Lovers triumph in Art Club's production of Les Misérables

BLOG POST posted on May 27, 2009 by Megan

David Cooper for Arts Club Theatre Company.

Il faut s'aimer et puis il faut se le dire, et puis il faut se l'écrire, et puis il faut se baiser sur la bouche, sur les yeux et ailleurs.

Victor Hugo wrote these lines, saying we must love and then say so, then write so, then kiss on the lips, the eyes and everywhere. The sentiment is lofty romanticism. And trust that the original French is lovelier than my slap-dash translation. (We'll call it blog-worthy, not-so-high romance.)

When he wrote these lines to a lover in 1833, Hugo was already drafting his 1862 epic, Les Misérables. And ultimately, this exultation of love triumphs in the novel and then the play, which was first staged in Paris in 1980.

The Vancouver Arts Club's on-going performance of Les Mis is impressive not merely for the theatrical restraints of a downsized stage and cast, but also for the consistent execution and several stand-out performances. The choreography and set design are purely classic, a nod to the original and almost all performances since, and not to be missed is the wrenching closing act with that unforgettable, flapping --- then dropping --- red flag.

This scene sounds the death knell for nearly all the characters who haven't already perished, including idealistic, energetic Enjolras, played by Jonathan Winsby who has a dashing and powerful stage presence. This isn't the French Revolution, but nonetheless this staged Paris revolt, the barricade, the ideals and the massacre are all in vain. The revolutionaries are defeated. Their morals seem to die with them.

Unless, of course, you're of the same mind as novelist Hugo who swept aside the grassroots blood stains for a bourgeois bridal shower. Love, it is written, triumphs. The lavish, elite marriage of the plucked-from-poverty Cosette (Kaylee Harwood) and her wounded, starry-eyed beau Marius (Jeffrey Victor) suggest the death of many was not in vain. Unfortunate that a vow with privilege and class trumps the vows of fraternité, égality, liberté.

But cynics should check their attitude at the door. This is a very good production with a very reasonable ticket price. Kieran Martin Murphy as lead Jean Valjean may have taken the first act to loosen his vocals, but eventually brought down the house with his tender, pleading delivery of Bring Him Home. Also worth the price of admission: the ensemble cast is rousing and rollicking and randy.

But my favourite treats of the night, which I secretly wished would never exit stage left, were the hilarious and masterful Nicola Lipman and John Mann as Mrs. and Mr. Thénardier. The physicality and hilarity of these ruthless, shameless schemers distracts from the fruitlessness of the fallen.

The Arts Club Theatre Company's production of Victor Hugo's Les Misérables continues until July 19 at The Stanley. Tickets are limited. Prices range from $25 to $85. For more information visit http://www.artsclub.com/index.html