I don’t care how many times I hear that infamous overture of Les Misérables. It gets me every time. And this reimagined version from producer Cameron Mackintosh is no different. 

One of Broadway’s most beloved hits, the musical is originally based on the French novel of the same name by Victor Hugo, and has since been adapted for the stage with music and lyrics from Claude-Michel Schönberg and Herbert Kretzmer (respectively). This production is directed by Laurence Connor and James Powell, and contains all the love, hope, and passion we have come to expect from this timeless production. 

Set against the backdrop of 19th century France, Les Mis tells the story of prisoner Jean Valjean (Nick Cartell) and his life on the run after breaking his parole. Living under a fake name to avoid detection by relentless policeman Javert (Preston Truman Boyd), Valjean commits to a life of honor and integrity. After meeting the dying Fantine (Haley Dortch), he promises to find her young daughter Cosette (Addie Morales) and raise her as his own. 

From the beginning, Cartell has the audience in the palm of his hand. His silky voice strikes the perfect balance of smooth honey notes and visceral anguish as he spins a tale of second chances and redemption. The vocal prowess needed for such a role is infamous among theater lovers and performers alike (particularly the number “Bring Him Home” and those notorious high notes), and Cartell tackles the role with ease. 

When a production has international acclaim such as this one, it is critical that performers find a way to make it their own while still keeping the integrity of the role. Cartell manages to do just that, bringing his own kind of honesty to the performance and Valjean’s redemption arc. There is a moment in particular when Valjean is treated with kindness by the bishop that Cartell proves his acting chops. The change in expression may be brief, but Valjean’s decision to change the course of his life and Cartell’s impeccable physicality may be one of the most impressive bits of acting in the production. 

As the plot progresses forward in time, each character is given their own moment to show off. First up is Fantine, the poor factory worker forced to turn to prostitution to send money for her sick daughter Cosette. Dortch shines as Fantine, putting her own twist on this iconic role. While still full of the aching pain, love, and pity we have come to expect from “I Dreamed a Dream,” Dortch brings a kind of fiery intensity to her performance and to the character that is a joy to watch. 

Next up are innkeepers Madame Thénardier (Christina Rose Hall) and her slovenly husband Thénardier (Matt Crowle). Their drunken antics during their number “Master of the House” provide tried-and-true comic relief during a series of otherwise intense moments in the production. Together, they have mastered (get it?) the balance of playing off of the audience while maintaining the vulgar jovialness needed for this shockingly catchy number. With so much happening on stage, one almost doesn’t know where to look for fear of missing the next joke or bit of physical comedy brought by the ensemble. 

On that note, I must take a moment to applaud the ensemble in this production. While no production would be complete without them, they play an especially pivotal role in this one. Several cast members get a moment to belt out a line at various points in the production, including the prologue, “Lovely Ladies,” and “Red and Black.” Their energy and presence add another layer of storytelling and passion, elevating the entertainment value of this already spectacular production. 

As the next generation of characters takes the stage, audiences are introduced to Éponine (Christine Heesun Hwang), Cosette (Morales), Enjolras (Devin Archer), and Marius (Gregory Lee Rodriguez). As their stories intertwine and collide, each one gets their moment to shine.

Rodriguez is adorable as the mooney, puppy-eyed Marius, and his energy with Archer is rich with youthful exuberance. As they play off of each other and stand tall atop the barricade, Archer’s smooth voice hits those swoonworthy Enjolras notes with ease. 

In comparison to his bro-like banter with the students of the revolution, Rodriguez and Morales have a sweet, dreamy connection during their lovestruck number “A Heart Full of Love.” Morales is adorable as the youthful, doe-eyed Cosette, and together they bring an unexpected but pleasant dose of physical comedy to this normally very dramatic musical number. 

As Éponine watches from the shadows, her heartbreak is palpable. Although Éponine is full of unrequited love for Marius, Hwang finally gets her moment in her ionic number “On My Own.” Carrying herself with all the strength and anguish one expects from such a character, Hwang still manages to make herself stand out and put Éponine’s strong moral compass front and center. 

Rounding out our leading players is the relentless Javert. Most of his performance is spent singing the same few melodies over and over, mirroring his repetitive, unending quest for Valjean. It is not until his performance of “Stars” that Boyd finally gets the opportunity to showcase something different. Although he still brings that fervent intensity, he also manages to showcase a side that is almost graceful and delicate. Unfortunately (and it truly pains me to say this), the ending of both of Javert’s big belt numbers were lacking. Both “Stars” and “Soliloquy” require big, bold, belts at the end, and Boyd somehow dropped that last note every time. A shame, truly, because the rest of his performance was flawless from start to finish. 

If the impeccable talent of the cast is not enough, the scenic, lighting, projection, and costume design in this production are top tier. The creative team makes the most of every single moment, adding elements that are poignant and clever to create additional layers of entertainment value and intensity to this beloved show. 

Les Misérables will run at the Durham Performing Arts Center through Sunday, April 9, 2023. Tickets can be purchased here. Please note that children under age six will not be admitted to this production. Performances utilize strobe lights and loud noises that may not be suitable for some viewers. 

All photo credit to Matthew Murphy and Evan Zimmerman for MurphyMade. Additional production photos can be found below.