By Robert Simonson
28 Mar 2014
|Photo by Matthew Murphy|
West End actor Ramin Karimloo made his Broadway debut as Jean Valjean, the musical's virtuous but luckless protagonist, and Will Swenson — miles away from his star-making performance as the free-living Berger in Hair — played Javert, the obsessive French policemen who will never let Valjean forget that he stole a loaf of bread way back when.
Critics found the new staging appealingly lean and less melodramatic — though some thought this approach exposed the show's flaws more clearly. "To say this production is not as bombastic as the original is to rate it at perhaps an 8 instead of a 10 on the Hugo scale," said New York Magazine. "At the same time, the simplified staging works against the show by further exposing the thinness of the writing." Wrote the New York Times, "This Les Miz will offend none of the musical's fans with any directorial innovations, and will give them a chance to assess how a new generation of performers meets the challenges of the score." Time Out New York agreed that "It's strictly for existing fans."
Swenson, however, also received his share of accolades. "[Karimloo's] performance is affecting throughout, but Swenson is a bigger revelation," opined the New York Post, while New York Magazine said, "A less-expected delight is Will Swenson. Though his Broadway credits (including Hair and Priscilla Queen of the Desert) did not suggest the stature and discipline needed for an effective Javert, he offers a highly mannered but convincing interpretation, biting decisively into every musical phrase like a Doberman."
Mothers and Sons — a new drama by playwright Terrence McNally that stars Tyne Daly as a mother paying a surprise visit to her late son's ex-partner, played by Frederick Weller — was the other big opening of the week. It officially opened March 24 at the John Golden Theatre, directed by Sheryl Kaller. Both Daly and Kaller repeated their work from the June 2013 Bucks County production.
Some admired McNally's work. Time Out New York said it was "arguably McNally's best play in 20 years," and the AP observed, "The 90-minute play moves quickly, and although some of the most angry exchanges seem to erupt from nowhere, the playwright beautifully shows how close to the surface long-suppressed emotions and slights can fester."Continued...