‘Les Miserables’ proves to be a force at Cashman Theatre

Friday, Nov. 5, 2004 | 8:53 a.m.

If you see only one theatrical production in Las Vegas this year, this should be the one.

"Les Miserables" is magnifique.

But for a couple of sound problems on opening night, Alain Boublil and Claude-Michel Schonberg's adaptation of Victor Hugo's 1862 epic novel was flawless.

Although the 1,900-seat Cashman Theatre was not quite sold out, it was packed with fans who were mesmerized by the sweeping saga whose story is told entirely in song.

The condensation of Hugo's 1,500-page, plot-heavy tale that spans 17 years in the life of fugitive Jean Valjean captures the essence of the book -- the social and inner turmoils that drive the characters, all of whom seem to be fighting internal and external demons.

It is awe-inspiring to see how directors John Caird and Trevor Nunn are able to portray the vastness of the novel in such a small setting.

One trick is the turnstile, Lazy Susan-style stage that allows the production to move smoothly from one scene to the next as the boards rotate.

The battlement, the "Alamo" for French students fighting an oppressive French regime, is a work of creative genius. It is made up of two huge makeshift walls that roll out from either side of the stage to become a fortress.

The production easily moves from small scenes, such as when the prostitute Fantine is dying, to large battles between students and soldiers.

At three hours, this is an extremely long production -- especially for Las Vegas, where the audience's attention span is between 70 and 90 minutes.

But the story, staging and performances are so engrossing that time becomes irrelevant.

The lighting -- dark and shadowy -- enhances the atmosphere of fear, desperation, and the sense of hopelessness and helplessness that pervades the story.

Randal Keith as Valjean, and Robert Hunt as his pursuer, Javert, are outstanding in their respective roles. But the supporting cast is so tremendously talented it is difficult to single out individual performances.

However, Jennifer Butt as Madame Thenardier and David Benoit as her spouse are wonderful as the conniving con artists who sell Fantine's daughter, Cosette, to Valjean. They are at once sinister and comedic.

"Les Miserables" contains more subplots than a soap opera, but there is no confusion as the story unfolds and moves relentlessly to the inspiring ending, in which Valjean has been transformed from a criminal to a Christ-like figure who is constantly being punished for doing good.

He steals a loaf of bread to feed his sister's dying son and is thrown into prison for 19 years.

After his release he changes his identity to avoid the stigma of being an ex-convict -- which violates his parole -- and for 17 years is pursued relentlessly by the detective Javert.

Javert almost captures him again at the bedside of the dying Fantine (played by Tonya Dixon), where Valjean has just promised to raise Cosette.

Years later Valjean is almost captured again when he saves the life of Cosette's boyfriend.

No good deed goes unpunished in this dark tale of social injustice, redemption and transformation.