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Musical Les Miserables still shines even after 20 years

SINGAPORE — It’s been 20 years since Les Misérables last had its run in Singapore, and Cameron Mackintosh’s new production feels like meeting an old friend after a long absence. The set and cast have both been updated, but for a musical as long-running as this, (with a relatively recent Hollywood makeover, no less), the mix of nostalgia and fresh perspective is what really makes the theatre production come to life.

Those songs, those emotions ... Les Miserables still thrills on stage

Those songs, those emotions ... Les Miserables still thrills on stage

SINGAPORE — It’s been 20 years since Les Misérables last had its run in Singapore, and Cameron Mackintosh’s new production feels like meeting an old friend after a long absence. The set and cast have both been updated, but for a musical as long-running as this, (with a relatively recent Hollywood makeover, no less), the mix of nostalgia and fresh perspective is what really makes the theatre production come to life.

The musical opens with a promising prologue. Gone is the swiveling stage, replaced instead with a more elaborate set complete with pyrotechnics, gunshots, and a digital backdrop that adds memorable effect to key scenes.

Simon Gleeson quickly established himself as a rather relatable Jean Valjean. As the story goes, he is a bitter convict on the run for stealing bread for his hungry family, but a chance encounter leaves him determined to become a better man. He stays true to character from start to finish, delivering a solid performance that carries the musical through the various story arcs.

The first half unfolds quickly, establishing Jean Valjean’s connection with Fantine (Patrice Tipoki) and Javert (Earl Carpenter) and almost feels a bit too fast-paced. Perhaps it’s the nature of the beast, but at times, one can’t help but feel that the musical numbers almost overwhelm the acting.

Things really pick up in the second half. The cast shone in their own right. A lovelorn Eponine (Kerrie Anne Greenland) delivers an emotionally charged performance, while Javert (Earl Carpenter) bows out on a final scene with a figurative splash in one of the production’s best uses of visual effects. Monsieur and Madame Thénardier (Cameron Blakely and Helen Walsh) also establish themselves as audience favourites, playing up their delightfully unsavoury characters with ease.

Perhaps the most intriguing allure of Les Misérables is the overlap of the characters’ lives, and how they intertwine and capture some of the most complex human emotions and experiences — love, integrity, and honour. So the almost fairytale-like portrayal of Cosette (Emily Langridge) and Marius (Paul Wilkins) felt almost cliche and lacking in depth, compared to the rest of the drama.

And while the singing numbers are performed rousingly, the choreographed parts with the ensemble cast fared better (Monsieur and Madame Thénardier really shine here). One can’t help but make pop culture comparisons with the solo acts — for instance, Susan Boyle’s rendition of ‘I Dream A Dream’ continues to rank highly as one of the most moving performances. Nevertheless, the orchestra deserves props for delivering a resounding performance that carries the musical from start to finish, doing its part to bring the famous score to life.

Les Misérables runs until July 17, 7pm at the Esplanade. Tickets from S$58 to S$228 from SISTIC.

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