By John Quinn
Sacre bleu! Man the barricades, the French have returned!
We should count our blessings. At Christmas, some people get fruitcake; Detroit gets "Les Miserables." This is the show's eighth visit to the Fisher, and it has become a December tradition as familiar as "Jingle Bells."
For those of you who have been locked in the attic since 1987, "Les Miserables" is the epic musical rendition of Victor Hugo's 1861 saga. It's the tale of Jean Valjean, imprisoned twenty years for a petty theft. When set loose, the ex-con is unable to make a living; he jumps parole and starts a new life, only to be hounded down the decades by the relentless Inspector Javert. Javert, one of the most self-righteous characters ever written, considers himself the "good guy," whose God-given duty is to protect society from the "bad guys" like Valjean (in this he is not unlike the Reverends Phelps, Falwell, et al).
Though confronted time and again with the basic goodness of Valjean, Javert cannot shake his core belief, "Once a thief, always a thief." The pursuit leads them into the turbulent sorrows of the Student Rebellion in Paris. Along the way we encounter despair and deceit, passionate love and passionate politics. It's an emotional roller coaster from start to finish.
As one might expect from the national tour, the music is splendid. Randal Keith, who plays Jean Valjean, is a bulldog of a singer; he grabs this monster of a vocal score and runs with it. His rich, full singing is a joy to experience.
James Clow's commanding stage presence – and voice! Can't forget that voice! – delivers us a Javert that will be hard to forget.
As lovers Marius and Cosette, Josh Young and Amanda Huddleston are a perfect match. Their soaring tenor and soprano ranges ring like bells.
Do we have quibbles? Yes, a couple.
The evolution of wireless microphones has birthed a revolution in the theater; by balancing the amplification, the voices come through with unprecedented clarity. But wireless mikes also allow for voices to be channeled through processors. Jean Valjean's achingly beautiful solo, "Bring Him Home," derives no benefit from a run through a reverb unit, it's "gilding the lily." In fact, at times the singing overpowers the rather thin orchestra.
Also, a number of songs began in shadows at the performance I attended; when employing a follow spot, the operative word is "follow!"
One more note: Act II begins with one of the best-known pieces in the show, Eponine's heartbreaking solo "On My Own." When sung by Ma-Anne Dionisio, it would have been one of the most emotional moments in the show. Would have been, that is, if it hadn't had to compete with the herd of cattle ambling down the aisles late from the intermission. They all seemed to be heading for the first and second row. But you, gentle reader, would never commit such gaucherie, would you?
"Les Miserables" Presented Tuesday through Sunday at the Fisher Theatre, 3011 W. Grand Blvd., Detroit, through Jan. 4. Tickets: $25 – $66.50. 248-645-6666. http://www.nederlanderdetroit.com.
The Bottom Line: Easily one of the most emotionally touching works in musical theater; bring your handkerchief. Bring a couple.
