A review: les misérables

It has been three desire time since I saw Les Misrables. It was an experience that I wont seeming forget too soon for, non only was it an incredible melodious performance, it was also the world-class Broadway production I had ever seen.And a super production it was, too. Les Miserables has a mosaic of characters police, prostitutes and pragmatic students woven onto an automaticall(a)y hammy backdrop of tragic revolution in France where there is glory in death for a cause.It is unfortunate, however, that I do not reckon all the main cast members. I do, however, have three of them, whose performances I really loved, still in mind blue jean Valjean, Javert, and my favorite, Ma-Anne Dionisio as Eponine. Her real pay heed stuck to my memory and as her performance did. Though I was a little surprised at the casting of an Asian for Eponines role, I realized that her ethnicity wasnt importanther portion was. She was a truly nasty singer.This was the first time that Les Miz came to the Fisher Theater, and though regrettably seated at the $50 seats (way up in the balcony even for that price), it was worth it. Les Miz is one of those shows that doesnt need to be reinvented to be successful. It has been running so long that people knew what to expect, even me.I had heard of this musical m either times originally I actually got to see it, but just seeing the1800s costuming, the rotate sets, the shadowy lighting, were confirmation that all the accolades this show had gathered through the geezerhood were well-deserved. It was a production that spared no expense, and took no prison houseers.To give a ill-judged summary of the play from Online-Literature, Les Misrables is set in the Parisian underworld. The protagonist, Jean Valjean, was sentenced to prison for 19 years for stealing a loaf of bread.After his release, Valjean planned to dowse monseigneur Myriel, a saint- comparable bishop, but cancelled his plan. However, he forfeited his parole by committing a minor crime, and for this crime Valjean was haunted by the police tester Javert. Valjean eventually reformed and went under the name of M. Madeleinea successful businessman, assistant and mayor of a northern town.But to save an innocent man, Valjean gave himself up and was gaol in Toulon. In the end, Valjean had to reveal his past. It was definitely a sad taradiddle made sadder by the songs sung in lament through roughly of the musical. The performances were, to my untrained ears, absolutely amazing. Im sure there were critics who observe so and sos voice not being up to par, but to me, they all played their roles to perfection. The actor/singer who played Jean Valjean carried a huge part of the plays success.He was the main character. His first appearance on stage sent chills through me because here was the notable Valjean, finally. His song that lamented the yellow ticket (proclaimed his former-convict status) he had to carry around with him was moving.You felt his sadn ess and pain. Javert, on the other hand, conveyed his feelings of justice and self-righteousness to the audience with no problem. His nonplus told the whole story He stood stiff and upright, never slouching, never flinching. His voice was superb as well. But, really, it was Eponines song On My Own that just pulled me in. What a glorious rendition it was Here was a woman in love.The fact that it was unrequited love made you all the more infer to her plight and make you want to shake the guy whose love she craved. How could he not love her?What made these performances so much more stiff were the gestures and costumes that they employed. Sure, costumes play a somewhat unimportant role in any production, but in this case, the audience is looking for authenticity, for a vision to pretermit himself or herself in because the viewer wants to imagine how it is to be in nineteenth century France.I thought that the costume design was exemplary. Of course, the moving sets do not let you com pletely slide out into another world, but the allot raggedness of some of the characters costumes were all too real. One even feels like the nearer one gets to the stage, the greater chance it would be to get a noxious whiff of Pariss poor folk. The gestures were evocative. I remember thinking how it must be to act and sing at the homogeneous time.