SUBMITTED By Peyton Webb
“Prologue” – Nick Cartell as Jean Valjean in Les Misérables. Photo: Matthew Murphy & Evan Zimmeran
While wandering through the Orpheum crowd on the opening night of Les Misérables, I stood for a moment and listened. Friends reminisced about the first time they saw the show. Parents told their children how it made them fall in love with theater decades ago.
I couldn’t help but smile at how generations connected over this timeless story of resilience. One of the most acclaimed musicals in the world, Les Miz needs no introduction. Directed by Laurence Connor and James Powell, the North American Broadway tour is in Minneapolis for a two-week run. Whether you’ve seen it a dozen times or never before, it’s more than worth a few hours of your time.
Les Miz effortlessly transports its audience to 19th century Paris, catapulting them into the most exhilarating moments of the characters’ lives. While all technical aspects were phenomenal, the light and sound design completed this transformation particularly beautifully.
Lights by Paule Constable are designed almost like film lighting, often mimicking sunbeams filtering through the air or a torch light against the night sky, while Mick Potter’s sound manages to make a dozen voices seem a thousand strong in classic chorus anthems like “Do You Hear The People Sing” and “One Day More.”
But the most impressive and immersive moment came in the big Act II battle scene. As the men fell one by one from the barricade, the sound of a gunshot rang out while beams of light flashed illuminated each fighter, almost angelically. It somehow both looked beautifully poetic and felt devastatingly real.
“On My Own” – Mya Rena Hunter as Éponine in Les Misérables. Photo: Matthew Murphy
Technical mastery, as impressive as it is, can only take a production so far before it’s up to the cast to sell it. On the whole, the company was, of course, absolutely fantastic. From the prologue to the finale, the beautiful tone and powerful strength of the ensemble was steady and always stunning.
I must admit that I was underwhelmed by Nick Cartell’s performance as our leading man, Jean Valjean. While Cartell’s voice is lovely, it lacks the richness and maturity required for the role; in iconic songs like “Who Am I,” he simply left me wanting more.
His antagonist counterpart Nick Rehberger, on the other hand, left me stunned in the role of Javert. In songs including “Stars” and “Soliloquy,” Rehberger captured Javert’s classic villainous nature.
But even his talent pales in comparison to Mya Rena Hunter, who brought an unrivaled vivacity and passion to her character, Éponine. Her entrancing belt in “On My Own” captures Éponine’s bitterness and longing despite her tough skin. Later in “A Little Fall of Rain,” that toughness melts away to reveal a young, beautiful serenade. Based on the thunderous applause after both numbers, the audience was blown away by Hunter’s raw and refreshing portrayal.
In the uncertainty following the election, there’s never been a better time for Les Misérables. Its characters, though imperfect, inspire us to wave our own flags, to fight for a better world for ourselves and those we love. Though the tale isn’t happy, it has what we need even more: hope.
(This article was written through Hennepin Arts’ Critical Review. Critical Review is a rigorous writing program that aims to develop critical thinking skills in high school students through arts journalism. Students attend and review productions through Hennepin Arts’ Broadway on Hennepin season and participate in workshops led by experts in musical theater, writing, and journalism. Critical Review is open to students at high schools throughout the Twin Cities metro, including CHS.)
