Les Miserables (a local color post)

As I mentioned in passing, recently, my oldest son has been a part of a local production of Les Miserables. He's actually getting paid for this gig, which is pretty cool, especially since he didn't even audition for the part. He was requested by the director (whom he worked with several years ago in a production of The Pirates of Penzance). Not that he had a big part in that he was one of the main characters or anything; he wasn't, but he did have several solo bits and was a named character, Combeferre, along with the ensemble stuff he did. Basically, he was on stage through the greater part of the performance. He's even the first one onto the stage, as he gets pushed out as part of the prisoner gang.

As you can guess, I'm going to say my son was great. And he was. But, look, it's chorus work, mostly, and the chorus folk did a fine job, on the whole (with the exception of one kid who didn't know what to do with himself when he wasn't actively doing anything). His singing was right on, so it's hard not to be great when you don't have so much room to screw up. Okay, look, if my kid has one issue, it's that he might smile too much, but that's also one of the things that makes him good. He's got charisma, and he draws eyes to him just by being on the stage. [Recently, he was in Pride & Prejudice in the role of Bingley, largely due to his ability to smile. Well, he got that role as opposed to some other role, because no one can smile the way he can.]

Overall, the production was quite well done, but there were a few issues. Primarily, it was difficult at times to hear the singing over the orchestra. Maybe, this was an issue for use because we were sitting right up front, just one row removed from said orchestra, so the music was right in our faces. Or, maybe, they just didn't have the sound system set up to overcome the orchestra; I don't know. What I do know is that I was glad, as I watched, that I have seen the movie, because there were a few places I wouldn't have know what was going on if I hadn't seen it, because I couldn't hear the vocals. The worst of that happened during the scene where Javert shows up with the revolutionaries, where I still had a moment of "huh? What's he doing there?" until I remembered what was going on.

Speaking of Javert, I'm still waiting to see a version of Les Mis where I think the Javert performance is worthwhile. If the other performances in the recent movie adaptation hadn't been so strong, Russel Crowe could have ruined it, because he was pretty horrible. The guy in this production was better but only just. Mostly, he just stood in place on stage and sang, which is where he did a better job than Crowe, because he did have a good voice and sang the numbers well, but he just stood there and sang for most of them. Unemotionally. In fact, just about his only acting was to tilt his head back and look down his nose at Jean Valjean. My wife says that Javert is the kind of role where you can get away with playing it with a stick up your butt, because Javert has a stick up his butt, and I agree, but I am still dissatisfied.

The actor playing Jean Valjean, Pedro Rodelas, had a very Hugh Jackman look to him and played the role with the same kind of heart, which made him hard not to like, even if some of the music stretched his vocal range beyond his ability. I think the same can be said of Jackman, though (actually, I think I did say that somewhere after I saw the movie), but the emotion both actors poured into the role made up for any gaps in their singing ability.

The most difficult part of this production was the actor they chose to play Marius, David Strock. The man can sing, but he was just too old for the part, and I couldn't buy into him as the student revolutionary standing next to the young woman playing Cosette. He just looked out of place, which made it difficult to buy into that whole young love-at-first-sight thing that's supposed to be going on.

However, the kid they had playing Gavroche, Ari Vozaitis, was amazing and could have completely stolen the show if he'd more "screen" time. I'm guessing he's not older than 12.

The only other issue is a practical one: The show is quite pricey. But I suppose that's the price you pay ["Claim the pun!" as Briane Pagel would say.] for local theater. Still, $30 is a lot to pay for a ticket but, if you can afford it, I would strongly recommend the show. I'll put it like this: It's long. Three hours long. But I didn't once have that feeling of wondering how much longer it was, and that's saying a lot. Also, my wife cried and, as previously stated, if my wife cries, you know it's good.

Musicals: It's All About Context

Let me begin by saying: Musicals have never really been my thing. When I was a kid and my mom was always wanting me to watch musicals, I just couldn't get into them. Let's just say that the idea of a crowd of people suddenly bursting into song and dance (as in Oklahoma!) just didn't fit into my reality. I mean, I'd never seen that happen in life, so why should I be expected to accept it in a movie?

Of course, Disney films, at least the animated ones I watched as a kid, were an exception. The break into song didn't seem out of place to me in an animated movie. And they usually didn't involve elaborate dance numbers, Mary Poppins being the exception, but there was enough animation and fantasy involved in that movie that I didn't have issues with it. However, when people think of "musicals," I don't think they tend to think of Disney movies, except, maybe, the aforementioned Mary Poppins.

All of that to say that I grew up with the idea about myself of "I don't like musicals," and it was an idea I held onto for quite a while. Which is not to say that, now, I like "musicals," but I certainly don't dislike something because it is a musical.

Interestingly enough, it was two unrelated musicals in 2001 that began to change my perspective.

The first was "Once More, With Feeling," an episode of Buffy the Vampire Slayer. Now, let me make it clear that the episode contained all of the things I'd always disliked about musicals: people, including crowds of people, spontaneously bursting into song and dance. However, Joss Whedon, who wrote all of it himself, gave it all a context, a reason for happening, and it was pretty brilliant. It was especially brilliant in that the characters, at first, were aware of what was going on but didn't know what was causing it. Not to mention that it had some great songs. I bought the soundtrack of the episode for my wife, and she carried it in her car with her for months.

The second was Moulin Rouge. Not only did it have music by U2, but it had Obi-Wan Kenobi... SINGING! How awesome is that? [And, yes, ever since Moulin Rouge, I have wanted Star Wars: the Musical.] And, again, they put the singing and dancing in a context I could take, that of writing a musical. And, well, some of the numbers are just amazing. And hilarious. If you haven't seen the "Like a Virgin" scene, you are completely missing out. However, I'm going to share one of Ewan McGregor's songs (you can look up the "Like a Virgin" number on your own time):



To make what could be a longer story shorter, the lessen here is that you shouldn't dismiss an entire genre, any genre (even romance), as being something you "just don't like," because there is always the room that there are pieces of that genre that you could like. It's like when my oldest boy was six and tried to maintain that he didn't like cheese... while preferring cheese pizza and being a constant eater of cheeseburgers. Later, much later, it was, "I only like Gouda," but that was wrong, too.

Within the last couple of years, we've begun showing our kids musicals. Partly, this was prompted by the fact that my oldest son has now been in a few (right now, he's performing in Les Miserables) and my younger son has actually been in a couple himself. Partly, it was prompted by my wife's love of musicals. They all loved Moulin Rouge; only my wife likes Oklahoma! Other favorites have been Mary Poppins and The Sound of Music.

Basically, don't get trapped within ideas of yourself. We all get tempted to do that because those things help us define who we are. However, when we lock ourselves into those things and refuse to step outside of those boxes, we tend to become smaller and smaller people. Our views fail to expand and grow, and we can't even look at things that don't fall within the narrow confines of who we think we are. It's time, now and always, to look outside the box. Musical or not.