Community Update

Have you spent an evening with the Concord Players? After their recent performance of "Les Miserables", I know I'll be back.

Concord Players  presented a magnificent ‘Miserables’

Life has a way of getting in the way of living. After declining many invitations over a number of years to join a kind friend at any number of community theater performances, I finally had the chance to say “Yes!” and attended closing night of the Concord Players’ recent run of “Les Miserables”. In three short words, “Shame on me”. I was far too long away from the theater.

Perhaps you already know that “Les Miserables” is a tough story. Lots of tears, sadness and death. Lots of miserableness, to be certain. I had never seen it—whether on stage, at the movies, or on television and knew nothing of the story line. I had guessed (based strictly on the title).

I suppose I was the best person to review it because I had nothing to hold it against except itself.

The impressive cast of 52 (or was it 54?) took me by the hand and swept me into the story. It was powerful from the haunting opening note to the curtain call. ‘Miserables’ was magnificent.

The cast brought impressive experience to their roles and many were making their Concord Player debuts.

Alissa Palange in the role of Éponine, delivered a standout performance. Her lovely voice was strong and clear, and she played her character with wounded passion.

David Wood and Angela Richardson as Monsieur Thénardier and Madame Thénardier were wickedly charming in their roles as the innkeeper and his wife. Their movements and banter were choreographed in perfect, fluid union and you knew these two had spent years getting in one another’s way. They deftly played the pressure valve that eased the mounting drama.

Steve Shamah as Jean Valjean—24601—carried the story with tireless energy. Jim Assart as the dogged pursuer Inspector Javert, gave his most dramatic performance during the suicide scene.

Sean Murphy as Enjolras, the leader of the rebellion, radiated in the face of the doomed revolution. His spirit boosted his band of warriors and they would have followed him anywhere.

Outstanding in their roles were Brigit Smith as young Cosette, Chloe Little as young Éponine, and Christopher Govang as Gavroche. Each has an already growing resume of theater experience.

Theater requires people in the background to allow those who put on the makeup to take the stage. This production demanded an army of support. The lighting was dramatic, particularly those scenes that gave the illusion of prison bars, and when Valjean carried Marius’ body.

The costumes were perfect, the hues as cheerless as the story was heartbreaking. The few flashes of color against the drab heightened the drama—in Enjolras’ vest and the rebel flag, in Valjean’s military uniform, on the Thénardiers, and in Cosette’s gown.

The scene changes were smooth and well timed. Players and stage hands moved props and scenery with a precision that felt natural, is if it had been written into the script.

I found myself watching characters off a scene’s focus, to see their anticipation of their next move. Each step was as spontaneous as the moment would demand, each movement and word genuine to the heart of the story.

The flow of the production was seemless, from the technical view including sound and music, to the sets and costumes changes, and to every Player who stepped foot onto the stage.

It was wonderful to see so many multi-generation families and young people in the audience. Cast and crew bios credited family involvement and support, and the cast included a father and son.

Community theater is a gem and the Concord Players polished the murky, gray story of “Les Miserables” into a diamond.