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)