LES MISÉRABLES at the Eccles Glitters with Stars

SALT LAKE CITY — In 2024, The Eccles theatre hosted Les Misérables as part of the Broadway Across America tour. For many diehard fans who were unable to get tickets, they echoed the refrain of Fantine who sings, “But there are dreams that cannot be.” Fortunately, for those who could weather the storm and wait another year, the show once again returns for a nearly 3 week stay, and it is glorious.

More ink has been spilled about this world renowned show than there is blood in the gutters of Paris at the end of this tale’s revolution, and somehow, there are still incredible things to say about these performers, telling this story at this time.

DIRECTION

To start, I have never been so tempted to break copyright law and take photos during a production. The tableaus created from the direction of Laurence Connor and James Powell were exceptionally picturesque. Powell has been with Les Misérables since 1996 and it is crystal clear in the staging. Moment after moment had tableaus that I would pay through the ears for pictures of. He manages to make all manner of iconic moments happen in real time with individual performers as well as large ensembles.

I was particularly impressed with the huddled masses schlepping into the factor during “At the End of the Day”, and the precise snaps on downbeats that the cast offered. Powell is a master of his craft, and has infused the production with such tight focus that only someone with his level of intimate involvement with the show could offer. The pacing was crisp with a sharp 7:00pm start, and the early show’s aggressive tempo let later moments of sorrow and sacredness land with time to spare. We were out by 10:00pm and the lengthy show didn’t feel rushed or too slow.

ENSEMBLE

This performance was also another reminder of what it both looks and sounds like to have the highest level professionals doing their craft. One-line soloists in songs such as “Prologue”, “Look Down” “Turning” featured such impressive belts and operatic vibrato that any of them could have stepped vocally into leading roles. This ensemble was a reminder of the old adage that there are waiters in New York City who are greater triple threats than most of us ever come across. Exemplary ensemble work lifted the show in crucial moments and it made this show the level of production an actor dreams about being part of.

LEADING ACTORS

Even with that, the leading performances were masterful. Nick Cartell has performed as Jean Valjean more than 1300 times. He still performed with a ferocious hunger at the start that felt fresh and new. As the character aged, so his performance refined with nuance, strength, and impressive comfort in such a massive role. His opening notes singing “God on High” at the start of “Bring Him Home” were celestial, and the whole performance was exceptionally moving.

Javert was played by Nick Rehberger who struck me for all the world as Jason Isaacs playing Lucious Malfoy. His detached indifference to Valjean at the beginning showed that 24601 was just another prisoner to start with. As Javert progressed through the story, Rehberger’s performance showed excellently how the character devolved and was a controlled chaos leading up to his suicide in act 2. The continual progression of both men was exceptional and helped the story to show the passage of time.

Stellar performances from the show’s leading ladies were also exceptional. Lindsay Heather Pearce as Fantine made me stop breathing for a time during “I Dreamed A Dream.” Her solo revealed both the qualities of hopeful ingenue and a woman who has been broken in seamless transitions. She’s someone whose work I will actively seek out. So too for Mya Rena Hunter as Eponine, who shows what a life on the streets raised by the Thenardiers has tried to turn her into. She’s both brusque and stern, while also showing gentle vulnerability at key moments.

Again, it was a show where everyone was excellent. Randy Jeter understudied The Bishop of Digne and was ideal for the part. Christian Mark Gibbs as Enjolras, the revolution leader was cold during “A Little Fall of Rain” and cared only for the revolution. Jackson Parker Gill was an audience charming Gavroche, and his death was made all the more horrible by a stellar performance from Kyle Adams as Granataire whose despondency in “Drink With Me” is only lifted by Gavroche. When the boy is shot, Adams is struck, slowly lifts him and gives him a gentle shake hoping in vain for a response that will not come. It’s another heartbreaking tableau seared into my mind.

The lovers Coette (Delaney Guyer) and Marius (Jake David Smith) were hilariously awkward. I’ve never seen such fun staging for “A Heart Full of Love” as Guyer was on a smitten mission to demonstrate her love and Smith was only sure of his inability to woo such a gem. Their love was sweet and fun to watch, supported by believable responses to it from Cartell’s Valjean and Hunter’s Eponine.

So, too, for the Thenardiers. The Master of the House was played by Matt Crowle whose clowning was exceptional. He even made grim moments such as Dog Eats Dog funny by playing with the corpse of Marius as he sung his heaven blaspheming anthem. His wife was performed by Victoria Huston-Elem and she was hilariously different from him. During the number “Master of the House” while he entertains the guests, she sings to the audience and uses a bread prop to indicate how her husband has “not much there.” They were witty and joyful to watch without stealing moments which is a delight.

DESIGN

All of this stellar performance was facilitated through incredible technical design and execution. Paul Constable delivered a lighting design that used backlights and heavy shadowing to reveal the story’s grim circumstances. Actors impressively hit perfectly executed specials where the white light gave incredible contrast and, when called for, angelic silhouettes. Finn Ross and Fifty-Nine Productions did a remarkable job of giving projections that masked entrances, foreshadowed key moments, and allowed for soft focused sketches to tell vibrant stories.

Acrid smells of small explosions wafted to our seats during the battle sequence and the designs allowed for the full effect of the fight to be felt close up. So too for designs of set, costume, hair and makeup (which included some ridiculously fast turnover) props, and even a spotlight operator who nailed the moments during “I Dreamed a Dream.” The stage management team for this show was top notch and it poured into every aspect of technical execution. I was also deeply impressed by the exquisite live orchestra led by the talented Will Curry. Bravo, Bravo, Bravo.

CONCLUSION

It can be a monumental task for a company to live up to the grandest standards of decades of excellent storytelling. Les Misérables is such a cultural phenomenon, it is riffed on in other musicals and infused in many aspects of theatre. This company clears that bar with ease. Tickets may be hard to come by, but it is worth fighting for your right to a night at this pop-opera mega musical. It will fill you with hope that even the darkest night will end and the sun will rise.