For all the times that I’ve seen and have become absorbed in the mythic narrative and provocative themes of “Les Misérables,” I’ve always felt that the symbolic barricade –where lives of actors intersect and intervene – was a key character and force that helped define the Victor Hugo story.
In Diamond Head Theatre’s mostly brilliant staging of “Les Miz,” the world’s most popular love story unfolds — with words and music by Alain Boublil and Claude Michel Schonberg — and retains the power and potency of a wartime epic that combines the compelling story of political idealism, redemption, sacrifice, social injustice, romance and death.
The centrifugal force is that blessed barricade, a hallmark of all “Les Miz” productions, because a lot happens on, in, and around the life-changing epicenter of the battles.
But DHT’s barricade is somewhat underwhelming in this production; set designer Willie Sabel’s creation comprises sectors of stairs and portals seen throughout the set movements, with a few add-on household “debris,” but the structure lacks evidence of throw-away junk and scars of a battle. Shouldn’t the barricade reflect pockmarks from wayward war bullets, broken or burnt pieces of lumber, and other elements of a structure that has earned its battle stripes?
The barricade is where Gavroche (Maliona Na’aauoa, a she, did the role at the performance I attended, but she alternates with Philex Kepa), risks limbs and life, climbing down the enemy side of the barricade, to gather unfired ammo to toss to the soldiers – and where Gavroche is shot.
Further, Eponine (Ainsley Shearer) takes a bullet at the barricade too, the first victim of the battle.
Of course, Valjean delivers his show-stopping “Bring Him Home” in the shadows of the barricade when the students rest amid the comfort of the barricade, and that moment is a key demonstration of the magnetism running through the corridors.
The unexpected fall of the revolutionary soldier Enjolras (Mike Broud) and the sacrificial demise of Eponine (Ainsley Shearer) suggest that the barricade also is an unintended showcase of political martyrdom.
Director-choreographer Doug Kreeger has gathered a splendid circle of actors including the likes of Fedorov, making his DHT debut in the pinnacle role that requires strength and passion, and the sweet voice demonstrated in “Bring Him Home” is the “pièce de resistance’’ in the soundtrack.
Ver, the second lead character who, as, Javert also projects a remarkably compelling voice; he shares a gentle side, too, demonstrated by his luminous strength in that vocally glowing “Stars.”
Kreeger, as director and choreographer, is a honcho not only for vocal/acting but dance/movement. He also embraces the politics of the era with the prevailing climate of today, where conflict and compassion may exist in a nook or a huddle.
The key “dance” element of “Les Miz” is the contagious “Do You Hear the People Sing” midway in the show, when all props and scenery are removed for the unifying dance of humanity. Emotionally, you just don’t hear the people sing, but feel ‘em, too.
Along the way, “Les Miz” is a jewel showcase of precious musical gems. As Fantine, Mehana Stone’s “I Dreamed a Dream” is fueled by a mood of painful desperation and expiration.
In a show that boasts so many signature tunes, add “On My Own,” Eponine’s moment of glory to the list, and she virtually is on her own in her sweet stage solo.
As the adult Cosette, Lainey Hicks is blessed with a pair of evocative and delicate love tunes, “In My Life” and “A Heart Full of Love.”
Little Cosette (Mazzy Meers, in the show I saw, alternating with Madison Abe-Rivera), performs “Castle on a Cloud” with aplomb.
Then there are the Thenardiers; Lelea‘e “Buffy” Kahalepuna–Wong as Madame is an astounding burst of hilarity and energy, and when coupled with Presley A. Wheeler as Thenardier, he completes a two-member circus of wild and whimsical non-stop laughs and lunacy. Don’t know if you caught it, but he tossed in a naughty spiel in the show I saw, but there’s nothing offensive about the bond and nonsense the Thenardiers share and deliver. They sing, they prance, they steal the show.
The technical crew delivers the goods, and happily, DHT’s turntable stage gets steady usage throughout the show. It’s an effective decision, too, to stationing the 14 piece orchestra conducted by Jenny Shiroma, on stage; its tiny lights often add a sense of starry night twinkles in nocturnal moments.
Kudos, too, to Chris Gouveia (lighting design), Jericho Sombrio (sound design), Emily Lane (costume design), Aiko Shick (hair and makeup design), Kyle Conner (props design), and Jasmine Haley Anderson (fight choreography and intimacy coordinator).
One final niggling point: The red flag utilized in the student/soldier marches and rallies is bit tiny, lacking impact. Methinks the flag should be double or triple its size, to elevate the esprit of the rallies…
And that’s Show Biz…
“Les Misérables”
What: a musical by Alain Boublil and Claude-Michel Schonberg, based on the wartime novel by Victor Hugo
Where: Diamond Head Theatre
When: Remaining performances on these dates: Aug. 5, 6, 7, 8, 9, 13, 14 15, 16. 20,, 21, 22 and 23.
Tickets: The run is sold out, but for possible cancellations and availability, go to www.diamondheadtheatre.com or call (808) 733-0274