Words by Léna Fontaine
Picture: Thomas Amouroux

“So long, as ignorance and misery remain on earth, there should be a need for books such as this. – Victor Hugo”

After travelling the world for over 40 years, Les Misérables is back where it belongs: in Paris. Exactly 44 years after its first run, the show made its grand retour at the Théâtre du Châtelet, one of the most prestigious stage of the french capital. And one thing is sure, the show and the story have not aged a day, even after all this time.

And quite frankly, no one does a revolution like the French, so you are in for a wild ride with this one.

Many hearts that beat at one 

39 actors and singers make up the cast of Les Misérables and give life to the story with impressive ease. Somehow, no one feels out of place and, wherever you’re looking, you see a face, a movement, a position that carries intention and transports you in the middle of Paris in 1836.

Benoit Rameau is outstanding as Jean Valjean. As the central and morally tortured character, he shines everytime he steps on stage and delivers a standing ovation-worthy performance. Many of his solos ranks amongst the highlights of the show, including “Pourquoi Ai-Je Permis à Cet Homme?” (“What Have I Done?”) and “Comme Un Homme” (“Bring Him Home”). Thought quite young looking, his Valjean is really convincing: throughout the show he carries this psychological dilemma like a burden, that really takes its toll at the end of his life.  A true tour de force from the french tenor!

Which makes his decade-long duel with Javert even more interesting. Torn between his burning desire to fulfil his duty and what he felt like he was born to do, we watch this inner turmoil unfold until it physically and mentally breaks him. As the two men come face to face one last time and we dive (excuse the pun) into Javert’s last soliloquy, the stakes are high and a palpable tension fills the room. Gregory Benchenafi, who played the dreadful inspector that night, masterfully encapsulated the complexity of this very uptight character who, all his life, denied himself all amusement and pleasure. Bravo!

As a whole, the students were very endearing, though felt quite underdeveloped. If you are familiar with this chunk of the story, you know this ragtag group of idealist –les Amis de l’ABC – is made up of several characters that each have a position to fill: Courfeyrac being the center, Grantaire the skeptic, Combeferre the guide… This time, I was left yearning for more and with a hard time separating one from the other. On the other hand, as the charismatic leader, Stanley Kassa is compelling enough, with his natural authority and powerful voice that forces you to listen. Hats off to little Gavroche who stole our heart everytime he was on stage!

While Juliette Artigala and Océane Demontis are both exceptionnal as Cosette and Eponine (those voices!), Claire Perot is a true scene stealer. To some of us, she is mostly known as Constance Weber from Mozart l’Opéra Rock, a role that fitted her like a glove. As Fantine, her voice rings through the theatre and carries all the pain and distress of the character. Her “J’avais Rêvé” (“I Dreamed A Dream”) is sure to bring you to tears in an instant.

Of course, in 2024, the barricade has been modernised, as well as the whole show. The breathtaking visual effects and videos, all created by CUTBACK, truly serve the whole story. At times, paired with the music, it only reinforces the idea of the characters suffocating in their own life, the darkness slowly swallowing the light. When used with Javert’s last solo, it completely embraces the tragedy and catches you off-guard. If sometimes the use of videos and screens can feel a bit lazy, here, it only enhances what is happening on stage.

In the middle of all of this, is the conflict between following your heart and fighting for what is right. The symbolism of the heart is all the more important in this story: Cosette and Marius’ beat as one, Gavroche’s and les Amis de l’ABC’s get tear through by a bullet, Eponine’s gets broken and Valjean’s has a prisoner number forever engraved on it. As we flick through the pages of the story – and time passes – it story never feels redundant, with its ever evolving decor and set and the way these storylines constantly intertwine.

More than just a show, Les Misérables is a team work: the scenography, although austere is stunningly beautiful, the bright and strictly realist costumes help the characters to stand out, the lights give us a new perspective,… A meticulously crafted piece of work that we can only applaud.

A quick special mention of the orchestration. From where we were sitting, we had a direct view of the TV screen that showed the maestra in full action. It was honestly mind-blowing to see it all come together with such intensity. The music being 90% of the musical (if not 100%), I can only salute their work and the passion they threw into it!

If you are a fan of the original London production or the 2012 movie, you will find something to love in this new en français production. A fresh take on the timeless story that still resonates with the people and the difficult political background we’re dealing with on the daily.

So ‘Get to the barricade’ before it is too late. Les Misérables is playing at Theatre de Châtelet until January 2nd.