Synopsis Based on elements of Victor Hugo's Les Miserables this musical is one of the most successful around the world. Les Miserables opened at the Palace Theatre on 4 December 1985, following a sell-out season at the Barbican. Jean Valjean, released on parole after 19 years on the chain gang, finds that the 'ticket-of-leave' he must display by law, condemns him to be an outcast. Only the saintly Bishop of Digne treats him kindly and Valjean, embittered by years of hardship, repays him by stealing some silver. Valjean is caught and brought back by the police, and is astonished when the Bishop lies to save him, also giving him two precious candlesticks. Valjean decides to start his life anew. Things go well but 8 years later, an encounter with a face from the past threatens everything he now holds dear..
Gareth Gates as Marius in the 25th Anniversary Production
Date: 27 September 2010
The 25th anniversary touring production of Les Miserables returned home to the Barbican last week (23 September 2010, previews from 14 September) where the record-breaking musical had its world premiere back in October 1985. >
The new version is directed by Laurence Connor and James Powell and designed by Matt Kinley, inspired by the works of Victor Hugo and John Napier. Original costumes are by Andreane Neofitou, lighting by Paule Constable and sound by Mick Potter.
The tour cast is led by John Owen-Jones and Earl Carpenter as the persecuted Jean Valjean and his policeman nemesis Javert (both men have previously played the same roles in the West End), as well as pop idol Gareth Gates as Marius.
Its run at the Barbican, which continues to 2 October, marks the first time that two productions of the same musical have run in the same city at the same time. And just to make sure punters get their full Les Mis fix, a star-studded concert will be held at the O2 Arena on 3 October.
Michael Coveney on Whatsonstage.com (four stars) - "Clearly based on the original RSC production by Trevor Nunn and John Caird, this new version nonetheless breathes its own fire and dry ice, and not only tells a fantastic story, but also, as I said on that long ago, first 'first night,' is as brilliantly coloured as it is emotionally demanding ... In this version, designer Matt Kinley has a lighter two truck system, replicates the garden wall where Cosette lives with her supposed father, Jean Valjean, and supplements the scenography with some evocative paintings ... The central symbiotic relationship of Jean Valjean and the sinister Javert is superbly sung by John Owen-Jones and Earl Carpenter. Marius is well sung, too, but weakly played by former Pop Idol runner-up Gareth Gates (not enough ardour), while Jon Robyns is an outstanding Enjolras and Rosalind James an irresistible Eponine blessed with a big new bluesy sound ... You still need those Kleenex."
David Benedict in Variety - "Nips and tucks aside, the material remains largely the same but direction, orchestrations and, chiefly, the design are new. Helmers Laurence Connor and James Powell clearly have no idea how to bring out detail in the performers, but designers Matt Kinley and Paule Constable's commanding vision sweeps skepticism aside ... The intense warmth of Constable's painterly light turns the riotous scene after the prologue into something out of a Dutch old master painting and her fiercely directional light adds poetic loneliness to isolated characters. The downside of the design comes whenever the video projections are made to move. The descent into the Paris sewers feels like watching a hand-drawn animation sequence from the back of the set ... Mackintosh's new version smartly walks the line. There's enough new vitality to justify the re-think without losing the sensibility of the original.”
Henry Hitchings in the Evening Standard (four stars) - "Noel Coward was once moved to remark, of an especially elaborate confection, ‘I came out humming the sets’. I’ve always felt that Les Misérables was the type of thing Coward had in mind - a succession of stunning tableaux.with new orchestrations by Chris Jahnke, Claude-Michel Schönberg’s music seems revitalised, and the orchestra, under the direction of Peter White, is potent ... The defining feature of this production is the superlative singing. The star is John Owen-Jones, who’s breathtakingly good as the hero Jean Valjean. But there is expert work all around him ... Almost as arresting are Matt Kinley’s fresh designs, which draw on Hugo’s own artworks and are gorgeously lit by Paule Constable ... While enthusiasts are likely to need no prompting to seize upon the opportunity to renew acquaintance with Les Misérables, this production will also entrance anyone encountering the show for the first time."
Lyn Gardner in the Guardian (four stars) - "Here celebrating its 25th anniversary, Les Misérables is a rousing, shamelessly entertaining evening of tuneful and spectacular popular theatre that saved the Royal Shakespeare Company from penury ... Yes, the lushness of the scoring can eventually make you feel as if you are overdosing on aural cream cakes. But while the adaptation fillets Hugo's novel and lends it a rosy, romantic glow, it doesn't rip out its heart ... I always think the sign of any good theatre adaptation is when it sends you straight to the library for a copy of the novel. This does, and it sends you there singing loudly ... John Owen-Jones is a superb Jean Valjean, providing the evening with its moral centre without a note of priggishness in his ripe, burnished voice."
Charles Spencer in the Daily Telegraph (four stars) - "Since those discouraging first night notices, which came perilously close to stopping the show in its tracks, Les Mis... has become the longest running musical in history ... The show was rapturously received and all the old magic is intact. And Matt Kinley’s simpler designs, with evocative backdrops inspired by Victor Hugo’s atmospheric drawings and paintings, work superbly. But what’s really memorable is its sheer passion and pace ... The composer Claude-Michel Schonberg is an absolute master when it comes to the knockout power ballad ... The company give the piece their all. John Owen-Jones brings great heart, passion and a tremendous voice to the tormented Jean Valjean... only to be hunted down by the remorseless policeman Javert, given a memorably sinister, doom-laden performance by Earl Carpenter. The latter’s final exit is perhaps the most spectacular in modern theatre. Gareth Gates and Katie Hall are sweet, if a touch bland... while Lynne Wilmot and Ashley Artus play the comic villains with splendidly grotesque relish."
The 25th anniversary touring production of Les Miserables has stopped off in the venue where it all started on 8 October 1985. Clearly based on the original RSC production by Trevor Nunn and John Caird, this new version nonetheless breathes its own fire and dry ice, and not only tells a fantastic story, but also, as I said on that long ago, first 'first night,' is as brilliantly coloured as it is emotionally demanding.
Then, I heralded a revolutionary ensemble show that applied the RSC principles of Nicholas Nickleby five years earlier to a genuine “rock opera” occupying brand new ground somewhere between Verdi and Andrew Lloyd Webber. There are vaudeville numbers, soaring ballads, sentimental knees-ups, two wonderful dramatic trios and of course those rousing choruses at the barricades.
Alain Boublil’s text is a cunning distillation of Victor Hugo, and Herbert Kretzmer’s lyrics add not only the mood of French chansons but also of Lionel Bart’s good old schmaltz and vinegar.
The 1832 insurgents once climbed John Napier’s monumental barricaded wall (still do, at the Queen’s Theatre) which matched Hugo’s description of a teeming catacomb. In this version, designer Matt Kinley has a lighter two truck system, replicates the garden wall where Cosette lives with her supposed father, Jean Valjean, and supplements the scenography with some evocative paintings. The Paris sewers are done by projections, too. And all is bathed in the brilliant, painterly lighting of Paule Constable, quite different from that of the original’s maestro, David Hersey.
The central symbiotic relationship of Jean Valjean and the sinister Javert is superbly sung by John Owen-Jones and Earl Carpenter. Marius is well sung, too, but weakly played by former Pop Idol runner-up Gareth Gates (not enough ardour), while Jon Robyns is an outstanding Enjolras and Rosalind James an irresistible Eponine blessed with a big new bluesy sound.
The act-clinching finales are as thrilling as ever they were, beautifully staged, the complex narrative twining of “One Day More” and finally the redemptive, celestial transformation of deathbed reunions and farewells announcing the hero’s spiritual salvation and the affirmation of the human spirit in social and political optimism. You still need those Kleenex.
I my opinion one of the best productions of Les Miserables I have ever seen. I've seen Les Mis countless times, both here and abroad. Somehow this semmemed more intimate- I know, possibly a contradiction in terms, but it's been nearly a week and I'm still thinking about it. John Owen James a Valjean blew me away! Gone is the revolve and Cosette's traditional black costume and the sublties in the staging in such events as Turning and when they sang the love montage Cosette was actually on a balcony- aka Romeo and Juliet before coming down to meet Marius. I know its a small thing but this is the first production where one of the students openly sobbed at Gavroche's death. Truly a supurb production and I actually feel honored to have sen it. - Anthony
06 Oct 10
i am a huge Les Mis fan, and I can easily say that this was not only the best Les Mis I have ever seen, but the best show i've seen full stop. Also, Adam Linstead as Grantaire absolutely stole the show, and was fantastic. - Emily
03 Oct 10
Having just returned from the Barbican I fell I must write and say how dissapointed I was with this production. The staging and musical direction were excellent but a lot of the leading plays were very low parr.I was very dissapointed with the Threnediers and with Fantine. They had to sing two of the main numbers in the show and even in the stall I had difficulty hearing them. And I would like to say what a fantastic performance was given by Garath Gates, he toopped the lot.All I can say is 'Hey , Mr Producer' You are losing your touch. - Terry Dumbrell
28 Sep 10
This is the third time I have seen Les Mis. Strangely enough I have followed the 25 years of its production having seen it first 25 years ago and now last Saturday for my 60th Birthday. I was not disappointed neither were a packed matinee audience at the Barbican all of us gave it a standing ovation. Need I say more! - Graham Pearce
27 Sep 10
I just realised I meant to say I first time I saw Les Mis was in 1987 not 1997 in my earlier review. As I said earlier this is a fantastic production - Paul Wallis
24 Sep 10
Superb. No reservations other than a couple of casting quibbles. I too saw the original at the Barbican and hjave never been the same since! This new production though, with its 21st-century technology, is better still. The staging is exceptional, borrowing as it does some of the scene-change techniques first seen in the NT's My Fair Lady and in Mary Poppins - but using them more fluently than ever before. The new orchestrations are a far better solution to reducing the band size than merely synthing down John Cameron's originals; the projections are a marvel and John Owen Jones easily erases my memories of the great Colm Wilkinson. The narrative tightening has not been much commented on, but the little tweaks now allow the show to sweep forward with tremendous verve. Fabulous. - Job
24 Sep 10
The first time I saw this show at the Barbican, it ran for over four hours as a revolve broke down and we were sent out for an 'extra' interval, was that really 25 years ago (help!). Apart from the baricade scene and a weak Threnedier I think I actually prefer this production to the original. John Owen Jones and Earl Carpenter were spectacular and Gareth Gates who, to be honest, I was dreading surprisingly good. A great evening. - KJ
24 Sep 10
I've seen this show many times, but this cast and version is the best I have ever seen. The projections and orchestrations give this production a grittiness that is lacking from others. An astonishing piece of theatre. - Christian
24 Sep 10
I first saw Les Mis in 1997(I think). This is my 4th time seeing the show since then. I've always felt that I was missing something because I never quite got it on stage despite thinking (as I still do) that the score is the best of any musical in the last 40 years.
So I wasn't sure what to expect on my visit to the Barbican last night. Firstly it was great to be back at the Barbican, sadly a rarity for me in these non RSC days, and wonderful to see the place packed to the rafters.
I'm delighted to report that I loved this production which made complete sense and moved me as it had not done before.
This production has many strengths - the new staging works very well - in particular the visual effects, in part reflecting the drawings on Victor Hugo, projected onto the back of the stage are excellent - a 21st century twist that wasn't around in 1985 but worked brilliantly, especially the scenes in the sewers and for "Stars".
There were some fine performances too. John Owen Jones got stronger as the show went on as Jean Valjean. His "Bring Him Home" was totally mesmerising. Earl Carpenter as Javert gave for me highlight of the whole show with his rendition of "Stars" which brought the house down. Strong support too from Gareth Gates as Marius. Whilst his voice is not as powerful as some predecessors in the role, he none the less does sing well and I thought the youth and naivety he brought to the part made complete sense. Jon Robyns as Enjorlas gave a strong, powerful performance and Ashley Artus & Lynne Wilmot as M & Mme Thenardier were good fun.
Rosalind James as Eponine was a strong singer but as somone else has commented in their review, her desire to switch into pop diva form was unnecessary, especially during "On My Own". It isn't after all an X-Factor audition. There were a few negatives. Madalena Alberto as Fantine didn't convince. During "I Dreamed a Dream" I closed my eyes and imagined Patti Lupone on that same stage all those years ago. The barricade scenes didn't totally convince either, lacking power and intensity, but these are minor gripes. This is an excellent production, updated superbly and great to see back in its original home.
It's easy to see why this show has been around for 25 years and will I'm sure be around for many years to come.
- Paul Wallis
23 Sep 10
Twenty-five years ago we didn’t have blogs and Twitter, so it’s even more of a miracle that this critic-panned show survived. Those like me who were captivated and fell in love with it called our friends and re-booked to see it again and the rest is history. We had people power then too, but I certainly wasn’t expecting to be back at the Barbican where it began 25 years later watching a new touring production. It’s good to report then that it’s in fine shape and some aspects of the new production have improved upon the original, most notably the scene in the sewers of Paris and the death of Javert. I found the longish prologue a bit clunky, but from the moment the opening music of act one began, the tingling and tension of the muscles returned and by the interval we were cheering the wonderfully uplifting first act finale.
The new staging of directors Laurence Connor & James Powell, with set design by Matt Kinley, does work well – it seems much zippier without feeling rushed or without losing any narrative. I was very impressed by Earl Carpenter’s Javert, Gareth Gates (yes!) Maruis, Jon Robyns’ Enjolras the Thenadier’s of Ashley Artus and Lynne Wilmot. There was much to admire about the acting performance of Valjean’s understudy Christopher Jacobson, though his vocal’s were a bit hit-and-miss in the upper register. Rosalind James as Eponine let herself down by wandering into pop diva mode occasionally and I’m afraid I found Fantine Madalena Alberto’s voice highly unattractive; during I Dreamed A Dream, I even found myself wishing she would have mimed to Susan Boyle! I don’t know which kids were playing little Costette and Gavroche, but whoever they were they were terrific. The chorus sounded great and the new orchestrations are so much better than the synth-heavy budget version now at the Queens Theatre. I do wonder if Cameron Mackintosh been around at the beginning of the 20th century, whether Puccini would have had similar long runs with Madam Butterfly and La Boheme, for this is the musical territory this show occupies. When they write the history of 20th Century musical theatre, this will most certainly be in the top ten, in the top five of dramatic musicals and maybe even…..
- Gareth James
See also The Pit. Opened 1982. The Barbican is home to the internationally acclaimed bite programme, featuring a diverse range of the most exciting new theatre, dance and music from around the world. Bite has established firm relationships with leading international artists and its impressive list of Artistic Associates includes; Deborah Warner, Michael Clark Company, Cheek by Jowl, Fabulous Beast and Afroreggae UK Partnership. Whilst continuing to support the work of established companies, bite seeks to enable young and emerging artists to present work at the Barbican. Recent bite seasons have included music from the favelas of Rio, Shakespeare from Japan, an Icelandic Peer Gynt, puppetry from Canada, traditional dance from Cambodia and cabaret from South London. Bite work extends beyond the 1166-seat Barbican Theatre and the 200-seat Pit into non-traditional spaces, often blurring the boundaries between performer and audience and enabling an even greater number of people to enjoy its programme.
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