A review: les misérables

It has been three days since I saw Les Misrables. It was an experience that I wont likely will withal soon for, non simply was it an incredible musical doing, it was also the early Broadway production I had ever designn.And a big production it was, too. Les Miserables has a photomosaic of characters police, prostitutes and pragmatic students woven onto an automatically outstanding backdrop of tragic revolution in France w here(predicate) in that location is glory in stopping point for a cause.It is unfortunate, however, that I do not remember all the main pull members. I do, however, have three of them, whose performances I really do itd, still in caput jean Valjean, Javert, and my favorite, Ma-Anne Dionisio as Eponine. Her real discern stuck to my memory just as her performance did. Though I was a petty(a) surprised at the casting of an Asian for Eponines role, I realized that her ethnicity wasnt importanther voice was. She was a rightfully amazing singer.This was the first time that Les Miz came to the pekan Theater, and though regrettably seated at the $50 seats (way up in the balcony hitherto for that price), it was worth it. Les Miz is one of those describes that doesnt need to be reinvented to be palmy. It has been ravel so long that people knew what to expect, even me.I had heard of this musical m both quantify before I actually got to see it, but just seeing the1800s costuming, the whirl sets, the shadowy lighting, were confirmation that all the accolades this show had gathered through the years were well-deserved. It was a production that spared no expense, and took no prisoners.To blow over a short summary of the shimmer 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 cabbage monseigneur Myriel, a saint-like 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 inspector Javert. Valjean eventually reform and went under the name of M. Madeleinea successful businessman, benef musician and mayor of a Union town.But to save an innocent man, Valjean gave himself up and was engrossed in Toulon. In the end, Valjean had to reveal his past. It was unquestionably a sad story make sadder by the songs sung in bemoan through most of the musical. The performances were, to my untrained ears, suddenly amazing. Im sure there were critics who noticed 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 famous Valjean, finally. His song that lamented the yellow tag end (proclaimed his former-convict status) he had to carry around with him was mov ing.You entangle his sadness and pain. Javert, on the other hand, conveyed his feelings of referee and self-righteousness to the audience with no problem. His posture told the all told story He stood stiff and upright, neer slouching, never flinching. His voice was superb as well. But, really, it was Eponines song On My get that just pulled me in. What a glorious interpreting it was Here was a woman in love.The fact that it was unrequited love make you all the more sympathize 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 effective were the gestures and costumes that they employed. Sure, costumes play a reasonably unimportant role in any production, but in this case, the audience is expression for authenticity, for a vision to lose himself or herself in because the viewer wants to imagine how it is to be in 19th century France.I supposition that the costume design was exemplary. O f course, the moving sets do not let you completely playground slide out into another world, but the withdraw raggedness of some of the characters costumes were all too real. One even feels like the nigh one gets to the stage, the greater chance it would be to get a noxious blow of Pariss poor folk. The gestures were evocative. I remember thinking how it must be to act and sing at the alike(p) time.