Even new shows are cutting back! It's typical for a show to reduce its orchestra after the critics have spoken if the show's selling well. since audiences have shown they don't care. And even at the $28-million "Moulin Rouge," Karen Olivo as Satine is only doing one Firework in her "I want" medley.
"Firework, Moulin Rouge version" my Parody-Tribute video
https://www.youtube.com/watch?v=TNGZJrX81zc
(I love that Katy Perry song, but has anyone ever explained that title? Spelchek still keeps trying to force Fireworks on me.)
I was very fortunate to see the original Broadway production still in previews with Colm Wilkinson as Jean Valjean. The movement of the revolving stage was incredibly impactful on the dramatic effect of the show. It is a great show regardless, but I hope they seriously reconsider this decision. It really is iconic. I can still see those opening moments and Colm revolving on stage.
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Les Miz without the revolving stage is like Miss Saigon without the helicopter. It and the barricade provide THE iconic moments of the show and supply some "wow" moments that break up the nonstop angst of the songs.
I didn't know about the stage in advance when I first saw the show in 1990, and when it started turning I was awestruck by the simple beauty and effectiveness of it - never more so than the chilling moment at the end of the barricade battle, when it silently turns to reveal the fallen body of Enjolras, lit by a single spot. That seared into my memory.
The stripped-down, projection-laden touring show is coming to my city next season, but I have zero desire to see it. When something works so well, you can retire it for a while and then bring it back, but don't pass off a cheapened version as equally as good.
8
A good show is transcendent. I mean, how many flash mobs do yo see singing selections from Sunset Boulevard on YouTube
1
Saw the original version in London and New York, and the new version in Chicago. Liked both. Too much ado about nothing!
Trevor Nunn is one of the greatest stage directors, ever! The team that has trashed Les Mis is mediocrity on steroids. I absolutely abhor the current production. It totally stinks, in spite of talented performers. The cast is always upstaged by rotten projections that distract the audience from the human beings performing. It is a total waste of live theatre. Make fun of the revolve state, but at least be intelligent enough to understand that the revolve is moving masses of people so that others will be center stage giving their best performances to the audience, instead of hiding behind scenery or a video screen. The revolve is a staging tool that has been used for hundreds of years and usually with success or it would stop coming back. Watch one of the anniversary specials that are both outstanding or go to a live performance, but not this version. I saw a high school performance last year that was far greater than these current professional productions because the kids were able to sing from the stage and be seen and heard. What a strange phenomenon in live theater, at least it must be for these producers/directors who have no clue to what makes good theater.
5
The landlord is the only upbeat role.
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@northlander I mean, it's called "The Miserable Ones," you can't go in expecting things to be upbeat...
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I'm old enough to have seen plays/musicals that I've seen on Broadway revived at different levels of theater from high school to Broadway. And if the production "works" it works no matter the sets/costumes/lighting/directorial concept/mechanics. It's all about the imagination an talent on stage, folks.
In the summer of 1991, I was in a group of high school students visiting London. We got nosebleed seats for Les Miz, the first musical of this scale I had seen. We had amazing seats for Cats (small theater, intent of design). I still remember those two experiences as formative.
The 10th Anniversary Dreamcast presentation was the single most exhilarating concert performance I have ever witnessed. I had never heard of Colm Wilkinson, but from his first lines ("Yes, it means I'm free!"), I took notice--there was a raw non-operatic power and emotion in his voice that, even today, sets the standard for the role.
I saw the production in Tampa, Florida, many years ago, and I recalled the rotating stage, but it was a take-it-or-leave-it item, nothing of great import. The barricade, now that and the large flags were thrilling.
I haven't seen it for many years, and perhaps it has changed substantially, but there is one song that I would absolutely drop from the production: "Castle on a Cloud." It seems after-thoughtish, and had little of the lyrical mastery of some of the other songs.
In any case, I hope Les Miz remains for generations to come. It is a thing of beauty that is both inspired and inspiring.
In the original production at the Broadway Theater, the stage craft was the best thing about it. Apart from that, there were a few stirring moments when the entire cast faced the audience and belted the song. In between there was way too much plot crammed into too little time. It was impossible to really connect with the characters. The events went rushing by. Many of the songs had a generic Broadway style.
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@Peter Billionaire
The original production was in London, not the Broadway Theater and the NY production never had the revolving stage. You saw a every stripped down version of the show.
As to the music, most songs on Broadway have a Broadway style and that is why there is an entire genre of music called Broadway.
When someone steps outside that genre with something like 'West Side Story' it gets real famous if it's good, but most everything else including everything Andrew Lloyd Weber ever wrote is very 'Broadway'.
This is not a complex musical. You should have been able to keep up.
1
I saw this production as a freshly-minted law school graduate in 1986. A dear friend, since lost to breast cancer, told me I had to see it. A transcendant experience. And yes, the revolving stage contributed materially to the production. Makes me wish I could get to London again before July 13.
3