Carry Quigley is a talented triple-threat, recently starring in Shrek The Musical, the Marvelous Wonderettes, Nine…and countless performances in her kitchen. Carry was in a nutshell’s very first guest contributor back in 2011, again lending her expertise on the theatre world. She’s also Kaylee’s best friend of many years, ever since the day Carry was assigned as Kaylee’s “buddy” in Grade 4. Needless to say, it was a match made in heaven.
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The lights promptly dimmed at the Princess of Wales theatre on an increasingly gentrified King Street in Toronto, and hushed the buzz of a jittery crowd, awaiting the highly anticipated re-imagined version of the musical epic Les Misérables. Though I’d heard rave reviews of Cameron Mackintosh’s rethinking of the 1980s classic from fellow skeptics, I remained judgmental, and reticent to agree to praise the same musical that had so recently been butchered on the screen by A-list movie stars. I could not have been more wrong. Live theatre was back with a vengeance, and being beautifully interpreted by a mostly Canadian cast, which might I add, is a rarity in these parts. A cast with visceral commitment and bone chilling vocal timbre, one that Toronto audiences have not seen in far too long.
Ramin Karimloo as Jean Valjean
The show begins in operatic chant as prisoners wail their plight while rowing and being whipped by attending guards. Each member of the chorus sounding more grounded and richer than the next, we were immediately sold on their story and transported into Victor Hugo’s world. Soon after we are introduced to prisoner 24601, interpreted by London’s West End star (and Richmond Hill native whose return to Canada was definitely overdue) Ramin Karimloo, it is clear that he owns the role and carries the whole show. He graces us with complete physical and emotional commitment to the role, not to mention velvety operatic timber and the occasional yet tasteful rock scream. His standout performance as Jean Valjean really is defined by his interpretation of ‘Bring Him Home’, where his chilling falsetto and genuine vulnerability brought me and fellow nut, Kaylee, to instant tears. The audience was quick to agree as a thunderous and steady applause overtook the theatre for what seemed like a full minute.
Melissa O’Neil as Eponine
Another notable performance was that of Melissa O’Neil as Eponine, who we all know from her stint with Canadian Idol, and Ross Petty pantomime. Naturally I was skeptical to welcome the Calgary-born actress known for her kitsch resume, and nervous to see her reprise one of the most iconic roles (and one that honours colour-blind casting) in the female musical theatre canon. However her raw vocal quality, almost sloppy pop licks, accompanied by a dark musical theatre belt proved effective in this contrasting gutter rat role.
A strong Javert, Enjolras and Thénardier couple were supported by an equally strong chorus of revolutionaries and whores alike who delivered the anthemic “Do You Hear the People Sing” and “One Day More” beautifully. The French Canadian accent of Genevieve LeClerc who plays Fantine proved to be slightly distracting, but her gorgeously haunting tone won us over toward the end of the show.
Incredible Orchestrations, casting and performances aside, what struck me most was the use of tasteful projections to depict the sewers of Paris in an incredibly effective way (a backdrop for Jean Valjean’s heroic rescuing of injured Marius, and the gritty Thenardier ditty Dog Eats Dog), a recent trend that has often left a tacky aftertaste in my mouth (namely a sad attempt at a projected Jekyll and Hyde confrontation.) And you know a set is good, when you simultaneously turn to your fellow theatregoer with jaw-dropped (KP can vouch.)
A question I kept asking myself however, is why it has taken us so long to trust Canadian talent, and nurture our own, instead of acting as a preview or test city for American touring shows that seem to always fall short. Why can we produce an incredible production of West Side Story at the Stratford festival, and settle for a less than mediocre American touring production in Toronto (a major Canadian Theatre Hub)? We need to support and nurture Canadian talent, and start taking risks of our own if we want to be taken seriously as one of the largest North American Theatre Hubs; and aim to be a hub that produces quality theatre and doesn’t act as a stop for a tired traveling circus. This production of Les Mis proves we are more than capable of doing so. All in all, this production is nothing short of fantastic. I encourage you to go see live theatre, and go see Les Mis. You will not be disappointed. Hey, you may even stop David Mirvish from destroying the historic Princess of Wales Theatre and putting up that Frank Gehry condo building …maybe that’s wishful thinking.
The Les Miserables production at Princess of Wales Theatre was recently extended by six weeks! Catch the show until February 2.
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