Jewel in a black box

First, there was the 1862 best-seller by Victor Hugo, acclaimed as “important” and decried as “immoral.” Then there were movies, lots of movies. French, English, Russian, Indian, Japanese - and repeat adaptations. Then, most successful of all, the 1980 musical in a Paris run, a London run, a Broadway run, and a seemingly endless national tour. It came to the Kennedy Center years ago; perhaps you saw it. I saw it and remember most vividly the fabulous set changes and the grandiosity but not much else. And the turntable, of course. Everyone remembers the turntable.

Audacious little Signature Theatre in Arlington has done what no one else seems to have accomplished: successfully brought this riveting tale right into our laps. Without a turntable. Nor have they stinted on cast or orchestra. Twenty-eight actors, five-tons of steel set, and a full 14-piece orchestra create the illusion of epic scale and a larger than life glimpse of personal and historical conflict all within the intimate space of the Max Theatre. Artistic director Eric Schaeffer has gam-bled on a re-working of the most popular musical of all time - and won.
 
The endless trials of Jean Valjean (Greg Stone) kept in motion by Detective Javert’s (Tom Zemon) obsessive pursuit form the well-known framework of the story, but its remarkable power lies in an interlocking harmony. The larger themes of justice (or lack of it), mercy, and sacrifice find expression in the simple, personal interactions of desperate people set before a backdrop of Paris on the verge of eruption.
Explosive ensemble work creates the busy factory, the streets, the taverns, and finally the student-led battle of the barricades where we find ourselves on the same side as the young revolutionaries. The rousing “Do You Hear the People Sing?” works as well as most call-to-arms an-thems, but it’s the individual voices that deliver the greatest impact.
 
Fantine, harassed factory worker and persecuted mother of Cosette, is solidly brought to life by Tracy Lynn Olivera who shines in the lovely solo “I Dreamed a Dream.” Cosette as a child (Rachel Boyd) charms, of course, but the grown Cosette (Stephanie Waters) is a beguiling match for the idealistic young Marius (Andrew Call), angry young man on a mission. Past productions have occasionally missed in the casting of Eponine, daughter of the ruthlessly rapacious Thenardiers (Christopher Bloch and Sherri Edelen) and overlooked admirer of Marius. But here, Signature presents Felicia Curry, a completely sympathetic actress of spellbinding voice. The arrangement of “A Heart Full of Love” with Eponine, Marius, and Cosette is a show stopper.
 
There is no notable downside to this production, but some moments shine particularly bright. Valjean’s sweet, simply delivered “Bring Him Home” is one, but Marius in “Empty Chairs at Empty Tables” delivers an unexpected emotional wrench. Fans of “Les Miserables” will recall the bridge jumping scene when Javert finally faces himself, but logistics have demanded a different, though just as effective final solution.
 
Walt Spangler’s scenic artistry shines in the use of what is a comparatively limited space. Chairs suspended from the rafters suggest the social disruption of the times while waiting to be lowered for actual use in spot scenes. Likewise, the massive folding girders become part of an ambient grittiness but also serve as conduit between levels. Chairs, tables, and the random jetsam of life are piled into barricades for the stunning, up-close view of bloody revolt, and the final sus-tained scene of what is from the beginning a lost cause invokes the classical style reminiscent of Jacques David.
 
Costume designs by Kathleen Geldard follow the early 19th century’s cut and flavor with earth colors and restrained style, while Mark Lanks’ lighting adroitly emphasizes place and mood.
 
The grandness of its themes and the success of its history doesn’t mean that “Les Miserables” is suited only for the magnificent theatres with the budget-breaking prices. Signature has proven once again that with a confident artistic vision and the right people to carry it out, “Les” can be more.

Margaret Lawrence is a member of the American Theatre Critics Association. She teaches drama and English at CCHS.

WANT TO GO?
What: “Les Miserables”
Where: Signature Theatre
  Arlington, Va.
Call: (703) 820-9771 or visit signature-theatre.org
Held over until Feb.22nd