Monday, June 30, 2025
By Caroline Woodward
In 1986, “Les Misérables” made its American premiere at the Kennedy Center Opera House in a pre-Broadway trial run. The musical would go on to play for 16 consecutive years on Broadway, winning 8 Tony awards and becoming one of the most well-known musical shows of all time. 39 years later “Les Misérables” is back in D.C., with a production that not only lives up to the hype and reputation of the iconic show, but manages to carry on the legacy of such a storied history.
Directed by Laurence Connor and James Powell, “Les Misérables” at the Kennedy Center takes full advantage of its story’s penitent for grandeur and is not held back in any way by the stage setting. The show pulls no punches in terms of design and seemingly spared no expenses either, as the set, costuming, props, and more burst with limitless complexity. The world of 19th century France truly comes to life, from dark alleyways and sketchy inns to beautiful ballrooms, and, perhaps most importantly, the hobbled together mass of the barricade.
In a way, though, the sheer spectacle that this version of “Les Misérables” presents did sometimes pull me away from the story. With all this focus on set and world building, one may wonder whether this show still manages to maintain the heart of what makes Les Mis a true classic: its themes of dreams, sacrifice, love, and loss.
However, this issue was quickly rectified in the execution of emotionally core scenes, such as “I Dreamed A Dream.” This song, sung by tragic heroine Fontaine as she chooses to sacrifice her dignity and even life for her child, features a stripped back stage, allowing the actors to take the audience’s full attention. This becomes a pattern for the show, as the most emotional or important musical numbers strategically pull back certain elements of the set dressing to have the emotional filled, tear inducing, powerful voices take center stage. In the end, the scenery managed to never be overwhelming, just entirely impressive and well utilized.
As for the cast itself, while the sheer amount of talent on stage was overwhelming with not a poor performance among them, there are certainly standouts. Nick Rehberger as Javert dives into the tortured nature of such a morally complex figure in every line and note. Meanwhile, there did not seem to be a dry eye in the house during the undoubtedly good and tragic Eponine’s final song, beautifully portrayed by Mya Rena Hunter. Finally, Matt Crowle as Thenardier brought some much needed humor and well executed lightness to the tragedy rich show.
I would truly recommend this show to anyone and everyone. For musical theatre lovers, it is a well-executed portrayal of a well-beloved story. For those more weary, it is a wonderful introduction, one that is sure to entertain through grand staging and move audiences emotionally through powerful performances.
The show will run until July 13. Find more information about tickets here.