The Greatest Showman

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The story of "Les Miserables", thanks to the Queen's Theatre version of the play, is widely circulated and familiar to everyone; however, the details of the original novel have gradually been lost in word of mouth, leaving only a vague outline of the story in my mind. And catchy melody.

Undoubtedly, this is a victory for commercial promotion; but at the same time, it is also a decline for literature and art. Today, the Teatro Almeida shows the daring boldness of a true re-enactment of Victor Hugo's ukiyo-e paintings of Paris.

The story of the first act, in the Queen's Theatre version, lasts less than 20 minutes; in the film, it is condensed into a 14-minute segment, with Jean Valjean as the absolute protagonist, connecting the story line and plot development . At this time, the Almeida Theater took a full 40 minutes to present the whole story magnificently.

Jean Valjean was an honest and industrious worker who had been helping his impoverished sister to raise seven poor children, but one winter he could not find a job. Sentenced to five years in prison.

During his sentence, Jean-Valjean could not bear the pain of prison, escaped four times, but never succeeded, and stood on the opposite of morality and law with Javert.

Born in prison, Javert is the descendant of prisoners. In order to wash away the shame brought by his bloodline, he became a staunch advocate of law and order, even if the social order at that time was corrupt and backward, even if he I discovered the backwardness of the law and the consequences in my eyes, but the paranoia in my mind still stood on the side of the traditional old forces without hesitation, maintaining the sick and crumbling system of society.

Under Javert's oppression, Jean Valjean's sentence was increased from five to nineteen years, and he was marked as an indelible convict. Even though Jean Valjean was paroled and released from prison, he could not find a job, not even a place to live; even if he did the same hard work, the parolee's pay was only half of what others were paid.

Jean-Valjean, who was not willing to be bullied like this, was very distressed. When he was discouraged, he met Bishop Miliere. Bishop Miliere was an upright, kind and sympathetic person who still had a glimmer of hope for society. He kindly took in Jean-Valjean and let him spend the night in his home.

However, the desperate Jean Valjean stole the bishop's silverware in order to make a living and planned to abscond. On the way to escape, Jean Valjean was caught by the police again and sent back; at a critical moment, Bishop Miliere claimed that the silverware was not stolen by Jean Valjean, but was given to him by himself, and together with the silver candlestick Give it to him as well, and thus save Jean-Valjean from prison.

Facing the generosity and benevolence of this bishop, Jean-Valjean was influenced and gained the courage of a new life, determined to turn from evil to good.

In the original novel, Victor Hugo used a full four volumes of chapters to present the first stage of Jean Valjean's transformation, mighty and majestic; today, in the Teatro Almeida , the whole story revolves around the three characters of Jean Valjean, Javert and Bishop Miliere, which magnificently presents the essence of the original work, and injects his own reflection and exploration.

The biggest innovation of the Almeida version is that in the first act, the role of Jean Valjean is weakened, and the roles of Javert and Bishop Miliere are more vividly and fuller.

Javert represents the morbid conservative; and Bishop Miliere represents the firm believer.

In the Queen's Theatre version, both characters are reduced to supporting roles in a series of plots in the first act, which in a sense achieves Jean-Valjean's personal epic, just like the "Gladiator" movie; and Al In the version of the Maida Theater, the two characters and Jean Valjean form an iron triangle, showing the various forms of life in society, magnificent and eloquent.

What is even more commendable is that Jean Valjean, after reducing his role, not only did not have a dim light, but became more vivid:

Under the oppression and pursuit of the old-fashioned forces, Jean-Valjean was reduced from a diligent and sincere worker to a criminal, and gradually slid into the abyss of sin, with no place to live; The festering social remnants have recaptured a glimmer of hope, changed their minds, and returned to their original track again.

Everyone knows that in history, the people's uprising in Paris broke out, and finally promoted the French Revolution and overthrew the rule; now, the audience has a preliminary glimpse of the future historical context in Jean Valjean. Undoubtedly, this is the The success of the Almeida Theater version.

more importantly--

"Where did John Cod find these outstanding actors? How did he train them successfully?"

Alistair Smith's eyes gleamed with interest. For London's West End, a pioneering and innovative repertoire and a group of powerful new stars are equally important, because it means artistic creation and future development.

In the first act, Javert, played by Ezra Miller, is a little immature. His advantage lies in his body, his disadvantage lies in the singing, and the rhythm and intensity of the entire performance, in comparison with the other two actors, occasionally appear to be slightly overdone, and occasionally appear slightly insufficient, which is a pity for the audience who pursue perfection ; But objectively, it does not affect the viewing effect.

Because of Ezra's evil charm and madness, Javert injected a distinctive paranoia, and the twist of dark temperament burst out a new charm.

This play has been staged at the Queen's Theatre for nearly 30 years. The 15th Anniversary Celebration Edition and the 25th Anniversary Celebration Edition take turns.

staged; but today, Alistair actually once again unearthed Javert's character charm and infinite possibilities. This is definitely a big gain.

However, Javert's real test has yet to come. According to the Queen's version, the second act ends with Javert's aria, a song "stars", which brings out all his inner tangle and struggle, paranoia and madness. Whether Ezra is strong enough to be a big piece of the puzzle on Almeida's debut night depends on that.

In addition, Andy - Conaghan (andy-conaghan) played Bishop Miliere, almost all of the arias are newly written, almost the entire role is also newly created. Solid basic skills, excellent control, and excellent expressiveness, in the aria of Bishop Miliere's one-man play shortly after the opening of the first act, he showed his strength heartily and vividly, which is impressive.

Without Renly, Andy was undoubtedly the biggest takeaway from the first act of today's premiere night. In the confrontation of the Iron Triangle, this character who turned out really made a deep impression; but, just not if.

For the average audience, the first thirty-five minutes of Act One, Renly was unmistakably mediocre.

People's attention may fall on Bishop Miliere, this is a brand-new character, both the aria and the plot are refreshing; people's attention may also fall on Javert, the unique twisted and dark temperament is in the expanded plot fragment. , the ins and outs of the characters are presented, which is extremely complete and clear.

In comparison, Jean Valjean, who did not have much breakthrough in performance content and plot context, was simply too familiar to every audience, but lost its appeal. More importantly, Renly deliberately restrained the performance of the performance, maintaining the balance and integrity of the entire repertoire, so the light is not obvious.

But for seasoned viewers and professionals, the first thirty-five minutes of Act 1 were undoubtedly the brightest for Renly.

The whole performance is seamless, easy to use, and easy to use, from singing to body, from footsteps to movements, from lines to expressions, from the use of stage space to the control of body movements, there is no trace of effort, solid and stable basic skills and consummate performance. It truly interprets theatrical stage art in a pleasing manner.

Yes, pleasing to the eye. That's the best assessment Alistair has in mind right now.

The details of Renly's performance are undoubtedly the most moving. It may be just a look up, a look, or a footstep or a pause. Every detail is integrated with the character, plot and story. Finally, through the emotional explosion of the aria, The finishing touch, the collection is closed, and the release is released. Capturing the vividness and depth of those details is a real treat for veteran fans like Alistair.

Alistair has been in the theater world for most of her life, watching countless plays, countless actors, not thousands, but tens of thousands. For him, in fact, the interest in watching dramas is gradually diminishing, not to mention surprises, many dramas often start to fall asleep after watching the first ten minutes of content-because he can already predict the whole drama average level.

For Alistair right now, there's really not much interest in theatre. The performance of the actors is one of them.

Today, Renly's performance really caught Alistair's eyes. Not because of the Berlin Film Festival or the Oscars, not because of John Corder's praise and Emma Fielding's desperate gamble, just because of Renly. The absolute strength makes the performance a kind of enjoyment, and at the same time makes watching the performance a kind of enjoyment.

Cameron McIntosh's version of "Les Miserables", Alistair can't remember how many times he has seen it, eighty times is the minimum, and he strongly suspects that the number is approaching three digits. Therefore, he clearly knew that the end of the first act was coming. John still draws on Cameron McIntosh's classic version, ending the first act with Jean Valjean's monologue.

"Valjean's-soliloquy", this is the last fragment of the first act, which presents Jean Valjean's inner transformation in a real and profound way: Bishop Miliere's kindness and integrity moved him, the characters Really sublimated. The difficulty of this clip is comparable to that of "Hamlet", which puts forward high demands on emotions and performance.

Alistair is now starting to look forward to it, looking forward, what will Renly's version of the monologue be like?

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