There you can stop reading now. There’s not much else to say about this new touring production of Boubil & Schonberg’s classic tale of redemption and rebellion in 19th Century France, some 50 years after the beginning of the French revolution.
If you’re one of the lucky ones to have tickets, then you’re in for an absolute treat. If you haven’t then you need to be quick and very, very lucky as the tour is selling out fast and for very good reason.
Opening at Curve before touring the UK, as you would expect of a Cameron Mackintosh production no expense has been spared, no expertise has been unsought and no talent has been wasted in the retelling of this epic show which, despite it’s almost three hours running time, is still utterly engaging. Laurence Connor and James Powell’s experienced direction keeps things on pace whilst giving the audience chance to catch their breath as they revel in the beauty and ingenuity of Matt Kinley’s marvelous sets. All of which strike the right balance between technical wizardry and old school theatre staging (wait till you see what happens to the despicable Javert- breathtaking!).
Photo by Michael Le Poer Trench. Copyright CML
The Thenardier’s comical interludes are a thing of absolute joy– played with obvious delight by Sophie Louise Dann and Martin Ball- and are much needed by a moist eyed audience after heartbreaking performances from Bronwen Hanson as Cosette, Tegan Bannister as Eponine and of course Killian Donnelly as Jean Valjean who owns the stage from start to finish.
It’s Harry App’s emotional performance of Empty Chairs and Empty Tables, staged with beautiful simplicity, that highlights the star of the show though, that wonderful score written almost forty years ago. Perfection.
