It is difficult to find in current theater a phenomenon similar to that of Les Misérables. It is not just that it has been on the bill in London for forty years without interruption or that it has been seen – as its producers say – more than 130 million people … All over the world; Nor is it presented in 22 languages in 53 countries. It’s not even that there are currently three productions, plus a touring show destined for large venues. No, it is a work that awakens, from the first moment of the sound of its first two notes, a unique emotion in everyone who listens to it. In performing arts, emotion is one of the main goals, if not the main goal.
Epic and lyricism (sometimes too sweet, the only flaw to be found in this masterpiece of musical theatre) come together in this musical based on the novel Victor Hugo (It is estimated that more than 300 million copies have been sold worldwide since its publication in 1862.) Everything was born when Alain Boublil and Claude-Michel Schoenberg They premiered the first version of the musical in 1980 in Paris. Product Cameron Mackintosha kind of British theater king Midas saw the possibilities of the story and the score, though he turned the materials at hand like a sock, and in October 1985 the musical premiered, which today has already become the history of musical theatre.
“Les Misérables” is clearly a phenomenon, and like all phenomena it evades any rational explanation. But there are objective elements that explain why it falls into this category. First the story; Boublil, the writer of the text, and his collaborators, especially the British Herbert KretzmerThey knew how to extract the backbone from more than 1,500 pages of the novel, The Story of a Man. Jean ValjeanI followed her all my life JavertWho finds his reason for living in being sent back to prison. Around the two characters, tormented and noble in their firm – and not entirely opposite – convictions, they weave a whole web of characters, among them the people of France, wrapped in misery.
But “Les Misérables” is a musical. Almost a contemporary opera, because there is no spoken text, everything is sung. The result was written by him Claude-Michel Schoenberg He has the advantage of telling the story and the atmosphere in his standards. It does this through seductive melodies, which directly address emotions, and which often function as something similar to a leitmotif. Different themes are repeated (with different rhythms or temperatures) providing the viewer with emotional cues. There are really great songs; We must highlight “Salvallo”, the great moment of Jean Valjean, but also “Estrellas”, sung by Javier; The confrontation between the two. “I Dreamed a Life”, “Solo para mi”, and the concertante “Sale el sol”, which concludes the first act.
A show that has just premiered at the Apollo Theater (where it was first seen in Spain, with many problems, thanks to what was remembered) Jose Tamayoreleased in 1992) is based on one created by Cameron Mackintosh for the musical’s 25th anniversary, featuring drawings by Victor Hugo himself. His team has made Apollo’s distress a virtue, and Montag’s warmth and humanity are clearly presented to the viewer.
There’s a third element that makes this show excellent: the cast. Musical theater has developed extraordinarily in Spain since the musical’s debut, and this is proven by the number and quality of actors who make up the cast of many musicals in Madrid. “Les Misérables” is no exception, which makes it sound extraordinarily cool — and sexy. Within the very high general score, four names emerged: Adrian SalzedoValjean is noble and frank. Beto ManubinsStronger Javert. Elsa Ruiz de MonleonEponin transport. and Xavi MeleroThénardier, the sarcastic and sarcastic.