News, analysis and comment - performing arts 

Les Misérables: 25th Anniversary

By David Trennery artsHub | Thursday, September 30, 2010

Photo by Michael Le Poer Trench  

The Barbican, London until October 2

There is something almost admirable about the audacity with which studios and record labels issue anniversary editions of favourite films and albums in a slightly bigger box with ‘bonus’ material that turns out to have been omitted from the beloved original with good reason. This practice is almost the retail equivalent of re-wrapping an unwanted Christmas bread-maker in shiny new paper and passing it off on somebody else the following year.

No such cynicism with the 25th anniversary Les Misérables in the Barbican Theatre. Unburdened by the hissing hearing aids, rustling Maltesers and mobile phones of the West End’s coach party punters, Cameron Mackintosh’s crowd pleaser is suffused with renewed vim and vigour on the very stage where it began its life so long ago.

John Owen Jones’ Valjean sets a very high vocal standard for his fellow cast members and not all of them entirely live up to it. There is a slight tentativeness in some of the famous solo numbers and everyone else is cast into shade after ‘Bring Him Home’: it’s worth the ticket price just to hear Owen Jones sing it and if you aren’t, at the very least, blinking furiously by the end then make an appointment at your local hospital to get the stone surgically removed from the place where your heart should be.

Gareth Gates is a pleasingly unmawkish Marius, Rosalind James more than holds her own as Eponine while Earl Carpenter completely grasps the moral conflict unravelling in the soul of Javert and entirely avoids portraying him as a pantomime villain. The crowd scenes are handled particularly well and the set is an impressive blend of projected backdrops and flying flats.

Directors Lawrence Connor and James Powell bring the production in at a brisk three hours and you’re a fool if you don’t get down to the Barbican over the next couple of nights – no matter how many times you might have seen Les Mis before – this is something special.

For more info, visit: http://www.barbican.org.uk/film/event-detail.asp?id=10589&pg=2626

David Trennery

David Trennery is a free-lance writer

E: davidtrennery@mac.com

Related news

Richard III

Richard III

Belinda Liversedge 29 Jul 2011

THE OLD VIC: Sam Mendes directs Kevin Spacey in this bravura production of Shakespeare’s timeless play.

Frisky & Mannish: The College Years

Frisky & Mannish: The College Years

Mariyon Slany 16 Feb 2011

FRINGE WORLD: A comedic thesis in pop dialectics covering the great pairings from Brandy and Monica to Freddie Mercury and What’s-her-face Operabitch.

Chris Potter at Ronnie Scott’s

Chris Potter at Ronnie Scott’s

Wiktoria Kwasniak 18 Nov 2010

CHRIS POTTER: A musical prodigy who had his first professional jazz gig at the age of 13, he was also the youngest recipient ever of the prestigious Danish Jazzpar Prize, which is one of the most respected awards in the jazz ...

The Train Driver by Athol Fugard

The Train Driver by Athol Fugard

Belinda Liversedge 13 Nov 2010

THE TRAIN DRIVER: There’s a shock, or a twist at the end of the play, which I won’t spoil by revealing here. Suffice to say, it sent chills down the spine and was not expected. You cannot help but be shocked reading the ...

Macbeth at the Barbican

Macbeth at the Barbican

David Trennery 5 Nov 2010

MACBETH: Song of the Goat seek to conjure a complete theatrical experience by engulfing Shakespeare’s text into ‘the ceaseless flow of energy of the actors in performance’.

Fear of Queer

Fear of Queer

Duncan Robertson 2 Nov 2010

FEAR OF QUEER: It was an ensemble piece where every player performed well and, although this review has only mentioned two for simplicity, everyone involved gave a fantastic performance. It was clear that the play had been ...

Blasted at the Lyric

Blasted at the Lyric

Duncan Robertson 29 Oct 2010

BLASTED: has not been performed in London for nearly a decade but with Sean Holmes’ production at the Hammersmith Lyric it seems it has finally found a suitable home with a terrific cast to boot. Let’s just hope that this ...

Blood & Gifts at the National

Blood & Gifts at the National

Caroline Taylor 21 Oct 2010

BLOOD AND GIFTS: The impressive play script is animated magnificently by a stellar cast. The lead is the largely unflappable and shrewd American CIA agent, James Warnock (played by Lloyd Owen), whose Achilles heel is his ...

Deathtrap

Deathtrap

Duncan Robertson 18 Oct 2010

DEATHTRAP: Rob Howell’s set design is truly terrific. The staggered geometry of the one room in which all the action takes place is incredibly well thought-out and with Bruhl’s festoonery of weapons all menacingly placed ...

Krapp’s Last Tape

Krapp’s Last Tape

Duncan Robertson 14 Oct 2010

KRAPPS LAST TAPE: Beneath its deceptively superficial exterior the play is the most poignant of Beckett’s oeuvre – full of autobiographical allusions – and a complex and cathartic treatise on the relationship of memory to ...

Anthony Sher Breaks Glass at Tricycle

Anthony Sher Breaks Glass at Tricycle

Suresh Patel 14 Oct 2010

BROKEN GLASS: The ‘political’ in Miller, and all good playwrights, is expressed on the stage through the decisions certain people make when faced by certain obstacles in certain environments. It is achieved through human ...

Departure Lounge The Musical

Departure Lounge The Musical

5 Oct 2010

DEPARTURE LOUNGE: Why do we say gay, what really happened that Thursday evening on a pub crawl night out in Malaga and how can a picture book replace a family? Spotlight on a group of young school leaver Brits on tour stuck ...

Jonas Gallows: The Ear of a Drunkard or Dying Man

Jonas Gallows: The Ear of a Drunkard or Dying Man

Duncan Robertson 27 Sep 2010

THE EAR OF A DRUNKEN MAN: The songs are short, melodic but pared-down, bleak but ultimately hopeful. It’s an intense and deeply personal affair, but somehow it’s also very accessible.

Danton’s Death

Danton’s Death

David Trennery 30 Aug 2010

OLIVIER THEATRE: Toby Stephens is at his imperious best as the swaggering, eponymous hero while Eliot Levey very nearly steals the whole thing with his complex, compelling portrait of a sociopathic Robespierre.

Into The Woods

Into The Woods

David Trennery 30 Aug 2010

REGENTS PARK: A musical amalgamation of fairy tale characters in which Red Riding Hood encounters Cinderella, Rapunzel, a witch and a bigger, badder Wolf than most of us will remember from childhood.

Welcome to Thebes

Welcome to Thebes

David Trennery 5 Aug 2010

OLIVIER THEATRE: Moira Buffini’s Welcome to Thebes re-imagines the disastrous aftermath of the fall of Oedipus in a 21st century environment by replacing Theban King Creon with his wife Eurydice.

Lingua Franca

Lingua Franca

David Trennery 27 Jul 2010

FINBOROUGH THEATRE: 'Lingua Franca', Peter Nichols’ play at the Finborough theatre until 7th August, follows the fortunes of Steven Flowers (antihero of 'Privates on Parade') in fifties Florence.

Henry IV Part 1

Henry IV Part 1

David Trennery 27 Jul 2010

SHAKESPEARE'S GLOBE: The Henry IV plays are not really about the eponymous King. They explore the making of a monarch by following Prince Hal, the future King Henry V, from his wild youth under Falstaff’s wing through ...

Morte d'Arthur

Morte d'Arthur

David Trennery 2 Jul 2010

Morte d’Arthur tells of the sword in the stone, the consolidation of Arthur’s positon as King of Britain and the establishment of the round table.

Antony and Cleopatra

Antony and Cleopatra

David Trennery 1 Jul 2010

SHAKESPEARE: Caught between desire and duty Antony and Cleopatra's affair shook the foundations of the world. Power politics and passion collide in Shakespeare's captivating tragedy.