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Maggiemags

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  1. Les Mis reports - Manchester

    in Miscellaneous Archives

    Posted

    Obviously it's 'report' (singular) at the moment, but this thread will, no doubt, grow over the coming weeks!

    Anyway - HUGE thanks to Jenjo for taking the time to text at the interval:

    Absolutely fantastic. Everything is wonderful and Gareth is just fabulous. Running out of superlatives!

    As if we expected anything else! :wink: :frantics: :hyper: :heart:

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  5. Broadway to Westend - the reports

    in Miscellaneous Archives

    Posted

    FINALLY! I've found the lead to upload pics from my camera. So here they are - not great, and all much of a muchness - apologies. I didn't dare get my camera out until after I'd recorded his vocals just in case it got confiscated and Snowdrop's recordings didn't work, so they're all of the ensemble at the end, but still . . . they've got 'him' in them :wink: :D

    post-7-1263742833.jpg

    post-7-1263742846.jpg

    post-7-1263742860.jpg

    post-7-1263742879.jpg

    post-7-1263742895.jpg

    As you can see, he's right at the centre of the stage (appropriately :wink: ), next to the guest of honour. Stiles and Drewe, by the way, are the two chaps standing next to the lady on Gareth's left. :)

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  11. General Les Mis feedback from out there [Cardiff]

    in Miscellaneous Archives

    Posted

    A truly masterly piece of theatre art from here, the theatre dance and drama in Wales website:

    The powerful brass instruments accompanied by furious drum beats flood the Donald Gordon auditorium. Soon they are joined by the romance of the strings and then with all the orchestra that unique high dissonance of Schönberg’s music (whose presence at the curtain call was greatly appreciated) has us sitting upright and the hairs on the back of our necks tingling. Musical director Michael England, like everyone involved in this production, is a master of his art. As too is his chief sound man Mick Potter. They drive the music to always be all around us but the balance between the playing and the singing is always perfectly maintained.

    And what marvellous signing voices, like the music penetrating our very being. Our senses are, as they continue to be throughout out the next three hours, excited by the manly full voices of the chorus, here as prisoners, beaten as the pull hard on the oars in the stinking bows of a ship set against a sweeping background, a work of fine art influenced by the drawings of original author Victor Hugo himself. Many more scenes follow with outstanding Impressionist backgrounds. Matt Kinley’s set design, involving the use of projection achieves an amazing atmosphere late in the play where we see Valjean dragging Marius’ lifeless body through the sewers of Paris. Quite early on it is clear that this is both a musical and visual masterpiece.

    John Owen-Jones’ Jean Valjean is a powerful and beautiful man with a powerful and beautiful voice and whilst he and the company may not have brought sufficient heart and real feeling to a few of the earlier numbers, this did flourish and deepen as the story unfolded. His final solo ‘Bring Him Home’ was utterly penetrating and masterly. Trevor Nunn’s and John Caird’s original direction have been recreated for this 25th anniversary production, exquisitely by Laurence Connor and James Powell. With Owen-Jones at the helm they drive the story along at an

    overwhelming pace. Like good chocolate and champagne the production is overwhelming in the joy it gives us.

    The lack of humanity shown by some of the characters in this dark tale darkens that joy with our sympathy and emotion. Valjean is released from prison after nineteen years for stealing bread to feed a dying child. But he is let back into the world as a marked man. His captor, Javert is determined to return him back into captivity. Valjean, using a false name survives a new life. He runs a factory and is Mayor of his town. His own great strength gives him away, he is observed by Javert rescuing a man from beneath a fallen cart. Valjean is a man of great understanding and spirit, Javert is the other side of the coin. Earl Carpenter gives a commanding performance in the role, alone at the centre of the stage he, again fills the auditorium with his strong singing voice always managing to humanise his badness without falling into melodrama. Though there is a touch of controlled melodrama over the whole of the proceedings.

    The amazing sensitivity of Rosalind James as Eponine was itself worth the price of the ticket. An extraordinary simple, believable and completely captivating creature that made our hearts bleed. Two more beautiful and gentle performances with clear and moving singing voices came from Katie Hall as Cosette and Madalena Alberto as Fantine There were charming and endearing performances from the children playing the girls’ younger selves and some great self possession from a very fine young Gavroche. The strength of the playing of student rebels Jon Robyns as the fervent leader and the elegant and determined Marius from Gareth Gates confirmed the life and dynamism of the production.

    The gloom and beauty was not without its lighter moments and the great bosom of Lynne Wilmot made an important contribution to her highly amusing portrayal of Madame Thênardier in contrast with her skinny grabbing husband, an hilarious trickster from Ashley Artus . All this against so many wonderful stage pictures lit by yet again another master of his art, lighting designer Paule Constable. A truly masterly piece of theatre art.

    Reviewed by: Michael Kelligan

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  14. General Les Mis feedback from out there [Cardiff]

    in Miscellaneous Archives

    Posted

    No mention of Gareth, or even Marius :sad: , but I thought a five-star review from The Times was still worth posting. From here by Benedict Nightingale.

    This touring Les Mis is and isn’t the show that, 24 years after it opened, is still playing in London. I Dreamed a Dream, the song that has elevated Susan Boyle from a Scots loner to the world’s best friend, is to be heard, as is the rest of Claude-Michel Schönberg’s often soaring, sometimes sardonic music. Alain Boublil and Herbert Kretzmer’s adaptation of Victor Hugo’s novel remains intact. But the creative team was asked to re-imagine the show and has done so, not least by adding more Hugo and, I think, more intensity.

    More Hugo? Well, the subtle, hazy paintings of rural France that led Delacroix to say that the writer could have become a great artist are often projected on to the back wall. Combined with Paule Constable’s deft, delicate lighting, they give Laurence Connor and James Powell’s production a strange, mythic feel. I thought that I would miss John Napier’s original set, two sections of which slid across the stage and then clanked together like copulating monsters, creating an imaginative yet realistic barricade for the show’s student revolutionaries to defend. But no. Matt Kinley’s designs are simpler — Paris is transformed into towering slum buildings, below which citizens scurry like mice — but more than serviceable and, thanks to his use of film, much more so when Valjean carries his adopted daughter’s wounded lover through the Paris sewers or Javert throws himself deep through the misty air into a seething Seine.

    Valjean is the convict who breaks his parole and is relentlessly pursued by the policeman Javert. John Owen-Jones, who plays him in Cardiff and (soon) on tour, begins as the most battered, bitter, brutalised Valjean I’ve seen, which is a plus, since it means that his redemption and moral reconstruction is strikingly moving. I confess that, as always with this show, my hoary old eyes refused to remain dry. Is it that Les Mis tells our cynical world that spiritual change is possible, that self-sacrifice happens and goodness exists? Something like that.

    The Millennium Centre in Cardiff is so vast and vaulty it’s astonishing that the cast can make the conflict between justice, as it’s embodied by Earl Carpenter’s stiff, severe Javert, and Valjean’s mercy feel as immediate as it does. But then almost all the performers are as strong as those I’ve seen in London, down to a wizened, smirking Ashley Artus and a chunky, tough Lynne Wilmot as those representives of evil opportunism, the Thenardiers. And if I were asked which is better, this or Trevor Nunn and John Caird’s London staging, I would be hard put to answer.

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  17. General Les Mis feedback from out there [Cardiff]

    in Miscellaneous Archives

    Posted

    Recieved this great review through google alerts :smile:

    http://www.milfordmercury.co.uk/leisure/wh...fter_this_show/

    Wow, that's fab Heather - thanks!

    Putting it here so that we have it for ever:

    For many audiences, Les Misérables is the ultimate musical.

    Evergreen and ever-popular, Les Mis bridges the gap between popular musicals and serious theatre and even musical-haters won’t be able to help but love this spectacular production.

    The magnificent score of Les Misérables includes the songs I Dreamed a Dream; On My Own; Bring Him Home; Do You Hear the People Sing?; One Day More; Empty Chairs at Empty Tables; Master Of The House and many more.

    This international award-winning musical sweeps its audience through an epic tale of passion and destruction, against the backdrop of the French revolution.

    Seen by more than 55million people worldwide in 40 countries and in 21 languages, this spectacular adaptation of Victor Hugo’s masterpiece continues to thrill audiences night after night.

    The simply stunning sets are based on original paintings by the author himself, and at once conjure up Hugo’s France with mysterious buildings, dark and brooding landscapes and add an unusual quality of light to the proceedings. Innovative use of cinematographic techniques brought these backdrops to vivid life, adding to the animation and pace of the piece.

    John Owen-Jones gives a sublime performance as Jean Valjean, ageing effortlessly before our very eyes, but one would have expected no less of this veteran of musical theatre.

    The real revelation is pop singer Gareth Gates. Anyone thinking that he’s been cast as a box office draw alone would be sadly mistaken. As he has grown in stature so have his musical and acting abilities, and his sensitive performance as Marius is a joy to watch.

    In such a large cast as this, it is unusual to find such a high level of quality, but Ashley Artus (Thenardier), Earl Carpenter (Javert), Rosalind James (Eponine), Lynne Wilmost (Madame Thenardier) and Jon Robyns (Enjolras) stand out, even in this exceptional company.

    Any production that can make the audience laugh, cry, cheer and rise to their collective feet as one just cannot be missed.

    Cameron Mackintosh’s 25th anniversary production of Les Misérables runs at the Wales Millennium Centre in Cardiff, until January 16th.

    Ticket availability is very limited. Call 08700 40 2000 for details.

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  23. General Les Mis feedback from out there [Cardiff]

    in Miscellaneous Archives

    Posted

    Whoop! From here.

    Posted by Natalie Rose Smith on January 5, 2010 under millenium centre, musical, performance, review

    Cardiff Millennium Centre

    December 2009

    'Having seen this wonderful musical three times already, the first in the Palace Theatre, London, and twice in the Hippodrome, Birmingham, I was very familiar with the story and the music. However, this was a new production, celebrating the show’s 25th anniversary; therefore there were many new elements in the staging, including the paintings of the writer, Victor Hugo, portrayed onto the background of certain scenes.

    Cardiff was the first audience to see this new show and it has been playing to packed houses since the first performance on 12th December 2009. The truly wonderful venue of the Wales Millennium Centre was the perfect setting, with its superb facilities and attentive staff. On our arrival we were entertained on the foyer stage by a singing and dancing troupe of girls, beautifully costumed and presented. They performed a number of dances in different genres, as well as some talented singers.

    We had very good seats in the 2nd row of the circle and eagerly awaited the overture. During this performance there were digital display boards on either side of the stage, showing the words as they were spoken. I thought this might be distracting, but it was useful at times when I wasn’t sure which character was speaking, but every word spoken and sung by all cast members was crystal clear.

    Of course I have my favourite songs and characters: the lead character of Jean Valjean, brilliantly portrayed by John Owen-Jones and the menacing Javert, convincingly played by Earl Carpenter. However, I was completely surprised by the performance of Gareth Gates, playing the young Marius, a part which gave Michael Ball his first big break in a musical. Having followed his progress in ‘Pop Idol’ and since, and being aware of his earlier speech difficulties, I was on tenterhooks when he appeared on stage. I needn’t have worried! His performance was mature and professional, with a voice strong and rich. He is certainly well suited to this type of entertainment.

    The songs, some very familiar, particularly ‘I Dreamed a Dream’, since Subo first appeared on ‘Britain’s Got Talent’, the tearjerker ‘Bring Him Home’, the bawdy ‘Master of the House’. The list goes on and on. Continuous applause and a standing ovation greeted the cast at the conclusion of the show, with the audience in tears and raptures at the emotional finale.

    This has been the most popular show to be performed at the Wales Millennium Centre to date, and Cardiff should be justly proud of this iconic venue and continue to support it in the future.'

    Review by Yvonne Smith.

    The Les Miserables production is staying in Cardiff until 16th January - although ticket availability is limited.

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