Les Miserables: Inspirational story, inspired performance
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Les Miserables: Victor Hugo's story makes you want to believe in the good in all men
From chain gang, to outcast, to fugitive, to hero – the story of Jean Valjean could not be more inspirational in its own right. But the performance and production brings out the best of Victor Hugo’s tale of love, despair, corruption and redemption.
Having spent 19 years incarcerated for stealing a mouthful of bread, Valjean finds his branding as a criminal leaves him a prisoner of poverty. So bitter is he that, when the Bishop of Digne takes him in, Valjean steals his silver. The bitterness, anger and fear strip him of moral boundaries.
But he is left dumbfounded when the Bishop lies to the police to save him – he has been given his chance of redemption and he sets about rebuilding his life.
Having broken his parole, he changes his name and becomes a factory owner and Mayor. On the run he may be, but his memory channels him to do good.
He promises one of his impoverished workers to take in and bring up her daughter as his own; he saves an innocent man from the police, accused of being none other than Valjean himself; he spares the life of the Inspector who has hunted him for years; he rescues his daughter’s love from the Parisian sewers…
Victor Hugo’s story makes you want to believe in the good in all men, no matter what their dark background. And the production at the Bristol Hippodrome pays due homage to the inspirational story, with a cast and set that at times leaves you in awe.
Gareth Gates, as Marius, is no Pop Idol now, providing a fine performance alongside Katie Hall (I’d Do anything, Eurovision Your Country Needs You) as Cosette.
But it is the less-celebrated stars who deserve the accolades. John Owen-Jones is magnificent as the hero Valjean – filling the stage with his mere presence and the arena with his powerful, yet at times most gentle, voice.
Rosalind James, meanwhile, as Eponine brings a tear to the eye with her rendition of ‘On My Own’ – the song itself will do that for the romantic, but even the hardest heart could not fail to be moved by her performance.
The biggest star, as far as I am concerned though, must go to Earl Carpenter – the stubborn bloodhound Inspector Javert. There is unlikely to be a better male voice at the Hippodrome this year and his portrayal brought the biggest cheer from a packed audience who rose as one at the end to give a deserved standing ovation.
Special mention must be made of the set which makes the most of the author’s art but is understated – the simplicity brings home the desperate life ‘Les Miserables’ have to live. But at times, it is ingenious, especially when Javert throws himself from the bridge to commit suicide – so ashamed is he of the mercy shown to him by his target Valjean.
If there is one complaint, it is the length of the show, which is ceaseless, barely pausing for breath across more than three hours. The first half last for nearly two hours itself, by which time, much as I was enjoying the show, I was getting uncomfortable and in need of air and water.
Hardly miserable, but for such a show perhaps a second interval is needed to allow the audience to take in and digest what they are seeing.
Regardless of this minor fault, Les Miserables runs until August 7 and is surely the highlight of the year so far. Don’t miss it!
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