REVIEW: 3rd National Tour, Los Angeles

Quique · REVIEW: 3rd National Tour, Los Angeles

Hello, this was originally posted in another thread but I've decided to re-post in its own, due to its length and the other thread's lack of popularity. After all, I don't want to write all of this for nothing, hehehe.

Yes, I'm known for being very wordy around here and can sometimes inspire insult from your common simpleton who gets overwhelmed by it, hehehe.

I'm also known for using blue text and for smiling too much. Laughing

Seriously, most people are really cool, so that is why I will re-post part 1 of my review here, with part 2 today and other parts to follow.

I had originally attempted to make it only 2 parts, but it looks like it may become a novel, LOL! OK, so I love Les Mis, sue me. Very Happy

As always, your comments, opinions, grammar/spelling corrections and rants are humbly welcomed, hehehe.

Take care,

Very Happy

Quique · My Review......Part 1

OK, here is my review of both 12/5 and 12/23 evening performances of Les Miserables in parts. This one will deal with everything except the individual cast member's performances;

For both performances, I sat pretty close to the stage. The first time I was in row G, right-center orchestra and the 2nd time I was at row H, left-center orchestra.

On the 5th, understudies included David Michael Felty as Valjean and Ryan Williams as Enjolras. Trent Blanton did Javert and was the only understudy on the 23rd.

FIRST IMPRESSIONS

It was thrilling to see the show back at the Pantages theatre, where I had the pleasure of seeing this tour back in 1992 and the 1st national tour in 1991. One thing that makes this theatre a joy to see shows at, is the good ol' marquee. While an old-style marquee does nothing to enhance the performances onstage, it does make arrival much more thrilling, with the traditional Broadway-style lighted logos and images of the events inside.

I last saw this tour in Long Beach, California at the Terrace theatre in 2001. I had seen the same tour many times prior to that and started noticing how some of its sets were beginning to show signs of wear and tear. It was most notable in the grey brick proscenium towers on either side of the stage, which had tears. The thin fabric material that covers the speakers contained within, started to droop and during the show, when some of the shuttered windows would light-up, light would also be shown through small tears on the set which made it look somewhat amateurish. Upon entering the auditorium on this past 5th of December, it was nice to see that those problems have been fixed. The sets all looked fresh out of a scenery shop, vibrant and well-kept, even though they are to represent a pile of dirty brick and rubble.

Also, the main stage deck seemed much more raked than I remember from previous 3rd national tour viewings. It even looked more steeply raked than the Broadway production's. It almost looked like the ultra steeply raked deck used in the Belgium production that can be seen in photos and video clips I have. It didn't bother me at all, in fact it allowed me to see every bit of the stage floor surface, all the way upstage from my 7th and 8th row seats.

The first thing I usually do upon getting settled into my seat, is look for the orchestra listing inside the hand-out program. After all the recent drama with the new and atrocious "Sinfonia" machine, replacing musicians who have children to feed and instruments that need to be heard, with horrendous MIDI-like standards in many an orchestra pit, I crossed my fingers, took a deep breath and said a lil' prayer before taking a peak at the orchestra in the program, hehehe. Well, I guess they felt we Angelinos wouldn't allow our intelligence to be insulted, by being fooled into accepting the electronic atrocity that is "Sinfonia" as an "orchestra enhancement system", much less "an actual musical instrument", LOL! So, they added two local violin players, one viola and one cello player to do the string-rich, lush orchestration by John Cameron, a little bit of justice and boost my enjoyment of the show ten-fold. There was little to no difference whatsoever to the now-closed Broadway production's generous 5 member violin, 2 member viola and 2 member cello sections.

If you think that what I've written so far is a waste of time, then you don't really appreciate live theatre. As for the rest of you, let's move on with some words about the cast now, shall we?

THE CAST - A PERSONAL INTRODUCTION

A production can boast an incredible looking automated set, historically correct vibrant costumes, a spectacular lighting design and an award-winning sound design with loud and clear delivery, but then you'll only be talking of about 10% of what makes this show, the emotionally thrilling experience it can be. Add a 20+ member strong orchestra and you'll be talking only about 50%. It's hard to find the types of performers that are very talented and emotionally up for the demands of the piece at the same time.

Les Miserables makes the triple-threat Broadway performer into a sham, if that performer isn't emotionally self-aware and takes lightly the magnitude and importance of Victor Hugo's original message. The show is very dark, that is a given....but will the audience see that light at the end that will uplift them? Or will they leave searching in the dark for this show's significance and purpose?

It's all up to the cast to know the difference between being hired as a singing/dancing investment for a show and being hired to invest yourself completely and emotionally for the show. Also the difference between singing and delivering a song well and delivering a song's message and character's emotions effectively and how each song will affect how well an audience recieves the over-all message and purpose.

You don't leave a performance of Les Miserables more intelligent intellectually. The show works because what it gives isn't something on par with it's technical and visual aspects. Talk of this show doesn't end at Sondheim-type musical theatre genius, it can't just be structered, written or rhymed like that and then thrown upon a stage. While Sondheim shows are masterpieces that inspire debate on the artistry of musical theatre, Andrew Lloyd Webber shows do the same for those interested in winning melodies and eye-popping visuals, Les Miserables inspires and is about the human condition. Only an emotionally strong, concentrated and talented cast can do it justice.

The auditorium lights dimmed, the audience cheered as the orchestra began with the overture, Cosette faded away and the cast took to the foggy, cobblestone-covered stage..........

Stay tuned for part 2..........

Quique · My Review.....Part 2

In continuation..........

THE CAST

Jean Valjean:

12/5 - David Michael Felty

David's Valjean was very different. I couldn't pin-point exactly what it was at first, but by intermission, his Valjean had won me over.

Obviously, most perform their characters as if the audience doesn't exist and there is nothing outside the stage boundaries. That's what acting is all about, right? Very Happy

So what could David possibly do that is so different?

David's Valjean connected with the audience. His Valjean seemed to break away from the world upon that stage and engage in an intimate conversation with the audience, during songs such as Who Am I? and What Have I Done?

The audience watches while the character faces them but not necessarily addressing them directly. The audience is usually supposed to be sort of "evesdropping" into the character's inner conflicts. The actor indirectly "invites" the audience to ponder these questions along with him, though at the same time, there is really no real interaction. A distance is maintained.

David eliminated that distance and actually made eye-contact with audience members and made gestures that clearly meant he was talking directly to us. He sang in a very conversational manner and was also very passionate, delivering each lyric with care. He was thoroughly convincing in the role. By show's end, I felt I knew David's interpretation of the character on a more personal level, instead of the common voyeuristic one.

His vocal abilities were good overall, even though his falsetto was more on the weaker side. His acting and creative delivery, made him a very memorable and original Valjean to me.

EXCELLENT

12/23 - Randal Keith

I tried not to expect too much from Randal, because of the constant raves and acclaim he kept recieving. I figured if I were to bet too much on him or place my expectations way too high, I would inevitably be somewhat dissapointed, since rarely can anyone possibly live up to such overwhelming praise, I thought.

Well, if anyone is to live up to hype, it's Randal.

He was the most serious Valjean I had ever seen, but in a good way. In other words, he took the role seriously and to heart. He didn't look like an actor up there, he looked like, well.....Valjean! He didn't do the common over-the-top gestures most Broadway performers do onstage, as a technique to project all the way up to the nose-bleed section of the theatre. He projected alright, but with his voice and his sincere, humble interpretation. He often surprised me with the way he would deliver a line, or the way his expressions would alone cause my eyes to weld-up with tears. In fact, I often saw his own eyes weld-up with tears during the show, as his eyes would suddenly sparkle as he sang the more emotional parts. He is everything a Valjean should be and more.

For the first time, it seemed the show itself and its purpose was bigger than its lead character. While I have witnessed many a great Valjean, Randal was great and he also allowed himself to blend in and embed himself into the misery surrounding him. He is not reduced in stature nor does his presence degrade. Other actors make the show their own. They command the stage with their booming voices and powerfully masculine stage presence.

Randal's power was his message to the audience, one of a flawed man and his struggle to give and show the love he'd long been denied.

Never in my life had I cried so much during Bring Him Home.

Bravo Mr. Keith....!

EXCELLENT

Javert:

12/5 - Robert Hunt

A very different looking Javert, but basically played the same usual manner; dark, menacing, lurking, stoic. I thought his voice didn't sound too high or young as others claim, he just didn't have that rough growling quality other Javert's such as Richard Kinsey, Robert Cuccioli and David Masenheimer posess, which does make the character more monster-like. Neither did he posess that long face with sharp features Javert is so known for. Mr. Hunt's Javert appeared to enjoy relaxing days at the spa and a close shave in between rants about stars and convicts. it seemed almost as if he barely wore any of the usual make-up designed to make him look menacing, as others have been required to wear.

While, let's say, Stephen Bishop's rough, masculine Javert may be absolutely convincing, Robert Hunt's is ambitious on the casting director's part. It didn't bother me too much, but I would much prefer a sure bet, instead of a different and less menacing artistic perception. A Javert must blend-into his costume, much like an armor prohibiting love and reason to enter his heart and mind, not become distracting in it. The costume seemed to be wearing Mr. Hunt, as I was left to determine if either Mr. Hunt or Javert was having a bad day.

Mr. Hunt did the best he could. If anything seemed to be out of place or didn't work, blame it on the casting directors.

GOOD PERFORMER, BUT MIS-CAST.

12/23 - Trent Blanton

A very, oh how should I put this......healthy Javert, Mr. Blanton became Mr. "Bland"- on by first act's end.

While his Javert's one-too-many late-night doughnut shop visits was certainly apparent, his performance was seriously lacking quality at the same time.

Mr. Blanton was not only stoic, he was bored. He seemed to be uncomfortable in his costume and seemed to be thinking, "Oh God! It's only half-way through the first act."

He had a very commanding voice and sung the role well, but that's it.

However, he seemed revived by the second act. Perhaps his costume was causing trouble back where the sun don't shine, who knows? All I know is that he no longer did that "darn! there is something riding up my butt" walk he did in act one anymore.

His entire second act performance was much improved. His soliloquy was breath-taking and he commanded attention to his character, unlike as in the first act, where his plumpness took center-stage.

His soliloquy alone was worthy of an ovation.

GOOD

Fantine:

Tonya Dixon

I had the pleasure of seeing Ms. Dixon in a touring production of Dreamgirls back in 1999. Her incredibly rich voice never failed to stun me and I left remembering her performance more than the actress who played Effie White that night.

Lurking around the net, I've read many comments about her voice being too screechy at times, during her performance as Fantine in Les Miserables. I remember her Dreamgirls performance well and I can definitely see why people say this.

This so-called screechiness went unnoticed when she was in Dreamgirls because it fit into that show's soulful musical style. We all know Les Miserables is more classical and one of those high notes can make people nit-pick at her performance. I was expecting to hear her do this a lot, after reading about it online.

Well, she either read the same comments online herself and thought there might be a change in order or people are full of hot air, lol.

There was absolutely nothing screechy about her singing on both nights I saw her. In fact, she probably has one of the strongest, most beautiful voices I've ever heard in the role.

She was gorgeous with her long black curly hair and devastatingly tragic after it had been chopped off by that toothless crone, hehehe. I often insist on Fantine being White, blonde, young and pretty in looks. For a long time, it just seemed to be the definitive look for the character, but over the years, I have become more open-minded about other looks and now I actually think it's more effective. Even though Fantine's troubles are not caused by her racial backround, she is descrimminated against for her looks, which are tied to a very false and very shady nature by all including the foreman and the factory girl, who's exaggerated accusations serve only to justify their resentment and hate towards the unusally clean, naive, pretty and humble Fantine. It may not shift focus or change the story around, but I find it adds more depth with a more ethnic Fantine, such as Tonya, nowadays.

It's ironic how Fantine is dismissed and outcast for alegedly having an illegitimate child from working the street corners, by a man who abuses his power and a co-worker who is committing shameless adultry, and how some of those accusations actually materialize as facts as Fantine is stomped on by society. I found Tonya made this clearer than ever, thanks to her fresh take on I Dreamed a Dream. The usual Fantine sitting on the floor thing is cool, but Tonya's moving about only made the song's statement more pronounced and projected it well into the rafters above.

I wish I could end here, but I must point out Ms. Dixon's single weakness in her performance as Fantine.

You couldn't ask for a better Fantine vocally. She was gorgeous, young and got the message across.

Fantine is a very tragic character who's pain and anguish is clearly expressed by the music, the lyrics and her very actions. It's one of those roles where you can be deaf and know exactly what happened to Fantine, just by watching.

But remember how I said that an actor's performance in this show can heavily affect the manner in which an audience percieves either the overall message or the struggle and plight of another character within the story? Fantine is the driving force, the desperate cry for help and the reason for one man's mission.

With Fantine, there is no such thing as over-acting. The things that are at stake are every Mother's nightmare. The abuse she recieves from man is of the most devastating and humiliating. Her feeble attempts at justice in the face of corruption should be justified by her love of Cosette and we should get this from her, not the lyrics.

Tonya would've been perfect, had she been emotionally more expressive. It's not that she was stoic, bland or bored...far from it, her vocal delivery was emotional and very passionate. But her face......was too often blank. It was like a weeping violin played by a "Sinfonia" machine at times. While she wasn't completely blank, it frustrated because you were waiting for that outburst of sorrow and misery to be shown upon her face, but instead got the feeling she was actually listening to her own singing and concentrating so much (hmmm, not to sound screechy?) on it, that she almost appeared lost for the duration of the high note, which interestingly is the only time she did this and is also usually the key emotional moment within a song. So she lost the opportunity to show that gut-wrenching anguish over hitting the perfect note. If it has nothing to do with hitting strong notes, then I wonder why an actor would "freeze" like that routinely upon hitting a high note?

HER FANTINE WAS TOO CLOSE TO PERFECTION, IT'S FRUSTRATING, LOL!

PART 3 TO BE POSTED SHORTLY.........

Quique · Production Photographs.........

Enjoy........!

Randal Keith - Impressive, dedicated, devoted.

Robert Hunt - Right performer, wrong role.

Tonya Dixon - Too close (to perfection) for comfort.

Smile

Frank_Rind

! Can't wait for part three, keep it coming! This is what I love, in-depth analysis of the show and its performers. You are gifted writer, Enrique, and a pleasure to read (Oh Lord, I'm beginning to sound like my English teacher!).

I understand what you mean about performers 'zoning out' of their high notes. I have a dear friend who has had the song 'On My Own' in her repertoire for two years now. Originally when she sang it she was 14/15, and at the beginning of her vocal training. She used to belt the song out with so much emotion it sometimes went into overkill, but was more often than not stirring and passionate. Nowadays, having sung the song dozens of times and being further along in her training, that same passion is difficult to recapture. One night I reworked the song with her to work the emotions back into it, but on the big notes, such as "Pretending", the emotional peak of the song, she would be obviously concentrating on making the note sound good and slip out of character.

There are actors who sing, singers who act, and people who do both, but a healthy balance must be maintained. When going for a big note, the singer in a person tends to be unleashed, sometimes pushing the actor to the sidelines.

Anyways, rant over. I am very much enjoying your review and look forward to the remainder of it. Very Happy

- Tyler Jones

RainyCrystal

wow!

hehe, glad you got to see les miz! it must've been exciting!
and Fantine looks very pretty!

~Sissi

Would You Light My Candle

Wow....awesome reviews and great pictures! Thanks Very Happy

Piece of Crap 76

I love reading this!

Robert Hunt -- Now that I see that picture it makes me dislike his Javert even more. He looks so serene, it's irritating.

LesMisForever

Hello

Ah!! Enrique is back in town! and what a comeback!!!

Loved that review, and what i once told you in private, i am telling it to you now in public...you should be a theatre reporter!

I LOVED the way you described Fantine.

"Fantine is a very tragic character who's pain and anguish is clearly expressed by the music, the lyrics and her very actions. It's one of those roles where you can be deaf and know exactly what happened to Fantine, just by watching. "....SPOT ON!!!!.

You touched on Fantine's mistreatment by society. I think that is much better expressed in the OFC lyrics.

Looking forward for the rest!

Great to have you back Very Happy

Tenor4Life

David Michael Felty is a god. Worship him.

BwayJuvinile

piscesmoni

Quique · My Review......Part 3

Cool, glad you're all enjoying my review so far. Pardon the lengthy response time, I didn't think anyone would actually read this, hehehe!

I greatly appreciate all the kind words and the time put into reading this. Gracias. Smile

Anyway, without further delay, in continuation.....

Young Cosette:

Gabriella Malek...?
Nadine Jacobson...?

Note: According to the playbill, I saw Gabriella Malek as young Cosette on both nights. According to my memory and the souvenir program, the girl I saw is pictured and identified as Nadine Jacobson. I believe it's very important to give credit where it's due, so I will post a photo of the young actress I saw. I will refer to both girls' names in the review, since it can be either. Any help in identifying them correctly would be great, thanks.

I could only imagine what life must be like on the road, for the young actresses who tour this nation as young Cosette, appearing for only a short time, only to go home before they recieve recognition and praise at curtain-call. I would think that this type of recognition is important to an actor and serves to motivate and inspire them to grow as performers. Then again, I'm no performer and what may seem to be tedious to me, is probably a dream come true to them.

These are professionals we are talking about here and you wouldn't think, not even for a second during both of young Gabriella's/Nadine's performances, that life on the road can be quite a challenge. During her 12/5 performance, the mic malfunctioned, literally silencing her during her big Castle On a Cloud moment. Prior to that, as the inn setting spun into view, her mic made some awful static noise that made everyone in the auditorium do a double-take. Gabriella/Nadine didn't even flinch or step out of character, but was right on track as the lone orchestra played on. There were no problems on the 12/23 show. It was nice to hear her that time and she had a very pretty voice, along with that cute, wobbly vibratto that I prefer every young Cosette to have. It's cute and it makes her really seem feeble and helpless.

Nadine Jacobson/Gabriella Malek? A real pro.

She had the perfect blend of confidence and wide, doe-eyed concern about her. Most kids over-do their roles, but she obviously knew her limits according to the script and handled her role with care. Which means she wasn't smiling or smirking while madame Thenardier was supposed to be scaring her half to death, hehe. Nor did she take to the stage too eagery, with "I Love to Perform" written all over her.

EXCELLENT

The Thenardiers:

Jennifer Butt & David Benoit

The couple we all love to love and hate to hate. I have always wondered to what extent would this show be affected, had the roles of the Thenardiers been perofrmed in a more dark, goulish manner. All wev'e seen is slap-stick comedy. In a world where everyone and their Mother wants to be center stage, it's no mystery as to why these performers take the role and make it their own, in a show that is not about them at all.

OK, they are funny. Or are they? Let's be honest here, especially those of you who have seen it multiple times; are the Thenardiers, the way they are written into the show, really all that funny? Is the comedy used in the show really hilarious in nature? Sure we may get a creative madame Thenardier who puts a twist into her "there's not much there!" line, or a new gesture here and there by the drunken Thenardier that suggests more than we needed to know, but why does the audience laugh so perfectly on-cue? It's called push-button emotionalism.

I never liked the idea of these two roles played like a bunch of clowns. They are evil, despicable human beings of the lowest order. If I laugh, it's genuine and mostly from those facial expressions or gestures that nobody can help laughing at. My point is that most actors who do these roles over-do them severely. They steal the show, and at times it seems as if people don't get it. They fail to see the Thenardiers roles in all of this misery and their heavy-handed, unwelcomed contributions to an already delapidated society.

They are the heroes at the end. People literally forget about what they did and eventually forgive them. Are they really charming or did they just make everyone's time at a musical fun and layed-back?

The word musical automatically brings about thoughts and images of flashy, spectacular dancing, singing corniness to most of society. Unfortunately people still have the same old-fashioned image of what a musical really is and should be. I've heard many say they didn't like Les Miserables because it was too long and too serious. People nowadays are scared to get serious, they want to be at a permanent state of denial about the realities of the world around them. This show forces people to feel and to think, mostly to love. A lot of people end-up resenting this because they came to see show-stopping dance numbers and chandeliers resting upon people's heads.

The Thenardiers were funny to me at first, now I just chuckle. I don't sit there hating them either, but i do remain mindful of the many things they've caused all for the love of money and greed.

Master of the House: Jennifer Butt, David Benoit and company

Note: About the photo above; don't you just love the way that man is grabbing madame Thenardier's arm, and that woman next to him looking on with a "Oh no!" expression, almost as if they are trying to prevent madame from sticking that huge bottle up her husband's a"", LOL! I love it!

Something magical happened when I saw the show on the 5th. At the end, I turned to my sister and told her, "This is the most special performance of Les Mis I've seen so far in my life." She adamantly agreed. Things just fit together so nicely. It hit me that the Beggars at the Feast number as well as Master of the House got little laughs compared to other viewings. The Thenardiers intentions and their greed was more revolting than endearing and the actors who portrayed them, Ms. Jennifer Butt and Mr. David Benoit weren't being seen as charming, they were corrupt.

I was left wondering at the end of madame Thenardier's entrance, what was missing? She played the scene superbly, but I thought she could do more. It really bothered me. I felt the same way at the end of act 1. I then realized that all of those comedic moments I was so accustomed to were darker than ever. Thenardier didn't resemble a fat, jolly, charming inebriate innkeeper. Madame wasn't a fiesty, controlling comedic side-kick she usually seems to be. They did things that were amusing, that's it.

The result was uncomfortable at first, but wonderful by show's end. When they sing their final number, it is not merely just one more comedic moment, it's a macabre final dance into the depths of hell. When they strike that final pose, it sent chills down my spine as it epitomizes the Thenardiers without saying a single word.

I can't review each performer separately, not these two at least. They do something that i've never seen before, they truly work together as a couple and seem to have a mutual understanding of the limits these characters are to have. Jennifer Butt is dark and frightening as madame Thenardier, while David comes across as a disturbed man, striving to live, trying to believe in that higher power that only stares back down iluminating his weathered face. The toning-down of silly slap-stick does wonders for the show and puts focus on the lyrics and situations. Most of all it blends in with the rest of the show, instead of popping out like a Las Vegas style act of glitzy showmanship.

Jennifer Butt & David Benoit: A balancing act (comedy and purpose), perfected.

If you haven't seen this show, GO! You'll never see the roles of the Thenardiers played like this again. Surely others will come and continue the old over-the-top comedic trend, which will drown out a lot of substance that may not ruin the show, but will deprive you of seeing that side of the Thenardiers that we all try to forget about and hide, while succumbing to their "charm" with cued, nervous, obligatory laughter.

EXCELLENT

Next up, the love triangle; Eponine, Marius and Cosette.........

LesMisForever

Hello

Enrique...i couldn't agree with you more about The Thenardiers. You said almost everything i want to say about these two.

You hit all the nails on their heads as far as i am concern. In one of those deleted topics i voiced my uneasiness with the way The Thenardiers are portrayed. I really don't think that the casual viewer will get how evil and despecable couple they are.
In the OFC this song is much slower. It would really have been something if one saw how they performed it then.

piscesmoni · Re: My Review......Part 3

Quique, your lengthy posts are great. I love them.

Piece of Crap 76 · Re: My Review.....Part 2

Quique · Trent........

No he wasn't FAT, he was plump around the waist area. Every single Javert I've ever seen is thin or reasonably slender.

Trust me, I saw Trent alright. I was being light-hearted, but honestly, he did look obviously plump, at least much more than your typical Javert.

I wouldn't call him fat or huge at all though. I apologize if I made it seem that way. And yes, he is VERY tall.

BenjaminLevi · Re: My Review.....Part 2

piscesmoni · Re: Trent........

Quique · My Review....Part 4

In continuation.........

Eponine:

Melissa Lyons

One of my favorite roles, Eponine not only has one of the show's most memorable and show-stopping ballads, she also has some of the juiciest, most emotional parts in general.

It's also the easiest role to screw-up. No matter who is up there playing Eponine, they will either be convincing or unconvincing in the role, there is no in-between.

There are Eponine fans and then there are Les Miserables fans. I'm the latter. How nice it must be to be an Eponine fan, because usually all that matters is a good voice and push-button emotionalism of the most basic type. For example; for sadness, concern and anger the actress would crinkle her forehead. Also she can be a direct copy of the chick on the Broadway or 10th anniversary London CD's, or resemble a bad actress in a teeny flick and that would be OK.

Unfortunately for many, that is enough to satisfy, but I'm really tough on my Eponines, ever since bad imitations of Frances Ruffelle's vocal style came about and ever since somebody decided it was OK to play Eponine as a cutesy, sassy, modern-day chick.

When there is a clueless actress as Eponine, nothing else in the show can rescue the lost experience the show would've been, had focus been one of the performer's main concerns. Nothing is worse than a performer performing as anyone, but Eponine.

When a tiny Melissa Lyons skipped-out onto the stage during Look Down, I thought she physically fit into the role very well. Those first few moments on stage are critical to me, I can usually tell if I'm in for a focused performer or not. I could tell right off the bat, that Melissa was playing Melissa, while wearing Eponine's costume.

This was confirmed when she first sang to Marius. "Hey, this is fun, who cares about love," this Melissa seemed to think as she scurried about onstage. Actually, she reminded me a lot of Christeena Michelle Riggs, you know the one that was fired as Eponine on Broadway, then re-cast as Cosette.

"He was never mine to lose", sang Melissa in heavy, contemporary American accent. I kept waiting for Hilary Duff to appear any second now. I looked forward to all the low notes and I held my breath on the high ones. Not a good thing for the role of Eponine, if you ask me.

Act one ended and I was on a high. I was pretty satisfied with everything else so far, in general. I decided to wait until show's end to really set my opinion on this Eponine though. So far, she wasn't terrible as a performer. As Eponine, she just wasn't making that emotional connection.

Her big moment was here and what a beautiful piece of scenery! All of those warmly lit, shuttered windows looked stunning against that grey, dirty, miserable background. Oh, and Eponine? I don't know, she was trying, she really was, but too late.

Luckily for us, Les Miserables rarely, if ever, has a very bad or terrible performer in it anywhere in the world. Melissa certainly has talent, she definitely has an attractive and at times, strong singing voice. She is a good actress and is graceful on stage. Too often, people are careless when reviewing performers. If they don't like them, that means the performer has NO talent whatsoever. I think that's wrong and while I do frequently incorporate a bit of sarcasm and light-heartedness into what I write about so and so, I also make sure to give credit where it's due.

Melissa could've hit many a flat note, which she did, and I wouldn't care had she not been so careless with the role. Melissa sang and sang and sang some more. She didn't take that extra step or plunge into the world of Eponine. It was her duty to sing and to follow Trevor Nunn and John Caird's direction precisely, that was all she did for Les Miserables.

As a performer, it was her duty to move about the stage with grace and to sound good. There was little artistry in her performance, little sense of emotion or focus on the issues of her character and it seemed her primary objective was to perform for an audience, not for the show and it's purpose. She didn't believe what she was singing or who she was supposed to be and what it feels like to be that person, for that matter.

Her best moment was On My Own. Here, she actually seemed more focused, but her strained voice robbed attention away from her, as I listened to the orchestra and marveled at the set. Her most forgettable moment was A Little Fall of Rain. I did like the way she gasped for air and sang in a restless manner, I hate it when an Eponine smiles and sings sweetly as she lies there with hole-ridden body. That wasn't enough to rescue the moment though, because her love for Marius wasn't believeable. She sang and sang and sang.

Melissa Lyons: She sang. Adam Jacobs: Passionate, perfect.

She didn't feel, so I couldn't feel as well when whomever she was playing died in the arms of Marius. If a non-fanatic was to ask me how she is as Eponine, for him/her, I would answer "OK" or "pretty good". For a fellow fan, I say she was inadequate or seriously mis-cast.

Oh yeah, and did I mention, she sang?

GOOD PERFORMER, BUT SERIOUSLY MIS-CAST

Marius:

Adam Jacobs

Broadway's Les Miserables was blessed to have some of the best Marius' ever during its final years. Who could ever forget Peter Lockyer or Kevin Kern? Although not my favorites, they did the role more than justice.

But there was a time when Marius was often played by very masculine-looking, model-type men with lisps, or men who were anything but attractive. Then there are those actors who simply, play themselves. Almost as if it was some personal complement that they were cast as Marius, so the role becomes merely an extension of their own selves.

One of the best ever in the role and also my personal all-time favorite is Craig Rubano of the 1994/95 Broadway cast. He was magic and did the role with the care and focus of a real pro. I've only seen one other actor come close to him; Tim Howar of the 3rd national tour in 1999/2000.

When I first saw Adam Jacob's headshot, there was no doubt in my mind that he was Hispanic. Ooops! Guess I was wrong, though I'm not alone as many others assumed the same thing. I just thought he did the common thing of adopting a stage name, unfortunately since Jacobs would probably be more "marketable" than, let's say Ramos, or like mine Sanchez or anything ending in -ez, for that matter, hehehe.

Although his Dutch and Asian background is interesting, what's even more interesting is his impressive and passionate portrayal of Marius.

Joining the ranks of Craig and Tim, Adam was Marius! But unlike Craig and Tim, he portrayed Marius with a dash of innocence and wonder. He was completely likable, very endearing and it definitely wasn't hard to see how or why two chicks could have fallen head over heels for him, simultaneously, hehe.

He was focused and highly devoted to each and every step, lyric and action taken by the character. His emotions were precisely executed and shown large across his face and body language. He moved around with a graceful awkwardness, even if it does sound like a contradiction on my part, it's the only way I could describe it at this time. Just know it is a good thing. Smile

Leslie Henstock & Adam Jacobs: A heart full of love for these two.

Adam has a gorgeous singing voice. Not to mention strong, expressive and is just absolutely perfect for the role. He put so much into his Empty Chairs at Empty Tables, that I'm pretty confident I'll never see a more powerful rendition. Equal maybe, but no one can top Adam Jacob's thundering vocals and heart-wrenching expressions at the song's emotional peak.

Adam is a perfect Marius.

EXCELLENT

Cosette:

Leslie Henstock

Under-developed? Absolutely not!The character of Cosette that is. She is overseen by most simply because of all that pity, sadness, support and tragedy that gets absorbed by the audience, thanks to the role of Eponine. Also people tend to go for the one who is disadvantaged in some way and resent those who have it all. She is often dismissed as a spoiled brat or snobby rich kid. I don't particularly care if Cosette is thought of this way, but I think the actress doing the role can and should definitely do something to give the character more of a personality. In this case, Leslie Henstock was the right one for the job.

It's no wonder that of all actresses who have done the role, Judy Kuhn remains for me, the definitive Cosette. Most stop there, but I remember asking myself why Judy was just so much more satisfying in the role than others. True, She has a very strong, clear voice. She is a great actress and a very passionate one as well, but sometimes details we all take for granted can make a big difference.

Cosette has always traditionally been portrayed as a delicate song bird, proper and stiff. Her expressions are usually limited to that lost daydreaming look and is often played very Whiney. Now this isn't a bad interpretation, in fact it's appropriate given her up-bringing of wealth and class. However, for a character so easily ignored and sometimes even disliked, that constant soprano and girly-girl portrayal is a contributing factor to the problem, in my humble opinion.

Leslie Henstock, much like Judy Kuhn only not as strong, sings Cosette with as little soprano as possible. Like Kuhn, most of her singing is like Eponine's, with the exception of those high notes where she shifts easily to soprano. I found this minor detail adds so much to the character to me. In pure soprano, it's hard to express yourself well when angry, frustrated, concerned because you have to maintain that bell-like timbre. For example Tracy Shane's Cosette sings ALL soprano, all the time. Judy Kuhn sings with her normal voice, except for parts like at the end of A Heart Full of Love and certain high pitched bits of In My Life.

Match made in heaven.

When she demands to know the truth from her Father, she delivers it strongly and full of vocal expression, accurately stressing the character's feelings. While I'm sure this is possible with pure soprano, most actresses cast as Cosette aren't niether great or very strong sopranos, take Christeena Michelle-Riggs for instance, so it's always better to mix a bit of both standard alto singing and soprano for this role. I was very impressed by her Cosette and she also has that perfect look, where she is not always sitting there just looking pretty and innocent, but determined, sometimes coy and often strong-willed and independant.

EXCELLENT

One part left to go, then I'll hush, LOL!.....

Only for a minute though, then off to write another detailed review, this time on the lighting and its relationship with the character's inner child ....J/K!

Cool

NotoriousFunnt

Oh, I so enjoy reading reviews of the tour! Obviously the cast has changed since June, but...I'm SO glad you saw Randal Keith! He is the most amazing Valjean I've ever seen, and such an incredibly nice guy. He's so in-character and his voice is perfect...I love how he is nothing but Valjean personified for the time that show is running. When I told him he was my homeslice, I wasn't kidding...he's so amazing!

RainyCrystal

such great pictures! please post more!
it's so great to see Jennifer Butt resuming her old role, isn't it? she's a true Mme. Thenadier!

~Sissi

HeroTheBishop

Frank_Rind

So much more than just a review, Quique...I have thorougly enjoyed your in-depth performance analysis thus far, and look forward to the concluding segment.

LesMisForever

piscesmoni

I loved your review, Quique, as always! I liked your perspectives on Leslie and Melissa and found that I thought along the same lines as you did. And I loved Adam Jacobs. Jacobs and Keith were easily my two favorite when I saw the show.

The Very Angry Woman

Quique · Computer Drama............

After what seemed to be a hopeless computer crash, I am now back after spending days trying to fix the problem myself. I was downloading movies from the internet (which is a big no no), including the Les Miserables 10th anniversary London concert and the new flim Million Dollar Baby, when upon restarting my computer, I found myself facing a blank screen. Apparently my computer had absolutely NO more space whatsoever, no memory, no resources that would allow it to start-up again. I tried installing the OS all over again, but you know what? That requires a lil' bit of space too, hehehe. So much for that. I had to find a way to delete some stuff but how could I if my computer couldn't even start? It then dawned on me that those movies were enormous in size. Too enormous for a measley 20 Gig computer, I practically filled it up to the brim! After a routine re-start (I was also naively loading mounds of programs at the same time), my computer was literally unaccessable.

I finally got everything fixed, when I found a 30 floppy disk set of Windows 95 in my basement. I couldn't load any other OS due to the CD-Rom drives all not working due to the computer not even being able to start up long enough to get their drivers loaded! So the ancient OS of Windows 95 saved the day (and my computer), after completely deleting the partition containing my old OS and reformatting, allowing me to install it, then install Windows XP on top of it. Everything back to normal now, I got a chance to post a few things recently in the midst of all this mess, but was limited due to using my sister's computer for a short while at a time because she needed it. She has a MAC, how can anyone work on those things, hehehe!......whew! What a nightmare!

What's my point? Part 5 will be coming no later than tomorrow and I apologize for the wait, I'm sure you all understand, hehe. Take care...... Smile

Meliara

Quique, You always give marvolous reviews and start up great discussions (not to mention help out other Miz fans!) Truly a joy to read, thanks very much!

piscesmoni

Tsk, Tsk, Quique. Wink

The Very Angry Woman · Re: Computer Drama............

javertsw · Re: Computer Drama............

Alanna · Re: Computer Drama............

Quique · Macs.......

Yeah, I agree that Macs are superior in quality. I grew-up on Macintosh computers. I first used one regularly way, way back when they first came out. Our first computer here was the ancient, green text upon black background Apple 2C Plus. I loved that lemonade game with the boxy graphics, hehehe.

I haven't used a Mac since I was able to purchase my own computer in 1997. Being the starving student that I was, a low priced PC was the answer and it still is considering I bought this one on a low budget in 2001 and it's still working fine.

I know I would love and prefer Macs if I got back into using them, but I'll probably never go back because there are far too many programs that I use and can't live without that don't exist for Mac. Also they are still a bit pricey for me and I actually enjoy my computer crashing and getting spied upon by the greedy Microsoft Corporation, LOL! Just kidding.

I just can't be bothered with finding replacement programs and adjusting to an entirely new OS and system. I have a strange emotional attachment to my many anti-spyware and adware programs, hehehe.

Of course, I'm kidding once again.

Oh and to my dearest, most angry lady....you know I still love you, MUAH!

She's still mine, got that Gayboy?

Razz

Quique · My Review, Part 5 and Conclusion........

Last but not least, part 5. I enjoyed reviewing, I hope you enjoyed reading, it was a labour of love.

Oh and please forgive the typos, it's almost 1 in the morning and am starting to see double, hehehe.

Take care,

Very Happy

Enjolras

12/5 - Ryan Williams

Tall and thin, a "dirty" brunette, messy haired youth and full of passionate determination is a good way to describe Mr. William's interpretation of student revolutionary leader Enjolras. His voice may not rival that of Anthony Warlowe's, but he made up for this minor shortcoming with his "throw myself upon the stage" approach in the portrayal of his character.

Enjolras is usually a pretty boy, hunky type whose hair seems to be firmly locked into place by a higher power as it still appears flawless even as he dangles from that wooden heap of death. This time around we got the usual handsome actor as Enjolras, only this one clenched his teeth and sang with the kind of passion that made his jugular viens protrude out through his sweaty, red skin. He swished his hair around more than your average Herbal Essence hair care products commercial model. And showed as much enthusiasm doing it too, hehe.

Ryan always looked on edge, almost as if ready for the slightest injustice to occur, so that he may stamp-out said evil. He never had a peaceful, serene appearance about him, even during the more relaxed "Drink With Me" and had a look in his eyes that I swear could send the opposition wimpering away to take refuge under mama's skirt.

His enthusiasm and passion gave his Enjolras a much more spontaneous, youthful sense about him, a much welcomed and refreshing portrayal of a character who is usually interpreted much older and robotic.

For once I felt as if Enjolras was fighting as one of the people for the people, instead of the wealthy college kid who is bored and takes to the barricades for the sake of throwing a tantrum, rather than fighting for the freedom and rights of HIS people not just the bum down the street. No Christopher Reeve-like (RIP) hairdo rich dude out to rescue the poor, but an angry young man, defiant, rebellious, determined and fiercely passionate about the state of society and his fellow Frenchman.

EXCELLENT

12/23 - John Andrew Clark

A solid Enjolras.....literally. I wanted to climb the rubble upon that stage, grab Mr. Clark by the shoulders and shake him violently back and fourth in order to inspire a varied expression upon his frozen visage.
Stiff? Not really...Madonna suffers from it, Call the doc, Mr. Clark suffers from dead-eye syndrome.

Before I elaborate, let me point out the good points. He has a very strong, clear voice. He sings perfectly and with a sense of urgency that makes you want to look around you to see if everything and everyone around you is alright, but after a while, you catch yourself looking at him and wondering if he is alright.

John-Andrew Clark: Gifted singer but uninspiring, at least in this role.

He has dead-eyes. His squinty eyes seem to not adjust to David Hershey's lighting and appears to have come out of a dark cave after a winter's hibernation. What makes his eyes dead is hard to describe. Madonna is a bad actress because her eyes have no life in them, she seems to not be able to make herself believe she is her character no matter what and is always aware of her surroundings, lights, cameras, crew, studio etc..... Mr. Clark isn't as bad, but it's the same idea with him. He seems to be thinking something else and not very focused on the performance. He stares too often into the back of the auditorium and is a bit stoic in facial expression for my taste. I can't recall him smiling, not even once or even looking angry, concerned or surprised.

He would make a perfect bishop though. Those stoic, firmly affixed eyes would surely penetrate God's message into the core of one with bitter heart syndrome.

OK

Gavroche

12/5 - Alex Rutherford

It's rare to see a very strong Gavroche. It's not uncommon to see a really enthusiastic kid up there, but it seems the casting directors focus far too much on spunk and often cast boys way too hyper for their own good. Alex was not such a kid.

He was a satisfying, adequate Gavroche. Which means he didn't command attention in any way. Not good attention nor bad attention, he sang the role well. He acted well and he moved around the stage well. He did very well. That's it.

It just didn't seem like acting is a calling for him. He just gave out a sense of uncertainty. For all I know, he was just having a slow day. Who knows?

Alex Rutherford: Satisfying, adequate.

While too much enthusiasm can sometimes kill the performance of any Gavroche, too little can make you feel there's something lacking.

GOOD

12/23 -Sean Gilbert

Whether it was his intention to or not, Sean Gilbert's performance as Gavroche is the most memorable I've ever seen. It's the performance of a somewhat shy kid, who seems at first to be pushing himself to be spunky and out-going, despite his trepidations, but instead of coming across as lacking, the combination of this and his adorably plump physical appearance wins over even the pickiest of fanatics.

Sean Gilbert: Refreshing, interesting, though probably unintentional approach, that works.

At first you get the sense that this kid is nervous and stiff and his tough guy gestures and singing kind of seem comical, in a good way. He is a miniature adult in every sense of the word, which means his lack of childish spunk and his serious, almost bully-like interpretation makes one see a more dynamic portrayal of the character, that has experienced enough to make him grow up far more than his actual age indicates. Very, very focused indeed.

He was also the most unintentionally comical and absolutely adorable Gavroche I've seen. He made everyone chuckle under their breath, with the way he started eyeing Javert at the barricade, with a look of "oh yeah", only he was calm and collected and slowly waddled down the barricade a bit earlier and much more slowly than most Gavroche's I've seen. His adorably plump self, kept eyeing Javert, while occasionally looking away in order to watch his step as he made his way down the wooden heap and into the hearts and memories of the audience.

A Gavroche you must see to believe.

EXCELLENT

CONCLUSION

In keeping in step with the traditions that epitomize the American musical and respectfully distance opera, Les Miserables is the bastard child of both, as it artistically deviates from each specific form to a sub-genre that the clueless consistently identify as the mega-musical or pop-opera.

Les Miserables is the evolution of the musical in it's light-hearted comical form and for once, gets serious. The reason Les Mis has successfully proliferated across the globe in both, its musical and literary forms, is because it knows no cultural boundaries. While the wit and frivolity of the classic American musical may still be the basis for most works on Broadway and the West End, Les Mis dares to delve into the sort of relm usually reserved for classical opera, without the melodrama and stuffiness. It may resemble one format or another, but in the end it still holds onto an unidentified place in history of its own.

Studios the world over have repeatedly failed to produce a cinematic hit out of Les Miserables, yet still held high on public demand in its musical form. Les Mis is a sweeping story of human emotions first and foremost, the kind of emotion that makes the heart sing, the soul bleed or the eyes dream. On film, it is nothing more than a set of shots, documenting miserable people during miserable times, doing miserable things. Who would've thought that a giant lazy-susan, teamed-up with heartfelt music and that emotionally powerful tale of injustice, change, faith and humanity told by a passionate ensemble, would make Victor Hugo's message jump out from the pages and into the hearts of millions the world over? I'm sure Hugo himself didn't.

Some may have noticed that I pay attention to even the most seemingly insignificant details in the production, interpretation and story. I think if there was ever any work of art that best demonstrates a genious, collaborative effort, Les Miserables the musical, would reign supreme.

I've seen some of the scenic and costume design variations in other major productions staged by musical or opera companies in Germany, Czechoslovakia and Austrailia and while their art is certainly appreciated and offers variation from the commonly cloned Cameron Mackintosh production, something always seems to be missing or out of synch. I think the artistic work of John Napier with his grey-brick, shuttered window layers that are held-up and supported by slanted beams of aged wood, which are bolted in place firmly by dirty plates of rusted iron, all upon an intricate assemblage of polished cobblestone is the definitive set design for this show. Something about the way it stands above the cast and the sense of majestic perspective it provides being flanked on either side with those wooden beams almost gives one the feel it has a life of its own and is watching through those oversized, scattered windows. Even during moments where a single character is singing under a single spotlight, the dark, delapidated monster of a set can be seen hovering there lightly in the background, telling a sad story of its own, weathered, beaten, supported but barely standing and absorbing the energy expelled by its miserable populace.

Nobody can match or out-do the art of Andreane Neofitou's costume designs. Rusty browns, bright but dirty blues, vibrant, velvety reds and pale whites against Mr. Napier's set awashed in dirty grey brick and stone provides a contrast that is visually stunning, magical and somehow beautiful.

David Hershey's spare but brilliantly executed lighting design is a truly artistic masterpiece of its own that has both inspired and facinated this reviewer since childhood. It's always been a dream of mine to do lighting design for the theatre, something that is a direct result of Mr. Hershey's designs for Les Miserables. I never knew lighting could make a scene talk, make it moody or complement a given emotional state, until I saw Les Mis. Ranging from bright, rich amber tones to blazing neon blue his lighting has ingeniously created what the show's producers had in mind when visualizing what the production should look like; an old master painting, only upon a stage.

While Eponine wouldn't be Eponine without Andreane's distinct costume design and the alternate visuals wouldn't invoke the same feelings of wonder and awe the originals do, more importantly, the show would be seriously compromised without the meticulously composed orchestral score of Mr. John Cameron. The show would simply be naked without it.

Finally, this edition of Boublil and Schonberg's musical is a wonder in itself. While Phantoms criss-cross the nation in armies of 24 strong semi-tractor trailers and command the reconfiguration of theatre wings and flys in order to accomodate giant lighting fixtures and rising candelabra, our most beloved third and single American touring production of Les Miserables thrills on a grand scale of uncompromised Broadway-caliber quality without manipulation of anything including its very audience. It's neatly stored in all of 8 semi-tractor trailer trucks and is erected, automated and ready to tell Hugo's tale in a mere 13 hours and taken down then packed in under 5.

One may think I care about the mere statistical, visual and technical side of this great production after reading such details. I bring these details to light not as an effort to glorify them, but to demonstrate that even in the game of technical wizardry of snobbish proportions, Les Miserables is a mockery of these oversized spectacles due to having fooled many a foolish theatre critic into classifying it as a showy "mega-musical" and commanding attention percieved by the lowest common denominator of society as "glitzy" and "gimmicky" in nature. That's fine with me if people interpret rotten, dirty, delapidated hunks of junk and rags as flashy, showy theatrical glitter.

The 3rd U.S. national tour company.

Once upon a time, a certain novel recieved a brutal critical response and was classified as trash by many a sophisticated "expert" in literature. Theatrical critics blasted the musicalization of this sacred work as they put it, downgrading it to elements found in your nearest gutter. Now it's a mega-musical and people have long attempted to place it in the ranks of Andrew lloyd Webber musical concoctions.

Les Miserables is a spectacle of the heart and the many ways in which it is touched, numbed, hurt, enlightened and inspired. For many of us, it took an unglamorous story of real people in miserable situations that allows us to see ourselves reflected onto the dirty visage of Javert, Eponine, Valjean, Thenardier, Cosette, Enjolras, Fantine, Marius, Gavroche and has revealed the spectacular and passionate complexity of the human condition both within ourselves and society at large.

Hard as others may try, you just can't derive that from floating witches, floating mansions, greedy divas, Disney puppets, pop star compilations or boat rides with masked murderers under the flickering, falling fixture of unabashed visual and mental manipulation.

LesMisForever

Hello

*Standing Ovation* Very Happy

It was great reading such comprehensive review from you sitting in the theatre to your after-thoughts Very Happy

The Very Angry Woman · Re: My Review, Part 5 and Conclusion........

Jordan · Re: Macs.......

piscesmoni

Ahh, that was wonderful, Quique. Bravo. I just can't seem to fathom how you can think up of all those wonderful intrepretations and what not. I think I'll stand with LesMisForever on this one. Very Happy

Quique · Gracias.....

Oh, thanks for the lovely words and praises. They are very appreciated.

Alex Rutherford was nowhere near bad or mis-cast in the role. I think the little I had to say about him may have made him seem worse than he was. He was really good overall like I said. It's one of those things that is VERY difficult to explain. When you are a long time theatre regular, it's not hard to feel when a performer is having a bad day. I'm sure you know this Very Angry Woman, as you are also a theatre regular. I should've made it real clear that I could tell he was not feeling his best that day. It wasn't really obvious, but it was definitely there.

I doubt I made you cry by the way......

Growl and sneer maybe, but not cry, hehehe.

Very Happy

The Very Angry Woman

Did you also consider the fact that you are reviewing a child, and not an adult? Granted, all performers, when expressing their talent, are open to criticism. But you can't expect the same from, say, Alex, as you could from his father, Ivan. I'm generally not of the "if you can't say anything nice..." school of thought, but it's different with kids.

Quique · Looked over.......

Sincerely, after carefully looking over and re-reading my review on Alex, I must agree that I was a bit negligent in considering his feelings as a child performer. I still maintain that I said nothing cruel or even really all that bad in nature about him, but I didn't elaborate with him and made it seem as if he was more of a puppet, especially with the way I threw the word adequate around. Admittingly, that word shouldn't be used when reviewing an actor, it has a demeaning connotation to it which I didn't realize upon writing the review.

As much as I'd like to, I can't change my overall opinion of his performance as being GOOD, to EXCELLENT, because then I wouldn't be honest.

At the same time, I do believe that when reviewing children, it's important to highlight their role and what it entails and how significant it is for a youngster to be able to get up there and do it nightly for the sake of performing and telling a story to a group of strangers. As a performer, Alex is top-notch and as a singer, he was great for the role and actually sang on key, hehehe. I don't know why I failed to give Alex credit where it was due, as I did with Melissa Lyons, John-Andrew Clark and Robert Hunt. It was late and I wasn't my usual ultra-thorough self.

No, they didn't sound too nice, some of my words on Alex's performance. If anything, I apologize for not being more tactful and therefore further mindful of what a child performer has to offer and how making it restricted to character interpretation, as a way of judging him and what he offered me that night, is expecting too much of any child performer.

When it comes to kids, one has to give back as well. I may have expected him to give, give and make me believe he is Gavroche too much, instead of allowing myself to notice any talents he may have apart from satisfying my watchful eye of interpretive scrutiny.

Now I think I'm going to cry..........!

Hehehe...

Confused

Ravnos

I am reading a lot of people really like David Michael Felty , however I saw him in Toronto in October and I thought his performance was terrible, he seemed to miss high notes, he seemed disconnected from the audience, in certain parts I didn't think he was following the choreography or blocking as he should have , seeming to hide himself upstage, upstaging himself in other places, he seemed to suck the life out of the entire performance.

The Very Angry Woman

I hope what you saw was an off-night and that he hasn't deteriorated. I've seen him three or four times since 2001, and although the first performance I saw I wasn't thrilled about (my friends all loved him), I can see what you mean about his disconnect from the audience. If anything, that's one of his downfalls -- it tends to not be very direct or, when it kicks in, doesn't happen right away.

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REVIEW: 3rd National Tour, Los Angeles

My Review......Part 1

My Review.....Part 2

Production Photographs.........

My Review......Part 3

Re: My Review......Part 3

Re: My Review.....Part 2

Trent........

Re: My Review.....Part 2

Re: Trent........

My Review....Part 4

Computer Drama............

Re: Computer Drama............

Re: Computer Drama............

Re: Computer Drama............

Macs.......

My Review, Part 5 and Conclusion........

Re: My Review, Part 5 and Conclusion........

Re: Macs.......

Gracias.....

Looked over.......