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Health & Fitness

Landmark Community Theatre's 'Les Miserables' - My Review

'Les Miz' lovers won't want to miss hearing the people sing in this outstanding production in Thomaston.

I had the good fortune of snagging a complimentary seat for a performance of Landmark Community Theatre's Les Miserables on the second weekend of their run at the Thomaston Opera House. While on vacation during their opening performances, I had heard the buzz that the production was outstanding and well-attended. So if one subscribes to the "better late than never" theory, here is my tardy review.

When Landmark was posting audition notices, the show was billed simply as "Broadway's Most Beloved Musical" because they were still waiting on the rights to produce it. I played along in my blog postings until the title of the show was officially announced, but I must admit that I do not concur with that ranking. I am not entirely sure why it is not one of my all-time favorites. I certainly love the music in the show (and have memorized most of it) and this production marks the third time I have seen the show. I appreciate how difficult a musical it is to bring to the stage. Perhaps the themes are just a bit too depressing, or maybe I don't understand what motivates some of the "miserable" characters. I have yet to see the recent movie version for the same reasons I suppose. It is a very good show, just not one of my personal favorites.

Be that as it may, I was very impressed with everything about this production directed by Foster Evans Reese, who dedicates the show to his parents and to "everyone who has raised a child, watched over them and attempted to give them a good life as Jean ValJean did for Cossette." Mr. Reese, who also did the choreography, had a strong vision of what the production  would look like and it shows. I appreciated that he played up the humorous bits of the script. The staging upon the revolving part of the stage was especially precise; the set was designed by Keith Winegar and I have never seen such a stage that worked better. The required barricade appeared and more importantly was efficiently removed by the running crew led by Stage Manager Eric Wilczak.

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The outstanding Dan Ringuette directed the good-sized orchestra, and his image on a monitor for the actors was the only visible sign that they existed. Hidden someplace backstage, the musicians sounded entirely professional as they played the beautiful score. The musical director also ensured that each and every vocal performance was flawless.

Special mention goes to Dan Checovetes for his beautifully haunting lighting design that added so much to the visual elements of the show. Many of the scenes were backlit in a way that is difficult to describe but I loved it. The muted colors of the majority of the costumes designed by Barbara Piscopo and her crew worked well, allowing the red armbands of the students to stand out.

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When I heard the names of some of the well-known actors (of the 200  that had auditioned) who had made it into the ensemble, I was taken aback. "Who could possibly be better than these talented folks who had snared the lead roles?" I thought to myself. Well, I quickly realized that all of the leads were outstanding singers and actors, although many of them were unfamiliar names to me.

In alphabetical order, I begin with George Alberts, who I honestly didn't recognize as he played Thenardier, despite the fact that I recently saw him as Franklin Hart, Jr. in 9 to 5. He transformed himself into the crooked innkeeper and provided several (much needed) laughs. Victoria Beaudoin brought a gentleness to Eponine that was very appealing. Marc Fanning, in his debut at the TOH, was very strong in the lead role of Jean Valjean. His excellent voice served him well for the challenging vocals. Luke Garrison, who I had met at a rehearsal for Some Enchanted Evening at Musicals at Richter, played the role of the student leader Enjolras (which I learned from Mr. Garrison is pronounced "anh-zhul-rahs.") This young man had the best voice among a cast of supremely talented vocalists and was a joy to listen to.

Matthew Grasso was also strong as the young Marius who falls in love with Cossette. Bob Lussier was the quintessential Javert and commanded the stage whenever he was on it. Katherine McLellan, who attends the Hartt School, was a lovely Cossette with a lilting soprano voice. Rebecca Pokorski grabbed onto the role of the innkeeper's saucy wife and ran with it.

Meghan Jessica Spangenberg did a great job as the younger version of Cossette. Troy Talamelli used his beautiful singing voice to stand out as the generous Bishop and other supporting roles as well. Sammy Wetstein was heartbreaking as young Gavroche. Amber Wood did a fine job with the tough role of Fantine.

Among the best of the ensemble was Katie Brunetto (she of many credits,) Watertown HS teacher Joanne Chenkus, and the husband and wife team of Dan and Meredith Porri. I especially enjoyed the subtle humor of Mr. Porri when he played a blind visitor at the inn. Other standouts were WAMS rising senior Bailey Cummings who played Lesgles and Daniel Dressel who played Jean Prouvaire . Rob Girardin, last seen at the TOH as Ren in Footloose, played Grantaire, a student often seen with a bottle of wine.

Congratulations to Jeff Dunn and Landmark Community Theatre for taking on this monstrous undertaking and producing a winner. The packed audience was thrilled and showed their appreciation throughout the three hour show.

Jeff Dunn announced that next season LCT will be presenting five shows, including South Pacific, Mary Poppins, Buddy, Charles Dickens A Christmas Carol and one more to be determined. I look forward to all of them.

Les Miz continues with a matinee today and closes next weekend.


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