful and stirring—continue to ring out both lyrically and dramatically at the end of the day.
Under the careful guidance of co-directors Laurence Connor and James Powell, a talented cast includes rich vocals and fine performances in some small roles as well as pivotal and lead ones. Randy Jeter brings a strong lower register to the kindness of the Bishop of Digne as he serves as an understated but ongoing moral mentor for Jean Valjean. Devin Archer has all of student rebel leader Enjolras' dynamism—especially during the anthem-like number "Red and Black." Kyle Adams captures skeptic Grantaire's flamboyance and striking protectiveness with Gavroche, played with appealing spunkiness by Milo Maharlika.
By contrast, Matt Crowle brings just the right offensiveness to the notable role of manipulative and abusive innkeeper Thenardier—especially as he switches shoes with a gullible patron during the standout number "Master of the House." Haley Dortch finds all of Fantine's vulnerability and angst in the moving solo "I Dreamed a Dream." Mya Rena Hunter delivers Thenardier daughter Eponine's haunting second act-opening "One My Own" with show-stopping fire. Jake David Smith has all of Marius' sensitivity and caring remembering fellow student rebels in the tender number "Empty Chairs at Empty Tables."
Most of all, there is the ongoing conflict between redeemed Valjean and rigid Inspector Javert. Preston Truman Boyd captures Javert's unrelenting refusal to treat Valjean with compassion and understanding. While Boyd could begin "Stars" more softly and build to his vibrant finish, he does bring riveting modulation to Javert's anguished "Soliloquy." Valjean asks probingly "Who Am I?" but no one should question the gifts of Nick Cartell as the convict turned beneficent mayor, true French patriot and peerless family man. Cartell catches all of Valjean's singular human evolution. His prayer-like plea for the sake of Marius "Bring Him Home" reaches a poignant high register.
"Les Miserables" gives full voice to Hugo's rally cry for the rights of workers, the safety of family and the dignity of freedom. This sterling tour makes that song truly soar.