Wright State University will deliver the local collegiate premiere of “Les Misérables,” Alain Boublil and Claude-Michel Schonberg’s 1987 Tony Award-winning pop opera phenomenon adapted from Victor Hugo’s epic 1862 novel.
Epic musical receives local collegiate premiere.
Do you hear the people sing? Wright State University hopes so to soaring degrees when it delivers the local collegiate premiere of “Les Misérables,” Alain Boublil and Claude-Michel Schonberg’s 1987 Tony Awardwinning musical adapted from Victor Hugo’s epic 1862 novel.
Beginning performances March 20, “Les Misérables” tells a sweeping account of desperation, heartbreak, hope and loss in 19th-century France, centered on ex-convict Jean Valjean’s battle with ruthless Inspector Javert.
As Valjean and Javert continuously collide, jealous factory workers, cynical prostitutes, treacherous thieves, rebellious students and more create a compellingly vivid portrait of humanity. The musical, currently revived on Broadway featuring WSU alumna Heidi Giberson, is heightened by a terrific score, including songs “A Heart Full of Love,” “Empty Chairs at Empty Tables,” “I Dreamed a Dream,” “Master of the House” and “On My Own.”
WSU’s “Les Misérables” promises lavish contributions from set designer Pam Knauert Lavarnway and costumer D. Bartlett Blair, in addition to a revolving turntable, the iconic centerpiece of the original London and Broadway mountings and subsequent national tours.
The cast and crew total 40 and there will be an 18piece orchestra conducted by musical director Scot Woolley. The production will be one of the biggest attempted by the musical theater department.
“(‘Les Misérables’) is a show we’ve wanted to do ever since I first arrived as chair two decades ago,” said director W. Stuart McDowell.
The principal cast includes Andrew Quiett as Valjean, Law Dunford as Javert, Amy Wheeler as Fantine, Ian Benjamin as Thenardier, Cassi Mikat as Madame Thenardier, Zack Steele as Marius, Kaitlyn Sage as Cosette, Liz Romey as Eponine and Mark Beyer as Enjolras.
“The cast has to continue to make discoveries,” said McDowell. “When you’re doing a musical this well known, that some people know by heart, the temptation is to bypass the basics of theater, which is authentic, first-time storytelling. But you have to do the show as if it’s never been done before. … It’s such a deeply touching story.”
Throughout rehearsals Steele has been particularly motivated by the connections established between the material and world events. The walls of the rehearsal space contain numerous articles and photographs of revolts across the globe. The sheer relevance of Hugo’s masterpiece shines brightly today for all involved.
“Genocides and revolution are still very much part of our lives,” said Steele. “People die every day to support the freedoms we take for granted. One of our goals is to capture that passion on stage and remind audiences that some things are worth fighting for and even dying for.”