We had an extra ticket, because our friend Batman wasn't able to make it. Unfortunately, he was in Nebraska burying his grandfather.

I had known very little about the musical going in, simply the bare bones of a plot, that it centered around Jean Valjean, a petty criminal, who was pursued throughout his life by the intrepid Inspector Javert.

So I wasn't quite sure what to expect, but I was pleased with what I saw. The staging was creative, using a rotating stage that would at times move and at times remain still. The actors did such a terrific job of maneuvering on the stage that they seem natural, despite this unusual staging.

New actors and props could appear on stage quickly, which permitted a faster pacing of the plot. This was helpful because it was such a complicated plot, based on an epic novel by Victor Hugo. Les Miserables traces the lives of a half dozen main characters over several decades of their lives.

At times, the quick pace made it feel as if we were just getting highlights from these lives, but at other times, the play would pause and elaborate on important moments in the characters' lives.

Les Miserables really is an ensemble production, and although Jean Valjean is on stage longer than anybody else, a number of other parts are just as unforgettable. Eponine stands out for her indefatigable spirit and her selfless nature.

Even though she is in love with the young student Marius, Eponine acts on his behalf to have him woo Cosette, a childhood rival.

The heart of the production is Jean Valjean, who begins as a petty thief who learns the importance of forgiveness and thereafter lives a very morally correct life, if not a legally correct one.

In other words, Jean Valjean is a warmhearted man who would save someone at the risk of his own life and yet continue to elude Javert and his prison sentence.

The part of Jean Valjean was played by an understudy, David Michael Felty. He did a fantastic job. He has such a strong and yet pure, sweet voice with exceptional range, that it's captivating.

Ma-Anne Dionisio, who played Eponine, also has a very ethereal voice, which makes her character stand out, even though her time on stage is limited compared to some of the other characters.

The other performer who really stood out was Branden Steinagle, who played Gavroche, a young, street-smart boy. He had a very strong voice for someone his age, matched with real charisma. He owned the stage when he was on it, and he actually upstaged several of the adult performers.

Cindy Benson and David McDonald, who played the comic roles of the Thenardiers, were hilarious. Fortunately, they were adept at subtle slapstick, because it was sometimes difficult for first-time viewers such as myself to keep up with all the plot points and verbal jokes. Les Miserables is an operetta: all the parts are sung, and there's only one spoken line in the entire production.

As far as the music was concerned, there were a couple familiar favorites, such as "I Dreamed a Dream." Another particularly moving song was "Empty Chairs at Empty Tables," sung by Josh Young as Marius.

But wouldn't you know it, the song that sticks in my head is the comic romp, "Master of the House," which is actually somewhat sing-songy.

We had a great time at the performance. Afterwards, we wanted to get a drink somewhere before heading home, so we walked down the street to the Ritz Hotel and took a seat in the lobby.

Jazz musicians were performing, and we sipped expensive drinks and tried some of their exquisite desserts. It was fun hobnobbing in the lobby with the various kinds of groups who came by as the night wore on.

First there were mainly theater goers such as ourselves. Then, a bit later, some men in black ties and tuxes, clearly returning from a formal event.

Then 30-somethings in casual clothes like jeans and sweaters. And near the end of the evening, a table full of young punks caught my eye, all nursing their drinks as long as they could.

The punks were actually quieter than one of the tables full of 30-somethings, who had clearly gotten drunk long before the Ritz.

To sum up, I have to write something I promised I would say. And that is, Batman, if you're listening, this was the worst play ever, and you didn't miss anything.

 

Moral:
It's cool having a sister who names cats after musicals.