LES MISÉRABLES

****

Wales Millennium Centre, Cardiff, Fri 27 Nov

After a recent blockbuster adaptation, Les Misérables is a show with a reputation that precedes it and every new production has epic shoes to fill. The Cameron Mackintosh touring production at Wales Millennium Centre lives up to the promise of great visual stimulation with gigantic rolling sets, stirring ensemble performances and beautiful period costumes.

With an undeniably nuanced score, every voice in the cast shows power and control to make anyone feel short of breath through the long notes. Visual effects set the scene so well that actors seem to materialise on stage in the mist and darkness of pre-revolutionary France. It is not exactly a complex rendering of the political situation of the time, but that’s not what we’re here for. The original script lacks focus on the characters’ arcs or the historical context of the events depicted, so that the romantic, rebellious themes of the piece feel generic when put to a mainstream audience.

What’s more the show, being entirely told in song, contains many obvious pauses for applause which lead to involuntary, thoughtless praise no matter what precedes. The cast (though strong in singing voice) seemed somewhat out of sync with the period, with some actors looking more at home in a modern boyband.

The performances varied from strong and compelling to almost distracted. Special kudos goes to Frances Mayli McCann in her portrayal of Eponine. Such an expressive and lively performer, she sticks out of the chorus line before even being introduced as a main cast member. The slightly constrictive stage does not allow for such an epic feeling of immersion as other venues, but this is redeemed by a sense of intimacy during quieter songs. However, it did lead to some of the more sentimental numbers feeling static, awkwardly lacking in movement.

Other numbers such as Lovely Ladies and Master of the House shone through beautifully with visual humour. The ageing effects were remarkable with Dean Chisnall as Jean Valjean, introduced as a young man flying around the stage and then becoming mature before our eyes.

Despite some flaws, it cannot be denied that, throughout the lengthy final bows, the audience went absolutely bananas – but they were also bolting out the door before the house lights even came up. As strong as the production may be, it is securely supported by the popular consensus of the show’s brilliance. Everyone will love Les Mis, but not very deeply.

words FELIX JONES photos HELEN MAYBANKS

Les Misérables is at the Wales Millennium Centre until Sat 4 Jan. Tickets and info here.