“Les Misérables,” the world’s longest running musical and the latest production by the Village Theatre, is a story that can be and has been presented in a number of ways. It has been produced as a realistic historical narrative — sensible, as the story is set against the backdrop of the June Rebellion against the Orléanist French monarchy. It has been presented minimally, foregoing sets or in front of the orchestra in productions that placed emphasis on the stirring score by Claude-Michel Schönberg.
But musical theater, more than any other stage endeavor, is about the subjective emotional truth of the story. It’s a sentiment clearly understood by director Steve Tomkins, whose production often feels like a fevered and surreal dream given form by stunning set design and propelled forward by a talented cast.
The story follows 17 years in the life of convicted thief and escapee Jean Valjean (played by Greg Stone), beginning with his parole from Bagne prison. Faced with discrimination for his criminal past, Valjean is given a gift from a charitable bishop (John Dewar) allowing him to finance a new life “as an honest man.” He becomes Monsieur Madeleine, wealthy industrialist and mayor of Montreuil-su-Meir. When the cruel Inspector Javert (Eric Polani Jensen) brings the wrong man to trial for Valjean’s parole violation, he reveals himself to the court.
Valjean takes flight once more, for Paris, along the way adopting Cosette (Victoria Ames Smith and Alexandra Zorn), the daughter of a deceased woman once under his care. The two live happily until the eve of a student rebellion against the government, and Valjean chooses to risk life and freedom to save the life of Marius (Matthew Kacurgis), a young revolutionary in love with Cosette.
The cast of Les Mis has nary a weak link to be found. In a preview interview with the Reporter, Tomkins praised the vocal range of Stone, a veteran to the role of Valjean from Broadway and touring productions. He did not disappoint, delivering bellows and whispers alike with supreme control and gravitas.
Kirsten deLohr Helland’s adult Eponine (played as a child by Ilsa Weigel) likewise proves deft at carrying the emotion of her songs. Her contribution to trio “A Heart Full of Love” and Act II solo “On My Own” drip with the muted sorrow of unrequited love.
But Nick DeSantis and Kate Jaeger stole the show as the raunchy comic relief characters Monsieur and Madame Thenardier — con artists, thieves and all-around low lives. Jaeger makes a delightfully boisterous entrance as the domineering and vulgar matron of her inn. DeSantis’s turn as a society-blaming ne’er-do-well is reminiscent of a younger Tim Curry.
The actors carry the show on their own merit, but their characters’ burdens — be they poverty, duty or secrecy — are illustrated in precariously leaning set facades, the first of two key components in the sets’ drama. Their rolling construction allows the claustrophobia of the sets to heighten and ease as required by the events unfolding.
The second, a rotating stage floor, is nothing new to Les Mis, but it is worth noting its skillful use at the Village Theatre. In the prologue, Valjean is swept from location to location as he searches for relief. Rather than attempt ambitious scene changes mid-song, characters and places float to and from the protagonist with the ephemerality of a mirage. Later, the rotations are used to give attention to events that occur on both sides of divisive set pieces, such as Valjean’s gate in “A Heart Full of Love,” and the rebels’ barricade in “The Second Attack.”
So though the path of Les Mis is well-trod, Village Theatre’s venture is more than worthwhile, and should be seen by show veterans and the uninitiated alike.
The show will run through Jan. 5. Admission ranges from $28 to $63, depending on age and showing. More information is available at 425-392-2202. Village Theatre is located at 303 Front Street North, Issaquah.
