Play Review: ‘Les Misérables’ at the Northern Alberta Jubilee Auditorium 

I traced a line of well-dressed theatre-goers into the Northern Jubilee Auditorium. The lobby was full, the seats were packed, and the auditorium was full of giddy and excited chatter in anticipation of the show. Les Misérables, a musical adapted by Alain Boublil and Claude-Michel Schönberg, is based on Victor Hugo’s famous 1862 novel of the same name. The story follows Jean Valjean (Nick Cartell), a former prisoner who has been tracked by policeman Javert (Hayden Tee) for years. Sitting in the theatre, I examined the set. Fog coated the large auditorium, a watercolour background flickered on screen, and two building facades glinted from the wings. These set design choices made it easy to become immersed in Hugo’s literary depiction of 19th-century France. 

The cast was full of phenomenal vocalists. From the opening song to the end of the first act, it was difficult not to feel overwhelmed by the sheer talent onstage. My first-act personal favourite was Fantine’s (Lindsay Heather Pearce) solo, “I Dreamed a Dream,” due to its powerful emotions. The catchy “Lovely Ladies” and the comedic relief, “Master of the House,” were also incredibly entertaining. 

Furthermore, the lighting creatively contributed to the narrative. The use of spotlights elevated emotional sequences, such as in Jean Valjean’s (Nick Cartell) “Soliloquy.” Moreover, the use of candles, streetlights, and lanterns softened the atmosphere on stage and blended with the time period. 

One note I have is that it would be helpful for viewers to have a previous understanding of the story before watching the musical. The plot, characters, and dialogue can be difficult to follow when the entire storyline is set to music. The quick movements of characters and scenes are incredibly impressive and entertaining. However, this could make it difficult for the audience to follow without a previous understanding of the narrative. Even though I have my eleventh-grade French teacher to thank for teaching us Hugo’s novel, I still found myself digging into my memory to remember the plot. Thankfully, about halfway through the first act, there was significant exposition to follow along without constant references to the playbill. 

As I wandered around during intermission, the atmosphere was excited and cheerful. The powerful song “One Day More,” sung by the entire company, certainly left the audience antsy to see what happened next. It’s clear that to viewers, the musical is much more than one night of entertainment. Just as I heard the woman behind me humming along to several of the songs, the story transcends the lyrics. It touches people’s lives. Sitting down before the second act, I overheard two old friends catching up. One woman was a teacher, and she said that when the company began to march, she began to cry. As a teacher who participated in the Alberta-wide strike in October, the story hit a personal chord. This emotional connection to the musical is shared by the entire audience, who cheered passionately after every performance. 

In the second act, it was undeniable that Éponine (Jaedynn Latter) stole the show. The actress’s vocals were outstanding, and the song “On My Own” was breathtaking. It was no surprise, then, that I left the musical with a new favourite character (sorry, Cosette). As well, Marius (played by understudy Thomas Beeker) was magnetic throughout. During his performance of “Empty Chairs at Empty Tables,” he wandered aimlessly through flickering candles while his dead comrades stood in the background. This set design, combined with Beeker’s strong musical talent, brought me to tears. Furthermore, the young talent within the musical was incredible, and was particularly showcased during Gavroche’s (Rocco Van Auken) song “Little People.” 

The themes of love, kindness, and collective resistance were predominant throughout the musical, but came to a climactic conclusion at the end of the second act. The “Finale,” featuring the entire company, was a powerful display of hope and resistance in the face of hardship and oppression. By the time the audience rose in a standing ovation, it was hard to believe there was a dry eye in the house (mine certainly weren’t, at least). Ultimately, I left the theatre with a newfound appreciation for the cultural phenomenon Les Mis, a renewed sense of community and hope, and a reminder to always act with kindness, compassion, and courage.