The core tale of Les Misérables has stood the test of time, but is too much hype a bad thing? Plastered on public transport and billboards across town, opening night of Cameron Mackintosh’s latest production of Les Misérables had a lot to live up to.
A prominently Australian and seasoned cast – thick Australian accents sliding in and out of focus – showed they were up for the challenge, making the story their own in an immersive rendition. Diction wavered at times, but the repetition in songs meant few points were missed, and most of the main actors seemed to put extra effort into pronunciation.
There may be decades of detailed history behind Victor Hugo’s classic novel on which the production is based, but entering with little-to-no prior knowledge of the plot will hardly dampen the experience.
Hands down the best voice in the cast, WAAPA graduate Kerrie Anne Greenland stole the show with her portrayal of Éponine, uplifting the second act, which, after an epic Act One finale, would have otherwise fallen short. From epic battle scenes to solo performances, Les Misérables’ bounty of interlocking stories came together nicely and created a healthy blend of highs and lows.
