Changes to a timeless musical

In a much needed break from campus politics, I attended the 25th anniversary tour of "Les Misérables" at the Stranahan Theater.

The intricate story by Victor Hugo follows several characters in 19th century France and climaxes with the June Rebellion of 1832 when a rebel group, consisting mostly of students, built a barricade in the streets of Paris and inevitably perished fighting government soldiers.

I first experienced this epic tale of revolution, love and redemption in Detroit in 2003 and later consummated my relationship with the show as a high school senior, playing the role of Thénardier, the "Master of the House."

Having seen a previous national tour and studied the script as an actor, I observed this company's interpretation with a critical eye.

The lead role, Jean Valjean, was played by J. Mark McVey, who has performed the role over 2,900 times. The crowd roared after he sang the soft and spirited, "Bring Him Home."

Andrew Varela, who played Valjean's nemesis Javert, was equally impressive, adding relatable elements to the character as he belted "Stars."

The supporting cast was brilliantly portrayed, with the exception of Éponine, played by Chasten Harmon. Although Harmon had by far the strongest female vocal talent in the show, her powerful presence failed to encapsulate her character's lowly and neglected nature.

This production touted "new and improved" score and staging.

Although these changes did not damage the show's overall production value, I found them detrimental to the mystique and grandeur of one of the longest running musicals of all time.

"Les Misérables" is renowned for featuring a large, rotating set piece allowing for smooth and speedy scene changes and perspectives from both sides of the barricade during battle scenes.

The signature turntable stage was ditched for rolling set pieces and Victor Hugo paintings projected on backdrop screens.

The highly emotional scenes were derailed due to the absence of the rotating barricade.

Although "Les Misérables" is not fully dependent on a rotating stage, I found myself pining for its return during the deaths of revolutionary leader, Enjolras, and the audacious youngster, Gavroche.

Their demises were moved offstage, softening the emotional blow of losing the bold, red-vested leader and the innocent, courageous child.

Later, both are seen on the back of a push cart, unfortunately recalling the famous "Bring out your dead!" scene from "Monty Python and the Holy Grail."

The pace was also kicked up a notch, eliminating breaks in music and abbreviating certain songs.

The entire show seemed unnecessarily rushed, leaving the audience little time to catch their breaths after major plot developments. First- time viewers were at a disadvantage if they were unfamiliar with the story.

Although written in 1862, "Les Misérables" connects with college students today. Like its characters, we must accept defeats and celebrate victories in our own battles, while weighing the importance and purpose of our actions.

We experience an array of emotions, from feeling the flurry of love, to the pain of neglect and loss. "Les Misérables" shows that life happens without our control and in the end, those who attained redemption did so by making the best of their situation and showing love to others.

— Matt Rubin is president of Student Government.