Les Misérables is a Tour de Force at the Kennedy Center -

By Mariam Baldwin

Les Misérables at the Kennedy Center has been dominating the headlines recently. President Donald Trump and Vice President JD Vance, alongside the First and Second Ladies, attended opening night on June 11. They were met by mingled cheers and jeers from the audience, and a boycott from multiple cast and crew members as well.

Before any of this fanfare had started, I was looking forward to seeing my first production of Les Misérables. I had enjoyed the music ever since I first discovered it in high school and knew that Victor Hugo’s story was well-loved. I also knew that the experience of watching it at the Kennedy Center would be memorable. What better place to see the show than where it first debuted in the US almost forty years ago?

After finally seeing the show, I can describe it as nothing short of breathtaking. The production did justice to a beautifully sad story. Every performer came equipped with a powerhouse voice to tackle the numerous songs, many of which were extremely challenging to sing.

All of the actors brought emotional depth and memorability to their respective characters. Nick Cartell was perfectly tortured as the escaped convict Jean Valjean, who served nineteen years in prison for stealing a loaf of bread. Cartell masterfully captured the character’s moral arc whilst running from the law. He commanded the stage and helped create an energy for the other actors to play off of. Nick Rehberger was ruthless and manically obsessive as the police inspector Javert, who wouldn’t rest peacefully until Valjean was once again placed behind bars. Kaitlyn Sumner was arguably the most sympathetic in her portrayal of Éponine, who valiantly fought for the French Revolution. Matt Crowle and Victoria Huston-Elem were appropriately zany as Thénardier and Madame Thénardier, lending some nice comic relief to an otherwise grim musical. There were many other notable performances; these are just the first few that come to mind.

The quality of craftsmanship behind the production was excellent as well. There were a multitude of beautiful sets designed by Matt Kinley, encapsulating everything from the quaint streets of Paris to the ruins of a revolutionary movement. Costume design by Andreane Neofitou, with additional design by Christine Rowland and Paul Wills, was exquisitely done. Every outfit suited the character and their expressed intent within the musical. What’s more is that the costumes befitted nineteenth-century France, so nobody looked wildly out of place.

Of course, the revolutionary spirit of the story was not neglected. There was a contagious vigor on the stage as the revolutionaries sang, “Do You Hear the People Sing?” The scenes at the barricade were never dull and appropriately paced. Emotional performances showed the sacrifice that a revolution entails. All-in-all, it was an ode to how people, both big and small, can unite in a passionate fury for the causes they care about.

As someone who anticipated seeing this production of Les Misérables for a long time, I can confirm that it didn’t disappoint. It was easy to see that a lot of meticulous effort went into making the show, and it made for a compelling watch. The show is currently running through July 13 and, if I could, I would see it a second time. I highly recommend it to those who are interested and able to get tickets. Be warned: those who attend will embark on an emotionally turbulent journey, filled with all the passion and sacrifice of revolution calling.