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Thursday, Mar 28, 2024

Middlebury Brings New Life to Classic

The Town Hall Theater presented its eighth J-term musical, the legendary Les Miserables, to four packed crowds Jan. 23-26. This collaboration between the Town Hall Theater and the College Department of Music showcases well-known vocal and theatrical talents as well as student actors and singers from a variety of other academic disciplines. The intensive nature of J-term allows students from any department the opportunity to focus their undivided attention on the production of a fully staged musical in just three weeks. The results have proved wildly popular, with tickets to all four performances of Les Mis selling out on the first day of sales.

Full disclosure: as a musical junkie, Les Mis is one of my top five favorites. After countless hours spent listening to various cast recordings, one attempt to read the English translation of Victor Hugo’s original 1,500 page novel (currently paused at page 372) and a viewing of the 1998 dramatic adaptation with Liam Neeson and Geoffrey Rush, the music and story of Les Mis are extremely familiar to me.

The musical is one of the longest running in history and has been seen live by an estimated 65 million people in 42 countries, not to mention the millions of new viewers first exposed by the highly-publicized 2012 Hollywood production featuring Hugh Jackman and Anne Hathaway. Following the life story of Jean Valjean, an ex-convict who finds redemption through faith, honesty and hard work, Les Mis discusses heavy themes plaguing revolutionary France, such as prostitution, rampant crime, political unrest and poverty. The over 20 major and minor characters and extended timeline surely present any creative team with a unique challenge when adapting Les Mis. 

As I took my place in the audience, I was excited and a bit nervous to see how the College would contribute to the long list of productions.

There is a brief, electric moment in a theater when the lights dim as the murmur of the crowd makes way for the tuning of the orchestra. Violins and violas play their final practice notes before the conductor raises her arms, and the audience takes a collective breath, waiting for the first measure to prompt the opening scene. In Les Mis, this anticipation of the unknown made way for the male members of the ensemble singing the first notes of ‘Look Down’, each sporting a prison uniform as they worked together to pull an off-stage ship.  This scene also introduced the tense relationship between the main character, Jean Valjean, and Javert, the strict and intimidating police inspector who spends his life searching for the escaped Valjean in order to exact the justice he thinks is deserved.

The nine principal characters were excellently cast, with Quinn Bernegger ’13.5 tackling his last role at the College with nuance and determination. As the lead, Bernegger was required to be on stage for almost every scene, and his clear, powerful tenor was extremely well-suited for the wide range and emotion of song necessary to play the ex-convict turned honest man. The intensely emotional ‘Bring Him Home’ and ‘Who Am I’ were understandably met by rousing applause. Bernegger conveyed the heartbreak and morality of Jean Valjean through his advanced ability to shape words and music into an expression of complex character.

An imposing Javert appeared in the form of Mike McCann ’15, his height and black inspector costume combining beautifully with his strong vocals to create a believable antagonist to Valjean’s reformation. Especially powerful was ‘Javert’s Soliloquy,’ when McCann conveyed the inner turmoil of a man who realizes that his unfailing reliance on the morals of the law is no match for the genuine compassion and honesty of Valjean.

A few key props cleverly positioned on the grid of metal pipes at the back of the stage addressed the issue of conveying the many scenes and locations of Les Mis, allowing for the illusion of even more action off stage. A stained glass cross and a clock were just a few of the many props placed on the grid to indicate a change of time or place, and old doors were positioned in the second act to build the battle barricade between the on-stage revolutionaries and the off-stage French soldiers. Risers remained in the same U-shaped position throughout, allowing more opportunities for depth and travel without additional scenery. At times, the stage seemed incredibly sparse, sometimes only sporting one or two objects, but the smart blocking and captivating, colorful costumes allowed for the minimalist set design.

Evann Normandin ’14.5 played Fantine, a factory worker shunned by society and forced into prostitution to raise funds for her daughter’s care. Eventually selling her luscious locks for money, Fantine’s tragic downfall is captured in the iconic ‘I Dreamed a Dream,’ a song that reflects on the hopes of youth erased by the harsh realities of single motherhood and working class life in 1860s France. Fantine’s death and request of Valjean to care for her young daughter, Cosette, dictate the direction of the plot for the rest of the musical. A fan of Les Mis since she was 11, Normandin said that playing Fantine was a dream come true.

“She is such a complex and tragic character, and I enjoyed the process of pushing myself and being pushed and directed by Doug to find ways to let go of myself more in each rehearsal,” she said. “It was emotionally draining to play a character who falls so deeply into despair, and to access those emotions every night in rehearsal and then eventually performance definitely took a toll. She’s a character who is very much a victim and reacts to the often abusive treatment she receives, but the challenge for me was finding moments of strength, especially in ‘I Dreamed a Dream’ which is much more interesting for me when it doesn’t stay on one emotional note.”

Indeed, Normandin brought the sorrow and despair of Fantine alive in her short time on stage before her character’s death, her skilled voice cracking appropriately with emotion as her character declined physically and emotionally.

Costume designers Danielle Nieves ’10 and Krista Duke ’15 crafted exquisitely detailed, visually stunning costumes that provided an excellent complement to the powerful music of Les Mis. From the silver buckles on Javert’s police uniform to the garish floral print on Thenardier’s pants to the intricate rouching and layering on the prostitutes’ dresses, details propelled the costumes from good to phenomenal.

Adam Milano ’15 used his experience as a member of the Otter Nonsense Players comedy group to inject laughter into the occasionally somber themes of the musical, prancing onto the stage as the crooked innkeeper in ‘Master of the House,’ and delivering the complicated, quick lyrics of the song with ease.

Dana Tripp ’14 proved the perfect pairing as the innkeeper’s wife, showcasing strong vocals and comedic timing as she proved her wit and intelligence while lamenting her position as the partner of a lousy criminal. Together, Tripp and Milano formed a well-loved pair, garnering a rousing cheer from the audience as they took their final bow.

The 24 members of the ensemble added immensely to the work of the principal characters, contributing to the gorgeous harmonies of ensemble songs such as ‘Lovely Ladies,’ the whimsically choreographed ‘At the End of the Day,’ and the central ‘One Day More.’ The high quality performances were telling of the exceptional talents of each cast member.

Adding even more to the polished product was the subtle presence of the orchestra, comprised of twelve student and community musicians and conducted by Hannah Rose Rommer ’08.5. The sweeping, enchanting melodies of Les Mis are the backbone of the piece, some themes repeating many times throughout the show to tie specific events or characters together. The orchestra was relatively small but powerful, adding a captivating layer of dimension.

As the second act progresses, Fantine’s daughter, Cosette, grows into a beautiful, refined young woman under the protection of Valjean, and her innocence and foray into first love were captured by Julianne Wieboldt ’14, whose high soprano voice easily met the challenges of the score. Cosette falls for a brave young revolutionary, Marius, played by Thomas Scott ’15. Scott’s understated, soothing voice matched well with his character, who must grapple with the death of his fellow revolutionaries after finding his ‘one true love.’

Watching the young lovers from the sideline is Eponine, daughter of the low-class Thenardiers who has known and loved Marius for some time.  Alyssa Dillon ’15.5’s smooth, wide-ranging voice portrayed the heartbreak of unrequited love beautifully; love and regret combined in songs ‘On My Own’ and ‘A Little Fall of Rain,’ in which Eponine dies in the arms of her beloved, comforted in her last moments by Marius’ proclamation of platonic affection.

Not to be left out is Mohan Fitzgerald ’14, whose powerful vocals and expressions lent themselves nicely to Enjolras, Marius’ best friend and brave proponent of the revolution.

Eryn Diehl, Lillea Isham and Tyler Giorgio were excellent as young Cosette, young Eponine and Gavroche, the three children’s roles in the musical.  All three displayed high levels of professionalism and talent as they sang of hopes for better days and showed maturity beyond their years.

Normandin, who is a double major in Theatre and English, notes that the J-term production experience is distinct from a typical semester-long schedule.

“I’ve been exposed to theatre that makes me think deeply and critically for an entire semester in faculty shows,” she said. “The J-term musical has been an entirely different experience in terms of the somewhat universal appeal of Les Mis and the expedited work schedule. We work so quickly that sometimes you’re still finding important moments in dress rehearsal, and that freshness can be exhilarating.”

Director Doug Anderson, Music Director Carol Christensen and the over 60 involved students presented a fresh, engaging adaptation that proved equally accessible to long-time fans and first-time viewers of the 25-year-old musical. Les Miserables is full of death and despair, but ultimately has grown in popularity because of its messages of hope and strength in the face of adversity. Middlebury’s adaptation was ambitious, powerful and ultimately, a huge success. In my mind, there is no question as to why the J-term musicals have proven so popular after watching Les Mis. 

 

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