Les Misérables - 25th Anniversary in Concert (2010)

Overrated

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

It is both painfully honest and laugh-out-loud funny at the same time.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

I'm not sure I can think of a more excellent performance. Every emotion I can think of was elicited by the cast. WOW! Alfie Boe was extraordinary and showed vocal range and acting ability-dare I say humility? Norm Lewis was so near his equal in both acting and singing ability. Lea Salonga shows that she can act as well as she sings and that her voice stands the test of time. What can I say about Ramin Karimloo? Vocals, acting, stage presence and so much more. I particularly liked the casting of Matt Lucas to show the comedic side to this production and Jenny Galloway was next to superb.Heck, the whole ensemble is all so mentionable, Samantha Barks brings so much wonder to her tragic role of Eponine. This production reminded me of a line from a movie about opera, "You either love it or hate it." Well, I love "Les Miserables" and anyone who is connected with the productions through the years-is blessed. We have Victor Hugo to thank for the wonderful novel he wrote, 2 Frenchmen for adapting it and Cameron MacKintosh for bringing it all together.

I saw this concert on KERA and it was breathtaking. And, not that Nick Jonas needs any help from me, but I think his work here is underrated. For the record I'm not a Jonas Brothers fan. I don't like or dislike them. I only know of their name. I couldn't name one song they've ever performed if you offered me a million dollars. And I don't know if Nick is the short one, the cute one, the fat one, the sexy one, the smart one, the bad boy, etc. BUT, I thought his rendition of "Empty Chairs at Empty Tables" was haunting and very effective. There were plenty of vocal chops in this concert. His didn't need to be one more. When Marius Pontmercy sings "Empty Chairs at Empty Tables" he is a BOY who has survived war and is racked with survivors guilt His mind is stained with blood and death. Young death. Nick Jonas sings this song with a youth and frailty that fits perfectly with who the character is and the horrors he can't forget. When I read a couple of the less than glowing reviews of his performance I found them at odds with the justice I thought he did for the song. So, I went to Youtube and checked out a few others, and yes, there are much bigger voices doing this piece. Some of them I thought to be very affected and over-sung. I thought Nick Jonas struck a good balance between the vocal demands of the piece and dramatic necessities of a young man forever scarred by death and war. It was very moving and the heavy lifting was done just fine later by Jean ValJean. The contrast was stark and proper. Worked for me!

I had mixed feelings about this rendition, but after much thought, I think my opinion is rather favorable. Alfie Boe was definitely a strong point, and is definitely a rival to Colm Wilkinson in fitting the roll. Norm Lewis is also very good, though when compared to the 10th anniversary version, I'd have to place him below Philip Quast in his solo songs (Stars and Javert's Suicide), but otherwise, he is much better, especially in The Confrontation, and he did incredibly well in Javert's Intervention.Jenny Galloway really is the only person I've ever seen do Mme. Thenardier as well as she does, so I'm glad they brought her back. Matt Lucas does very well as Thenardier, though I prefer Alun Armstrong for Dog eat Dog, since he seems much more slimy and sociopathic. Also, though Matt brings a better personality to the role, Alun more looks the part.I have never really liked the Marius-Cosette-Eponine characters, in any of the times I've seen them in the musical or in the book, though I think this does better for Eponine, as this is the first time I've actually felt anything for her other than contempt. Not much to say about Cosette. She's as boring as ever, and for that I blame Victor Hugo, for making her character just so boring. Katie Hall did well in the role, but for me, it's still not enough. Nick Jonas was pretty awful in the role. I'm not going to say anything like "I hate Nick Jonas" "He's a terrible singer" or anything like that, since I just don't really care enough about him to see what else he's done, and see is he is any better, but I do think the role was wrong for him. He doesn't harmonize with any parts he is traditionally supposed to, and he is about as stiff as cardboard, but that also may be the character of Marius in general.On to L'Amis de ABC: I don't understand the reason everyone seems to love Ramin Karimloo as Enjolras. To me, his voice didn't seem to evoke the idealism, passion and god-like strength of personality that defines his character. His voice seemed much more human and more romantic than that. In the 10th anniversary version, when ever he started his part, it felt like a call to arms, whereas here, he doesn't have nearly the charisma for that. Grantaire here was alright, though he's not all that memorable. The rest of L'Amis are decent too, but non-distinct. I don't really count Gavroche as one of L'Amis, though I know other people sometimes do, and I will include him in this paragraph: I really liked the portrayal of Gavroche in this one; The only thing that would have made it better would be Ten Little Bullets. I don't understand why they never use that song. It's not a very good song, but it is much better for the story.But the thing that I think really sold this for me was the story. The story of Les Miserables is really incredible, and there's a thing to be said about having such a multi-faceted story work in a musical, like this. The changes they make from the 10th anniversary version are for the better, be they adding songs (the Robbery/Javert's Intervention) or fixing up lines (ie making Marius the one who asks who the "swells who run" the slums are, rather than Enjolras, since Enjolras is supposed to be leading the revolution). Most of my mixed feelings were in comparing it to the 10th anniversary version, but in a vacuum, it's well worth the 8 I gave it.

I have avoided Les Mis over the years, under the impression that it held nothing which would appeal to me. I noticed that this 25th anniversary concert presentation was being broadcast live from the O2 to our local cinema and, knowing that my wife was a big fan, I booked tickets. I got into trouble for various reasons: a) why are you wasting money on that, b) you know I like the show, not a concert performance, c) I get a headache at the cinema.... boy, these women can give you a hard time, can't they? I was blown away. With the exception of Nick Jonas' thin, weedy, nasal Marius, I thought all the performers were first rate. But I have to single out Samantha Barks' heart-breaking Eponine, Matt Lucas' assured, hilarious, and wholly unexpected Thenardier, and Alfie Boe's astonishing Valjean. The ovation at the end of Bring Him Home has been cut down for the DVD: it went on so long during the live performance that he finally had to break character to smile and acknowledge it. I am pleased to say that I have now seen him on stage as Valjean, and it is every bit as hair-raising live in the show.This is a remarkable record of a remarkable event.