
DATE: Thursday, November 6, 1997            TAG: 9711060072

SECTION: DAILY BREAK             PAGE: E3   EDITION: FINAL 

TYPE: Theater review

SOURCE: BY MAL VINCENT, THEATER CRITIC 

                                            LENGTH:   71 lines

``LES MISERABLES'' IS STUNNING

IT'S AN AWFUL LOT of do about a loaf of bread.

Folks have been scampering, phoning and begging for tickets to the sold-out run of ``Les Miserables'' at Chrysler Hall.

As well they should. It is spectacular, epic, moving and altogether stunning.

The return of ``Les Miserables'' to the area (its third visit) is theater on the grand scale. There is nothing in the current touring company that is shoddy. Quite the contrary. This, as past visiting versions, is an exact replication of John Caird and Trevor Nunn's original direction and John Napier's still-amazing turn-table designs.

With music by Claude-Michel Schonberg and lyrics by Herbert Kretzmer, ``Les Miz's'' score has always been something of a curious hybrid, from the vaudeville-like turn of ``Master of the House'' to the heart-wrenching passion of ``A Heart Full of Love.''

Initially, at the American premiere at the Kennedy Center more than a decade ago, I felt that this adaptation owed more to ``Jesus Christ, Superstar'' than to Puccini and more to ``Evita'' than to Victor Hugo. Hugo's 1862 novel is an unlikely source for a musical, but then, so was Dickens' ``Oliver Twist'' and the life of Eva Peron.

The ongoing epic of Jean Valjean moves rapidly from the 19 years he served for stealing a loaf of bread to his lifelong devotion to good deeds, including adopting and nurturing Cosette, the orphaned child of the tragic Fantine.

The present cast is a young one, but one clearly with a mission. They know that it is the show itself that is the star here. This is fine ensemble work.

Gregory Calvin Stone brings a tender, caring tone to Jean Valjean effectively reaching that high tenor moment that is the balled ``Bring Him Home.'' Kate Fisher is a serviceable, but rather routine, Cosette, not helped by her head of wigged curls. Rich Affannato is a handsome and boyish Marius. Todd Alan Johnson is a staunch, relentless Inspector Javert. Holly Jo Crane is a vulnerable and wonderfully voiced Fantine. Only Rona Figueroa lacks the range that should make Epinone's big moment, ``On My Own,'' soar. Her voice is more pop-oriented.

The sound system, as always with a touring show produced by Cameron Mackintosh, is superb - giving the singers an eerie echo-edge in sustaining those notes. Wouldn't it be nice if they'd leave it in Chrysler Hall?

Mackintosh has virtually rewritten the quality and perception of touring shows in America. The old ``bus and truck'' tours, with flimsy sets and shoddy sound, will never again be acceptable to local audiences. Mackintosh demands that his touring shows re-create the Broadway editions.

The spectacles are many. The barricade battle is a stand-out. The pursuit through the sewers of Paris is highlighted by David Hersey's lighting. The Act I finale is the now-famous march-on-the-audience which never fails to stir, no matter how many times you've seen it.

Norfolk's run, through Sunday, is much too short, and will easily top Baltimore's half-million-dollar box office last week.

This ``Les Miserables'' company, clearly, can hold its own with any of them. It soars. ILLUSTRATION: Photo

JOAN MARCUS

Students at the barricades in the musical ``Les Miserables,'' at

Chrysler Hall.

Graphic

THEATER REVIEW

`Les Miserables''

What: Musical based on Victor Hugo's novel, music by

Claude-Michel Schonberg, lyrics by Herbert Kretzmer

Where: Chrysler Hall in Norfolk

When: tonight through Sunday; sold out