The Greatest Showman #956 – Pleasing to the Eye

The story of Les Miserables, popularized by the Queen's Theatre production, is widely known, though over time, the details of the original work have gradually faded from public consciousness, leaving behind only a vague outline and the unforgettable melodies of its songs.

This is undoubtedly a triumph of commercial promotion, but also a loss for the integrity of literature and art. In contrast, the Teatro Almeida's adaptation boldly resurrects the essence of Victor Hugo's story, offering a vivid, Ukiyo-e-style portrayal of Paris.

In the Queen's Theatre version, the first act is a condensed 20 minutes, and in the film, it's reduced even further to 14 minutes, with Jean Valjean taking center stage as the main protagonist, driving the plot forward. However, the Almeida Theatre takes a daring approach, expanding this initial stage to a sweeping 40 minutes, giving the story room to breathe and unfold in all its complexity.

Jean Valjean, a hardworking and honest man who had been supporting his impoverished sister and her seven children, is sentenced to five years in prison after he is unable to find work during a harsh winter. His attempts to escape prison four times are unsuccessful, and he faces moral and legal opposition from Javert, a prison-born lawman who is relentless in his pursuit of justice.

Javert, born into a family of criminals, strives to redeem his name by dedicating his life to law and order. Despite recognizing the flaws in the system he supports, Javert's fanaticism keeps him aligned with a crumbling social order, one that he seeks to protect at any cost.

Valjean's sentence is extended from five to nineteen years due to his escapes, and even upon release, society refuses him a second chance. Unable to find work or shelter, he is paid less than other workers, solely due to his status as a former convict. In his despair, he meets Bishop Miliere, a compassionate and hopeful man who takes Valjean in. However, when Valjean steals the bishop's silverware in a moment of desperation, the police catch him and return him to the bishop. At this moment, Miliere defends Valjean, claiming the silverware was a gift, even offering a set of silver candlesticks, thus saving him from further punishment.

This act of kindness profoundly affects Valjean, inspiring him to seek redemption and embrace a new life.

Victor Hugo's original work spans four volumes to explore Valjean's transformation, a journey both sweeping and profound. Today, in the Teatro Almeida, the production focuses on the interplay between three central characters: Jean Valjean, Javert, and Bishop Miliere. This adaptation not only presents the heart of Hugo's tale but also adds layers of reflection and exploration unique to this version.

One of the most innovative aspects of the Almeida production is the shift in focus during the first act. While Jean Valjean is the central figure in the Queen's Theatre version, here his role is subdued, with Javert and Bishop Miliere taking on fuller, more vivid portrayals.

Javert represents a dangerous obsession with conservatism, while Bishop Miliere embodies a steadfast belief in human goodness. In the Queen's Theatre, both characters serve more as supporting figures in the grand narrative of Valjean's personal epic—much like the epic hero's journey in Gladiator. However, in the Almeida version, these two characters form an "iron triangle" with Valjean, showcasing the diverse roles individuals play within society.

Valjean, though less prominent in the first act, becomes more dynamic as his character is shaped by the tension between the oppressive forces of law and the potential for personal redemption. From a hardworking man to a criminal on the run, Valjean's journey reflects a society in turmoil—a glimpse of the unrest that would eventually lead to the French Revolution.

This shift is not just a triumph of thematic depth but a testament to the production's success in bringing forth Hugo's rich narrative in a fresh light.

"Where did John Cod find these outstanding actors? How did he train them so effectively?"

Alistair Smith's curiosity peaked. In London's West End, a pioneering, innovative production is just as valuable as the emergence of a new wave of talented stars—both are crucial to the future of the theater.

Ezra Miller's portrayal of Javert is one such star. While his performance in the first act has moments of immaturity—especially with his singing and pacing—there's undeniable intensity in his portrayal of Javert's obsessive nature. His performance injects a twisted charm into the character, making him both compelling and unsettling.

While Miller's performance is strong, the real test will come with Javert's aria, "Stars," in the second act, where his character's internal struggle and paranoia come to a head. This aria is a pivotal moment, one that will ultimately determine whether Miller can truly carry the role forward with the same gravitas.

On the other hand, Andy Conaghan, as Bishop Miliere, shines with a newly written score and an enriching portrayal of compassion and moral strength. His one-man aria in the first act is a standout moment, showcasing his solid technique and emotive power.

Conaghan's performance, along with Miller's, forms an "iron triangle" of complexity and depth that keeps the audience fully engaged. However, despite their bold portrayals, it's Renly's performance that truly captures the attention of seasoned theatergoers.

For those familiar with Les Miserables, particularly Alistair Smith, who has seen Cameron McIntosh's version countless times, Renly's subdued approach in the first thirty-five minutes of Act One might seem ordinary to the untrained eye. Yet, for those who know the theater well, it's a display of mastery in its own right. Renly's performance, seamless and effortless, is a perfect balance of technique and artistry, bringing depth to every small gesture and line.

Alistair, having spent a lifetime in the theater, has seen countless actors perform, but Renly's understated performance captivated him like no other. There were no grand gestures, no overt dramatic flair—just pure, effortless storytelling. For Alistair, this is the true essence of theater, and it's a rare delight to witness such a performance.

As the first act nears its conclusion, with Jean Valjean's monologue, "Valjean's Soliloquy," Alistair's anticipation grows. This moment, deeply emotional and profound, will test Renly's ability to portray the inner transformation of Valjean. The expectations are high, but Alistair, ever the theater veteran, is excited to see how Renly will interpret this pivotal scene.

Final Thoughts

The Almeida Theatre's rendition of Les Miserables is a bold, innovative reinterpretation of Hugo's timeless tale. With its rich performances, thoughtful character exploration, and a fresh approach to staging, it offers a compelling new vision of a classic. For both seasoned theatergoers and newcomers alike, it promises to be a performance that lingers long after the curtain falls.

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