Theater Review: Beef and Boards Les Miserables

I do not think it is out of line to say Les Miserables has been the most anticipated production on the Beef and Boards Dinner Theatre's 2013 lineup. Some hoping it would be great, others certain it would not be.

"How possibly," the naysayers whispered, "could a small stage be used in such an epic production?" "Where will they find the talent to back up the vocal needs of this beloved tale?"

Well, I am here to state they pulled it off and not by a small margin.

Bringing in no fewer than four Broadway performers, a television actress and touring performers, the Indianapolis theater left nothing to chance for the Victor Hugo tale.

Starring as the ex-convict who breaks parole, Jean Valjean, is Gregg Goodbrod. The Broadway performer set the standard at a peak with his weary, disillusioned-with-life, thief-turned-philanthropist Valjean. From the onset with the prison scene to the ending on his deathbed, Goodbrod brings it ~ whether in the tenderest of moments, during the anguish of loneliness or when strength was needed ~ he brings it every time. His vocal talent is best demonstrated in, well, pretty much every single song, but Who am I brought the audience to rapt attention.

Anyone who has ever had the pleasure of watching Sarah Hund in action knows her instrumental, vocal and comedic talents are without bounds. Watching her portray Fantine, the single mother cast aside who turns to self-degradation for money in order to save her daughter, and perform I Dreamed a Dream, is mesmerizing.

To review the television and stage actress in a dramatic role is beyond satisfying ~ it's pure bliss. A complete talent and more than a triple threat, Hund is a chameleon, evolving into each character ~ siren, goofball, nerd, ditz, sophisticate and, now, courageous street prostitute ~ with an ease that is bewitching.

Bringing comedic relief, in a huge way, are Annie Edgerton and Doug Stark as Innkepers M & Mme. Thenardier. Picking pockets, slinging bad brew and pulling every dirty trick possible are all on the resume of this loathsome ~ yet laughable ~ pair.
Javert, the holier-than-thou police inspector who tracks Valjean with a vengeance. is portrayed impeccably by Joe Tokarz. Tokarz' version of Javert's suicide is seamless, as are his vocals throughout.

There is not enough room, unfortunately, to mention every cast member, although they each truly deserve a mention.

My prediction is B&B will need to add performances for this production.
The reason?
The cast. It is as strong, polished and interwoven as it can possibly get outside of the lights of Broadway.

Bottom Line: If you have wondered about Beef and Boards' version of Les Miz, or you've not been in a long while, or ever ~ let me reassure you. This is the strongest cast and most polished performance I have seen at this venue in the seven years I have reviewed the Indianapolis theater scene.

Images: JulieCurryPhotography.com

Elizabeth J. Musgrave is a syndicated fine-living, travel columnist, freelance writer and photographer, and performing arts and restaurant critic for Gotta Go. Read Infused, her spirits, wine & beer lifestyle column, at www.GottaGo.us and www.FoodDigital.com and catch her as Indy’s Personal Lifestyle Adviser on Indy Style, WISH8 (CBS). Gotta Go is published on www.Gottago.us, www.BroadwayWorld.com, and in print. Follow her on Twitter @GottaGo, LinkedIn and Facebook.

Movie Review: Les Miserables Perfection in its Imperfections

With an epic tale carrying a built-in audience- (and critic-) base of 60+ million, Les Miserables is an epic-size gamble. A gamble that has obviously paid off already according to the dollar followers. Is it Oscar-caliber? Certainly director Tom Hooper (The King's Speech) has got the chatterboxes going...

And the actors?

So often, particularly in movies with fun-to-love-or-hate side characters, there is a runaway, steal-the-film actor or actors. Case in point: Inglorious Basterds (See review here) when a supporting role's actor took the audience's adoration (and Oscar) away from the golden boy of Hollywood. No surprise runaway in this film. The casting, with the exception of Russell Crowe, is chosen well.

Who to watch for award wins? Anne Hathaway, Hugh Jackman and Helena Bonham-Carter, along with Hooper and the picture itself, and the costume and set crews. Perhaps Sacha Baron Cohen, but I would be surprised if Crowe carries off a trophy for this one. Throughout the musical number, of which is the majority of Javert's onscreen time, Crowe seems uncomfortable with singing.

Hooper's non glitzy style has served him well in what could have been an over-polished caricature of the Victor Hugo work. When the 1862 book came out, there was a definite look at the gritty underbelly of the French culture. To have prettied it up for the film would have been morally wrong.

Hooper maximizes the grime and suffering to bring the viewer into the horrific happenstance of Jean Valjean (Jackman) a prisoner for stealing bread to feed his family. Upon serving the 19 years in a prison no one would ever want to behold, Valjean turns his life around, becoming a changed man (along with a changed name) creating a successful life. Unfortunately, he breaks parole in doing so and now is ever watchful for the by-the-book guard-turned Inspector Javert (Crowe)

Jackman's stage background prepares him well for this musical, showcasing his talents of live performances blending well with his movie background. Seamless and believable, we suffer along with Valjean as he trembles in the cold, fears of recapture and feels remorse for his part in the downfall of Fantine (Hathaway).

Fantine's illegitimate, secret child, Cosette, (Amanda Seyfried), is disclosed forcing the penniless and homeless mother to live in the gutters of French society. Selling her hair, teeth and body for money to pay for her daughter's caretakers, Hathaway's remarkable, "I Dreamed a Dream" brought down the house, and brought out the tissues. The closeup of Fantine's face as she weeps her way through the song shares her inner loss of innocence and tortured soul.

When Valjean reaches her deathbed, Fantine dies knowing he will find Cosette, and raise the child as his own, away from the prostitution and degrading circumstances which caused her own early death.

Apart from his labored singing, Crowe is perfect as the unrelenting tracker, Javert's full fury and wrath creating sparks (and spittle) during his musical numbers. Crowe's acting ability is brought to a new level matching against Jackman.
One of the best decisions by Hooper ~ which brings this entire piece of work to the very core of the audience ~ is to have the actors sing live rather than lip sync and dub in later. The performers are much more believable with their voices taxed by the cold, emotions of the moment and the missing safety net, proving reality cannot be faked.

I cannot fathom anyone who could have lightened the mood more than Bonham-Carter with Cohen for the caretakers' scenes. She and Cohen as the scruffy, immoral innkeepers, Thenardiers, bring the audience to tears with laughter, as much as Fantine's meltdown brought the audience to tears with pity.
"Master of the House" is a raucous, filthy good time which describes the couple as the worthless lot they truly are with a tongue-in-cheek romp of a tune.

Between the close ups, the live singing, the plot and the quality of performers used, Hooper has proven once again that there is more than one way to win an Oscar.

Bottom Line: The imperfections are exactly what makes Tom Hooper's "Les Miserables" absolutely perfect.

Images provided by image.net

Elizabeth J. Musgrave is a syndicated fine-living, travel columnist, freelance writer and photographer, and performing arts and restaurant critic for Gotta Go. Read Infused, her spirits, wine & beer lifestyle column, at GottaGo.us and FoodDigital.com and catch her as Indy’s Entertainment Adviser on 93 WIBC. Gotta Go is published on www.Gottago.us, www.BroadwayWorld.com, an in print. Follow her on Twitter @GottaGo, LinkedIn and Facebook.