The longest Les Mis write up ever seen

For you Les Mis fans out there, here's a more elaborate analysis (probably very long one) of the Malmö production. So if you don't have all day, here's the shorter review.

The music
Although most of it had the orchestration from the Stockholm 1990 recording and to a greater extent also the original London recording, there are also a few snippets of newer settings. So if you're a fan of the original interval in Sörjande Kvinnor (Turning) and the longer version of Little people (which nowadays are limited to 2 lines), then this is going to be very much to your pleasing. As I’m a (frantic) fan of the 25^th anniversary orchestrations, I wasn’t too crazy about the settings.

Having prepped myself with the lyrics from the Stockholm recording, I wasn’t exactly over the moon when I realised they had changed about half of them. Why they did so on the other hand is questionable. Changing “Sången om unga arga män” to “Sången om arga unga män” (in Folkets sång/Do You Hear..) or ”Fast jag vet, jag vet att han är blind” to ”Fast jag ser, jag ser att han är blind” (in För Mig Själv/On My Own), don’t make any difference in my opinion.

The choreography

Se Ner Photo: Malin Arnesson

The Malmö prod. is four times more choreographed than the West End production. Every scene with the ensemble is meticulously choreographed, often with the ensemble moving in unison to the beat. This is especially stunning in a segment in Se Ner (Look Down), in which the ensemble squeezes tightly together and slowly stretches out their arms in different directions to symbolise their miserable begging.

While most of it is visually stunning, the choreographed moves limit the acting a great deal. For example, I love watching the Master of the House scene in the WE prod. because it’s interesting watching what each guest is doing as well as all the scams Thénardier are pulling on their customers. All of this is almost gone in the scene in the Malmö prod. because the cast follows a choreography.

Leathers galore Photo: Malin Arnesson

The costumes
Historical correctness is a foreign concept here. Forget the crepes, cravats and high neck shirts and say hello to leather corset dresses, wine-red floor sweeping coats, bare arms and 18^th century wigs. Still, the periodically incorrectness and gothic costumes works well in the musical, as it accentuate the modernisation of the musical - and frankly they’re just so darn beautiful.

Besides the white baby doll dresses for the prostitutes, there is another major costume arrangement blunder. Imagine a 70s punk rocker; the green fitted jacket (with pins on the collar), the tulle skirt, the combat boots and as a cherry on the top add a giant green bow on the head. That is Éponine my friend, yes Éponine.

The scenes

The scene that bothers me most is Sköna Damer (Lovely ladies). I’m not a big fan of Lovely Ladies in general but I really don’t like how they’ve changed the whole tone of the scene in this production. Instead of having the prostitutes sing the song (which is really the whole point of the song), it's the madams/pimpettes (plus the occasional nuns who acts as pimpettes-confusing yes), the pimp and (correct me if I'm wrong) the buyers who sings it. With the graphic poses, ruthless buyers, the madams tugging on their prostitutes and their empty facial expressions, the scene accentuates on how miserable and forced the prostitutes are, making the whole scene very raw and sinister. While this may be more accurate to the real situation, I miss the sassy and confident lovely ladies in the WE production (but perhaps it's just my prude talking).

Although I was hugely disappointed with Herre I Sitt Hus (Master of the House), since it's one of my favourite scenes in the WE production, there are some additions to the scene that I liked. I love how they've given young Éponine's a bigger role. She's the ginger ball of frizz among the dozens of grey drunkards (all looking like they're in a zombie version of Cats). Being present in the entire scene I keep eyeing back to her and love seeing her play with her doll, be repulsed by a guest offering her wine and so on.

A scene in the Malmö prod. that I prefer over the WE one, yes hold on to your hat, is the Sewer scene. Adding Madame Thénardier to the scene and having her picking the pockets of the dead students makes Thénardier's Hund Äter Hund (Dog Eats Dog) more eventful and less dull. I absolutely love her playing dead when Valjean approaches with Marius on his back. The interaction between the Thénadiers in the scene is simply golden.

The characters

(Left) Ida Högberg, Mathilda Ahnell, Philip Jalmelid
Photo: Malin Arnesson

Éponine - Despite her disastrous new attire (it's difficult to take her seriously because of it), I do like the character changes they've made. She's more like brick-Nancy Sullivan-Éponine; carefree, radiant and bratty. I like that she helps the Thénardiers to beg in The Robbery and how she messes with Marius' hair and thinks (sings) he's peculiar.

For me, it's a logical development of her character, I don't like the Disneyfied and silly Éponine you see so often nowadays. (Yes,the whole love triangle is very sweet and touching, but is there no way to have both?). Still I don't think Ida Högberg delivered this Éponine very well, I never really felt that she was in love with Marius which in turn takes away all the sentimentality from A Little Fall of Rain.

Marius - I extremely disliked Philip Jalmelid's Marius when I first saw this production, because he's practically the opposite of brick Marius (whom I'm very fond of). He's easygoing, playful and very expressive (I'm talking about spinning around out of joy). However in the last show (I saw) I started to think he was quite charming and he does the awkward part quite well (the awkward wave to Cosette is precious!).

There's no reason why a character who's nothing like its brick-self can't be brilliant and I'm sure that Philip will become more and more convincing the more shows he does. (He doesn't have an understudy so he ought to)

Enjolras - I said in my review that I liked Anders Gjönnes as Enjolras, but after 2 more shows I'm not sure anymore. The Malmö prod's Enjolras is very different from the WE one who's very idealistic, serious and inspirational. Enjolras is now a wild and vulnerable character who, during the the battles, seem to enjoy the fighting, perhaps a bit too much. He doesn't come across as someone who's burning for liberty and freedom of the people, just someone who wants to stuck up his nose to the bourgeois.

Not only are the students reduced in number but also in clothing (the whole bunch of them run around bare armed and with very tight revealing pants). Together with lack of passion, you simply don't believe in them and it's clearer than ever that they're going to lose the battle even before it has started.

Grantaire - Having been introduced to Gleen Daniel Nilsson (played Marius in the Finnish-Swedish production in Åbo), I had an extra eye on him during the whole show (his foreman is perfectly sleazy and cruel). Out of all the characters portrayed in this prod. he's a close first to Fred Johanson's Javert, very close!

His Grantaire has no interest in the revolution whatsoever, he even crinkles a flyer Courfeyrac hands him. It's clear that he's there for one purpose and one purpose only-Enjolras. Seeing him admire (I'd like to use the word 'fangir'l but that would seem a unprofessional), on the brink of squealing, Enjolras in Folkets Sång (Do You Hear..), put a huge smile on my face. He's adorable! I like that he's less of "the drinker" and more of "the disbeliever" in this prod. I also love his relationship with Gavroche and that he's the one catching Gavroche when he dies.

Thénardier- Peter Harrysson as I said is rather worthless as Thénardier. However his understudy David Lindquist is GOLDEN (notice the caps)! He does the comedic character absolutely spot on. Being the opposite to Harrysson, Lindquist is all over the place; dancing, standing on chairs, waving with his arms etc. I like the fact that he actually hears Madame Thénardier telling (singing) her part in Herre i Sitt Hus (Master of The House) and becomes upset but disregard it as soon as the guests sings "his tune" again. He's without a doubt the funniest Thénardier I've seen.

And lastly, if anyone gets the symbolism behind the Wolf, please let me know!

Going back day

Goodbye Malmö. Photo: Me

Going back days are always bittersweet. Then again it's supposed to be 26 degrees in London tomorrow, so no worries.

Toodles, see you all back in Londonland!

THIS

One day, I will not hold myself back.

Review: Les Misérables at Malmö opera

Innovation in new production of Les Misérables. Photo: Malmö Opera

Taking the gloominess and misery on to a whole new level, Ronny Danielsson delivers a visual version of Cameron Mackintosh's beloved Les Misérables that has never been seen before (in line with Virginia prod. in 2008). In a meticulous modernisation, the musical has been given a darker and cutting edge atmosphere - think Tim Burton meets Cats meets Micheal Jackson's Thriller.

Based on Victor Hugo's 1400 paged novel with the same title, Les Misérables tells the tales of the people's misery in the early 19th century France. It centers the ex-convict Jean Valjean's journey to redemption, while being hunted by the relentless Police inspector Javert.

Equipped with a hefty budget, a mini army of an ensemble and a continent of a set, the scenography department was able to conjure up an astonishing set and props, including an enormous turbine and a giant bird cage descending from the ceiling.

The periodic 1830s clothes have been systematically thrown out the window and replaced with black leather dresses, burgundy floor-sweeping coats and tulle skirts. All gothic enough to make you think Helena Bonham Carter would walk onto the stage at any second.

Melted together with a innovative choreography and flawlessly orchestrated music (the electric guitar is more suitable than ever), there's one thing that's certain: there's never a visually dull moment in the show.

However, putting aside the praiseworthy scenography and costumes, one is left with an hoard of dull and uninspiring actors. The performers are amazing singers, there's no doubt about that, and if the audience would've suffered from a sudden collective blindness just as the show started, their performance would've been more than satisfactory. But unfortunate for them, we managed to hang on to our eyesight during the whole show.

Jean Valjean, played by Dan Ekborg, was neither rough as a convict, humble as a reprieved man, anxious as a pursued man, loving as a father nor sincere as a man who wishes to forgive. For Karolin Funke's Fantine it's the same story. Funke's Jag Drömde En Dröm (I Dreamed a Dream) was performed standing upright with her hands hanging on the sides - giving the character as much emotions as a sock.

The Thénardier couple who's usually the comedic essence in an otherwise gloomy musical, was now portrayed as sinister and, to be honest, terrifying. 'Så ska det låta'-host Peter Harrysson does the most motionless (or every now and then rolling on a wheelchair) Mr Thénardier to date. Still, mobility isn't a indication for good acting, but any of that was absent in Harrysson's case as well.

As a shining beacon in a sea of blandness, there's Fred Johanson's spot on portrayal of Javert - authoritive at the right time and perplexed at the right time. With an incredible roaring voice (enough to make every viewer's skin crawl) and just as brilliant acting, Johanson's performance is definitely the highlight of the show.

More glimmer of lights are Cosette, whose youthfulness and flirtatiousness Emmi Christensson does impeccably, and Anders Gjønnes' vulnerable but idealistic Enjolras.

Hard work is evident in making this production one of its own, and there's no doubt that it could've suceeded becoming a brilliant such, however if there was more focus on the casting and character delivering this production could've have gone the whole way.

Les Misérables (2011) Ronny Danielsson, Malmö opera, Malmö
(Performance: 18/9/11)

(You can't imagine how much I've edited and cut out. Jeesh! Fret not, my full WE comparision and character analysis is yet to be posted)

Words of Victor

Photo taken and edited by me.

Malmö opera's open repititon of Les Misérables enthralls hundreds

"Is the second half going to be this f-cking gloomy as well?" says director Ronny Danielsson and the audience burst out in laughs. Danielsson was imitating the Swedish King who saw the Stockholm production of Les Misérables in 1990 and is said to have thought it to be depressing.

Emmi Christensson as Cosette and Philip Jalmelid as Marius

Saturday's (10/9) open repitition of the latest Swedish production of the world's longest running musical "Les Misérables" was a packed one. An hour before the doors opened to the refurbished Malmö Opera, the foyer was already bustling with people.

After a warm welcoming from the director, an overwhelming number of sweatpants-wearing people trots onto stage and organise themselves to their designated spots. The final scene had to be polished.

"When you sing "the chain" everyone has to have come forth," reminds choreographer Roger Lybeck and continues to give further directions on the pace they were to enter in.

Having established their definite curtain call positions, the audience could finally get a taste of the highly anticipated singing. And oh what a singing it was, the harmonization was enough to make even the toughest of guys tremble.

The cast rehearsing the curtain call

The trembling hightens as the genious move to put the orchestra in the back of stage instead of in the pithole, gives the actors the ablility to be touchably-close to the audience. With the glorious vantage point from the 4th row of the center stalls, one got the feeling you were actually on stage with the actors.

The repitition now turned into a sneakpeak of the (close-enough) actual musical as they performed every song from Sörjande kvinnor (Turning) to the Epilogue without any interruptions.

Similar to the West End production, the Malmö production also have a rotating stage centre which gives the play a bustling atmosphere, not least in the Wedding scene. On the other hand, as the barricade was more of a set piece than a prop (different from the WE production), one will have to do without the students climbing and shooting from a platform made of chairs.

At Tomma bord och tomma stolar

Sörjande kvinnor, which is a precedent for Tomma bord och tomma stolar (Empty chairs at empty tables), saw a line of women sing appealingly and gesturing, each behind an empty chair. Marius, played by a backward cap donned Philip Jalmelid, is then wheeled into the dark and smoky stage.


After a less than emotional but a stomach-tinglingly beautiful sung Tomma bord och tomma stolar and Jalmelid's first interaction with Emmi Christensson's Cosette in Everyday, Dan Ekborg enters as Valjean and sings a perfectly remorseful Valjeans confession.

It is followed by the quirky Bröllopet (The Wedding) where the Thénardier couple, portrayed by Marianne Mörck and Peter Harrysson, enters for the first time under applause. In contrast to Bröloppet, the Thénardier Waltz of Treachery was surprisngly bare (on the verge of awkward), but it was fortunately followed by a magnificently powerful Epilogue.

There are no doubts in musical heaven that these performers are well-trained and brilliant singers, what's left to see on the other hand is whether they're as brilliant actors. However, disappointment over the production seems to be as unlikely as the King seeing Les Mis again.

Les Misérables premieres at Malmö Opera on Friday the 16th of September and is scheduled to run until the beginning of February.

It's KevJumba's fault

Good Lord.

Screw journalism and marketing! I want to be a Korean boy band stylist!