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About Les Misérables

Once every five years or so , given an average theatergoing luck, a musical soar out at you across the orchestra to strike between the eyes as well as the ears.  Les Miserables is one such: a great blazing pageant of life and death at the barricades of social revolution in Victor Hugo's nineteenth-century France. But apart from Victor victorious, what matters about Les Miserables is that,  like Britten's Peter Grimes and Soundheim's Sweeny Todd and for that matter like Verdi's Rigoletto, it sets out to redefine the limits of music theater. Like them it is through-sung and like them it tackles the universal themes of social and domestic happiness in terms of individual despair.  When the show first opened in a Parisian sports arena six years ago, its score by Alan Boublil and Claude-Michel Schonberg already seemed to consist of all the great marching songs that Edith Piaf never got around to singing.  There is an energy and an operatic intensity here which exist in the work of no British composer past or present: the sense of a nations history being challenged through trumpets and drums and guitars and violins and cellos.