From Critical Failure to Global Phenomenon: How Les Misérables Conquered the World
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More than 130 million people have experienced Les Misérables, a musical initially met with largely negative reviews, proving that initial critical reception doesn’t always dictate long-term success. The show, which celebrates its 40th anniversary this year, has been performed in 57 countries and translated into 22 languages, a testament to its enduring appeal. As one critic wryly observed, echoing George Bernard Shaw’s sentiment, “Forty million Frenchmen can’t be right.”
A Rocky Start at the Barbican
The initial reception of Les Misérables in October 1985 at the Barbican was far from celebratory. Critics, including the author of this piece, largely dismissed the production. The show, a joint venture between the Royal Shakespeare Company and Cameron Mackintosh, was initially judged as much as a company product as a commercial musical. Many reviews drew comparisons to the RSC’s ambitious production of Nicholas Nickleby, a sprawling, seven-hour adaptation of Dickens’s novel.
The key difference, however, lay in scope. Nicholas Nickleby aimed for comprehensive fidelity, while Les Misérables, adapted from Victor Hugo’s 1,300-page epic, was inevitably a condensed version. This reduction in scale led to criticism centered on the simplification of the novel’s complex moral dilemmas.
Evolution of a Blockbuster
The production has undergone significant changes since its debut. The original run lasted three and a half hours, but has since been trimmed to under three. According to Mackintosh, these cuts were implemented as the show moved to the West End and Broadway, responding to the constraints imposed by musicians’ union overtime rules.
The visual landscape of Les Misérables has also been dramatically altered. The original designs by John Napier were architectural in nature, while the current production, helmed by Laurence Connor and James Powell, features pictorial designs by Matt Kinley. These newer designs incorporate sombre projections inspired by Hugo’s own paintings, and the set for the sewer scenes evokes the work of artist Piranesi. Paule Constable’s lighting further enhances the atmosphere, utilizing vertical beams to represent imprisonment and horizontal volleys to symbolize the relentless pursuit of Jean Valjean.
Beyond Adaptation: A Universal Appeal
Initial criticisms focused on the adaptation itself, but a subsequent viewing revealed a more compelling production. The author was impressed by the staging’s pace and the design’s shadowy beauty. The question remains: why has a show initially condemned by many critics achieved such extraordinary longevity?
A significant factor is the unwavering faith of its creators. Despite expectations of a swift closure after its initial eight-week run, Mackintosh, alongside Claude-Michel Schönberg, Alain Boublil, and lyricist Herbert Kretzmer, persevered. Mackintosh believes the show’s enduring appeal lies in its focus on youth and its themes of fighting for a better world, resonating with new generations. He noted that key songs have become “anthems of freedom and revolution around the world,” often sung by audiences unaware of their musical origins.
Furthermore, Mackintosh expressed surprise at the show’s popularity with schools, with children as young as eight both performing and attending the musical. The ensemble-based nature of the production – featuring 32 actors portraying nearly 300 roles – has also made it a valuable training ground for aspiring performers, many of whom were not even born during the show’s original staging.
The Power of Myth and Emotion
The success of Les Misérables can also be attributed to its potent combination of hope and hardship. As VS Pritchett observed, Hugo possessed a genius for creating “simple and recognisable myth.” The musical taps into this power, offering a compelling narrative of redemption set against a backdrop of poverty. This combination is echoed in other successful productions like Punch and Oliver!, which similarly explore themes of spiritual rebirth and social justice.
In fact, Mackintosh revealed a direct connection between Les Misérables and Oliver! – the character of Gavroche was inspired by Alain Boublil’s reaction to the Artful Dodger singing “Consider Yourself” in Mackintosh’s 1977 production of the Dickens musical.
Ultimately, Les Misérables delivers an emotional experience akin to opera. The climactic end of Act One, with characters from diverse backgrounds uniting in song during “One Day More,” is a particularly powerful example, leaving audiences captivated. While acknowledging that some nuance from the novel is lost in the adaptation, and the complexities of the 1832 uprising may be overlooked, the author concedes that revisiting Les Misérables was a humbling experience. The show offers audiences something increasingly rare in the theatre: an optimistic philosophy and a direct appeal to the heart.
