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Seattle, Washington

"Les Miz' Still Holds Charm For Theatergoers " 

by Janet I-Chin Tu

    The local boy definitely makes good.

    Seattle native Gregory Calvin Stone, starring as Jean Valjean in the national touring company of "Les Miserables," gives a stirring performance in this musical version of Victor Hugo's novel of 19th-century France.

    As the fugitive Valjean, pursued over the years by a relentless inspector, Stone is, by turns strident and angry tender and remorseful.  Although one could hope for a bit more inner turmoil in the performance (his Valjean seems to be at peace with himself a little to soon), Stone is convincing as a man who is at first bitter, then later most honorable.

    Stone has a strong clear voice that, on songs such as "who Am I?" booms and commands.  Even more impressive is his singing in more tender songs, when his soft, warm voice wraps the air like a down blanket.

    It is a shame that he is not matched in presence by Todd Alan Johnson as Valjean's nemesis, Inspector Javert.  Johnson's performance is sturdy and his singing voice booming (a seeming requirement for the score) but we never get a real feel for what motivates Javert to pursue a former petty thief  for 17 years.  

    The supporting cast is solid, with Rich Affannato and Kate Fisher singing sweetly as, respectively, student revolutionary Marius and his love interest, Cosette, Valjean's adopted daughter.  Brian Herriott is spirited and rousing as Enjolras, leader of the student revolution.  And Rona Figueroa's crystal clear voice lends spunk and poignancy to the role of street urchin Eponine, full of unrequited love for Marius.

    But as Fantine, Cosette's mother who dies young, Lisa Capp's voice lacks fullness and strength, sounding strained on certain numbers, and, at times, overwhelmed by the pit orchestra.  

    The crowd-pleasing, comic relief Thenardiers (played with relish by Tregoney Shepard and J.P. Dougherty) are delightfully funny but always seem as if they're dropping in from another play to do their shtick.

    the show is, in essence, a musical Cliff's Notes version of Hugo's novel, with years whizzing by in the space of seconds, and character development often taking a back seat to the awesome stagecraft.

    And such staging! Scene changes are made seamlessly and in seconds: The huge on-stage turntable is used for everything from a drowning scene to showing the audience both sides of a barricade battle scene, and the Paris sewer system is evoked with but a few lights, smoke, and the sound of dripping water.  

    The songs are, as ever, alternately rousing ("Do You Hear The People Sing?"), touching ("Bring Him Home") and tedious (when too many of the songs start sounding alarmingly alike).

   But, of course, after more than 10 years and thousands of performances seen by more than 40 million people worldwide, "Les Miz" is as critic-proof a show as there is.  It's got a formula that obviously works, as it did for the opening-night audience yesterday, which gave the show a standing ovation.

   This "Miz" is a sturdy, though not stellar, production, that has many things going for it, not least of which is the performance of its leading man.  

Hershey, Pennsylvania

"Standout Cast Keeps 'Les Miz' Appealing"                

by Sharon Johnson

    What's more satisfying that seeing an understudy go on in a major role and win a standing ovation?  Knowing that he deserves it.

    That was certainly the case when the national company of "Les Miserables" returned to Hershey Theatre for a third sold-out engagement this week.

    Gregory Calvin Stone stepped in for the vacationing Rob Evan in the demanding role of Jean Valjean.  (He and Kirk Davidson will alternate in the role during the weeklong engagement.)  Though obviously young for the role of a man who has spent 19 years on a chain gang and 10 more on the run, Stone played the role with assurance, admirable polish and a few touches of his own.  (The role was beautifully sung, but Stone's "Bring Him Home" was more challenge to God than ardent prayer.)

    It's tempting to call Stone a standout.  But the truth is that almost every performer in this gifted ensemble gets an opportunity to stand out in this 10 year-old musical wonder that still looks remarkably fresh.

    Performers come and go in the "Les Miz" international family.  Like David Jordan, who was a remarkably fine Inspector Javert with the first "Les Miz" company to visit Hershey.  Returning to the role after touring with "Blood Brother," Jordan seems to have gained an even greater understanding of the man destroyed by his passion for justice.  And has Javert's final soliloquy ever been more movingly performed?

    Lisa Capp's, who has played the other major female roles in the company, is the tragic Fantine.  Dawn Younker's poignant Eponine, Brian Herriott's un-yielding rebel Enjolras, Tregoney Shepard and J.P. Dougherty's grasping Thenardiers and Rich Affannato and Kate Fisher's young lovers are all the performances that are worthy of a Broadway showcase.

    Fortunate, since the national company is Broadway bound.  At the beginning of the year, the troupe will take over from the current New York cast until the 10th anniversary "les Miserables" production is unveiled in March.  

    Recent news reports about "Les Miserables" have focused on labor disputes in the Broadway company and the difficulties of keeping a long-running success fresh and appealing to both longtime fans of the show and new members of the audience.

   There may be no formula for keeping a musical in mint condition, but whoever has been responsible for keeping an eye on this company deserves a bonus.

   Each member of the cast performs as if the role had been tailored for the actor and were being performed for the first time.  You expect the major solos and ensemble pieces to sound wonderful, but the women's chorus in "Turning?"

   I suspect that those who were wise enough to get their tickets in advance will be thrilled by the quality of the performance.  When the audience members leap to their feet to cheer this company, it's not because they've been sitting for 3 1/4 hours.  They're just paying tribute to one of the great theatrical experiences of our time.  "Les Miz," it seems, just can't miss.

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