CLO Presents “New” LES MISERABLES

F. J. Hartland 

           According to the program, Pittsburgh CLO is only one of twelve professional theatre companies to receive permission to produce Les Miserables in 2009 before the rights close prior to a National Tour slated for 2010.  And while this is billed as a “new” production, it does not disappoint.

            Based on the Victor Hugo novel, the musical tells the story of Jean Valjean, a man imprisoned for nineteen years for stealing a loaf of bread.  His life becomes a story of redemption as he is pursued by the maniacal Javert.  Before it’s all over, there is intrigue, betrayal, blackmail, romance, heart-break and enough dead bodies to fill a medium sized morgue.

            The voices in this current production at the Benedum are nothing short of spectacular.  Even the young children (Victoria Huston, Rachel Mracna and Joseph Serapini) add to the vocal power of this show.  The rafters ring with this breath-taking music.  And I also have to mention the outstanding orchestra under the baton of music coordinator Frank Ostrowski. 

           Fred Inkley as Valjean has a huge presence and a powerful voice.  My only complaint is that his long locks—which are ideal for some scenes—should be pulled back more often as they have a tendency to cover his face.  Robert Cuccioli (star of Broadway’s Jekyll and Hyde) also proves his mettle as the relentless Javert. 

           Jacquelyn Piro Donovan’s portrayal of Fantine will break your heart.  I have seen Les Miserables before but can not recall being so emotionally moved as I was by Donovan.  Equally heart-breaking is Ashley Spencer’s Eponine.  Her powerful rendition of “On My Own” brought tears to my eyes.

              As the young lovers Marius and Cosette, Matthew Scott and Kate Loprest make a striking couple.  Their trio with Eponine (“A Heart Full of Love”) is one of the most beautiful moments in the show. 

           Adding comic relief to the show is Pittsburgh’s own Tim Hartman as the unscrupulous Thenardier and Sally Wilfert as his wife.   They are slimy and funny, all at the same time.

             Hats off to a hard-working ensemble who play prisoners, whores, sailors, students, wedding guests, revolutionaries and all of the poor and downtrodden.

            The costumes and set were supplied by the Music Theatre of Wichita—and here was my problem with the show.  This is going to shock all the Les Miserables fanatics I know, but there was—gasp!—no turntable.  And quite frankly, I missed it.  Call me old-fashioned, but for me that turntable adds such wonderful movement and elegance to the show.  While the set changes in the “new” production were swiftly executed, it just wasn’t the same.  Plus the turntable adds such a powerful scenic element to such scenes as “A Heart Full of Love” and  Javert’s leap from the bridge.  Also, the barricade was not nearly as visually eye-catching as I have seen in past productions.  If you haven’t seen Les Miserables before, I doubt that you would know the difference.  But based on the number of audience members around me who felt compelled to sing along at last night’s performance  (and I wish they wouldn’t—I don’t subject you people to my singing voice), many have seen the show before.

            But the performances are what make this show—and make this production well-worth seeing!

            Les Miserables continues through July 19.

            (Kudos to the Benedum for adding “text messaging” to their list of no-no’s in the pre-show announcement.  I am so annoyed during shows when there is more light emanating from the audience than there is on the stage!  I must not be the only one as the announcement was greeted by thunderous applause.)