REVIEW: City Springs Theatre Company's Breathtaking Production of "Les Misérables"
With its well-rounded cast, attention to detail, and evident reverence to the text, the City Springs Theater Company was able to do great justice to such a technically-demanding, humane work
“Do you hear the people sing?” Loud and delightfully clear.
Based on Victor Hugo’s 1862 novel, Les Misérables became a worldwide phenomenon and a mainstay of modern musical theater ever since its initial English-language run in London’s West End. A story about dignity and compassion, we witness Jean Valjean and a variety of characters handle their misfortunes throughout the time of the French Revolution.
After the conclusion of its recent national tour, restrictions on licensing have softened and regional theaters have gained the opportunity to put on their renditions of the musical. One of these productions was put on by the City Springs Theatre Company, which completed an impressive run at the Sandy Springs Performing Arts Center.
Directed by Tony-award winner and Georgia native, Shuler Hensley, with costuming by Amanda West, gorgeous lighting design by Alex Mason, and comprised of a majority-local cast, crew and orchestra, it doubled as a showcase of the powerful artistic ingenuity present in Atlanta.
A sense of thoughtfulness was imbued within several facets of its execution. For one, there was a total maximization of space usage within the Byers Theater. Performers sometimes entered through the aisles, and although JD Madsen’s scenic design was rather elaborate, it did not sacrifice its dynamism. Through its moveable components, there was an impression of great depth and relative vastness to the stage, supplemented by Mason’s stunning lighting design. West’s choices for wardrobe were incredibly effective and cohesive in conveying character, considering the broad differences in time, class, and circumstance.
Beyond its technical polish, Shuler’s iteration of Les Misérables was led by extraordinary talent. Jacob Keith Watson brought both human warmth and technical mastery as Jean Valjean. The role is incredibly demanding. In addition to its massive vocal range, anyone portraying this character must display an immense spectrum of emotion. He must shift between anger, grief, softness, desperation, humility, determination, doubt, resistance, and surrender. Watson was able to balance all aspects. He commanded the room during his solos, while still displaying great chemistry with all of his scene partners, in particular, with Jonathan Christopher’s Javert.
While the severity and inflexibility of Javert’s character guided (and I would dare say constrained) his initial physicality and blocking, Jonathan Christopher made up in vocal prowess what might’ve been limited in emotionality. This restriction allowed for a stark contrast to his final performance in “Soliloquy.” He shifts from an immobile rigidity to ranging the stage, moving like a person instead of a machine. Javert’s turmoil becomes remarkably evident through this distinction, its culmination leading to one of the most striking moments in the run of the show.
Beyond the leads, there was an onslaught of wonderful performances. Other standouts include Anna Sailor’s powerfully devastating Fantine, Anargha Pal and his heartbreaking rendition of “Empty Chairs at Empty Tables,” as well as Rhyn McLemore and Jeff McKerley’s balance of impeccable comedic timing and pure sleaze as M. and Mme. Thénardier.
With its well-rounded cast, attention to detail, and evident reverence to the text, the City Springs Theatre Company was able to do great justice to such a technically-demanding, humane work. Beyond excited for their future shows, and to keep supporting the amazing talent Atlanta has to offer.
Alejandra Perozo Borges is a writer and filmmaker from Puerto Rico, based in Atlanta, GA. Her works have been selected for online publications such as Nowhere Girl Collective, as well as regional film festivals (e.g. Charlotte Film Festival, Rome International Film Festival). She likes love letters, gâteau St.Honoré, David Lynch movies, the beach, warm knits & trashy pop music from the 2000s.
