Director Doug Kreeger delivers a stunning rendition of the 1832 June Rebellion, with Richard Bermudez shining as the charismatic protagonist of a timeless story.
There is a hint of change in the air, stemming from the hope of progress and reform. Paris 1832. A call for social justice taking shape. Hunger, poverty, and the rejection of the monarchy. Fertile grounds for a rebellion. After 19 years of imprisonment, Jean Valjean (Richard Bermudez) is ready to start a new life, but he finds rejection and more struggles. Enter his savior, Bishop of Digne (Richard B. Rosales), who takes him under his wing and helps him get on his feet. There is also love in the story. Unconditional love, unrequited love, romantic love. Fantine (Emma Hunton) succumbs to despair, but before she dies, Valjean promises to take care of her daughter Cosette (Danica Coscino/Jena Allen) and rescue her from the abusive couple who are paid to raise her. A young revolutionary named Marius (Jefflorenz Garrido) falls for Cosette, but his life is in danger as the rebellion intensifies. As France falls into turmoil, who will win, who will pay the price?
Right from the beginning, the musical number “At the End of the Day” feels as grandiose as the stage itself. The sound reverberates in the Kavli Theatre as a prelude of the magic that is about to take over the ample space. The main voices are tenor Richard Bermudez, basso profundo Payton Crim, as Javert—amazing in “Stars”, soprano Jena Allen, and tenor Jefflorenz Garrido. Not only can these thespians sing, they’re also magnificent actors who can interpret a wide range of emotions to bring the characters alive. Much of the weight leans on Bermudez, a commanding presence who infuses his character with rich vocal and acting tonalities. He also did a memorable performance as Gleb Vaganov in Anastasia at La Mirada Theatre earlier this year ANASTASIA . One of his many abilities, fully displayed in Les Misérables, is to involve the audience in his raw emotions, creating that biological resonance between the stage and the seats. His interpretation of “Bring Him Home” is profound.
The supporting characters are pivotal to add color and spice. Emma Hunton, a staple in the local burlesque and musicals circuit, delivers a fantastic Fantine. She displays vulnerability and despair, but also a soothing transition for Valjean during resolution. One of the elements that add greatness to this play is the comedy. Francesca Barletta and Joey Richter as Madame Thenardier and Thenardier respectively, are la crème de la crème when it comes to sharp dialogue and physical comedy. Their rendition of “Master of the House” is one for the ages. Their characterization with the costumes and makeup is absurd and quirky; a dissonant force that adds charm and humor to balance out the grim tone of the story.
The costumes, an expression of the Romantic Era, show the contrast between the upper and lower classes. Bonnets and aprons are accurate representations of the daily garments used by the working class. The dresses worn by Cosette reflect the romanticism permeating art, music, and poetry during this era. The dresses were the personification of the Romantic medieval heroine. But the fashion in Les Misérables is also a motif of the Romantic Movement that inspired the political idealism, the yearning of freedom and rebellion, concepts that lead to the fight for social justice. On that note, look at Valjean’s costume colors when he joins the fighters: Red, blue, and white, the same symbolism in Eugène Delacroix’s painting Liberty Leading the People, the addition of the tricolors to protest against the plain white color representing the monarchy.
Another subtle symbol is the barricade at the end of the play. It’s in the form of a pyramid. A base of despair, with suffering victims, and a peak of hope, with the waving red flag, a symbol of revolution and freedom. It’s an excellent composition with a powerful meaning.
One can imagine the intensity of the preproduction to bring alive the world of Les Misérables. Director Doug Kreeger, who also directed a fascinating version of Guys & Dolls Guys and Dolls at the fondly-remembered Altadena Music Theatre, builds a magical universe where the core themes of the play are masterfully displayed to grab the audience’s attention. The tridimensionality achieved here is kinetic and alluring. Together with the virtuosity of Anthony Lucca as the Music Director and the rich sound design by Jonathan A. Burke, the play becomes an explosion of music and movement that comes at you full speed, faster than the sound of guilt. It’s a short run, so make sure to catch it before it’s gone.
Les Misérables has been translated into more than 20 languages and performed in over forty countries. With this staging of Les Misérables, 5 Star Theatricals has put together one of the best productions of the year. It’s a short run, so make sure to catch it before it’s gone. It’s a gem.
LES MISÉRABLES
2100 Thousand Oaks Blvd.
Thousand Oaks, CA 91362
Tickets: 5startheatricals.com
Concept, Book & Original French Lyrics by Alain Boubil. Book & Music Claude-Michel Schönberg. Lyrics by Herbert Kretzmer. Based on the Novel by Victor Hugo. Musical Direction by Anthony Lucca. Direction & Musical Staging by Doug Kreeger.
Cast: Richard Bermudez as “Jean Valjean,” Peyton Crim as “Javert,” Emma Hunton as “Fantine,” Maile Masako Brady as “Eponine,” Joey Richter as “Thenardier,” Francesca Barletta as “Madame Thenardier,” Jena Allen as “Cosette,” Jefflorenz Garrido as “Marius,” Julian Comeau as “Enjolras,” Santiago Rodriguez as “Gavroche,” Danica Coscino as “Young Cosette,” Brodie Clevenger as “Young Eponine,” and Richard B. Rosales as “The Bishop of Digne.”
Creative team: Lighting Design by Brandon Baruch; Sound Design by Jonathan A. Burke; Costume Coordination by Gale Garon; Hair/Wig Design by Luis Martinez; Prop Design by Alex Choate.
