Under the guidance of genius direction, Les Misérables at the Eccles Theater in Salt Lake City honors the decades-long tradition and brings it new life. Les Misérables by Victor Hugo is more than just a work of literature; it is a timeless epic of suffering and salvation that defies the test of time. More than just a play, this production is an emotional journey that deftly blends intimacy and grandeur to show that Les Misérables is still relevant and alive today.
Victor Hugo’s original book for Les Misérables is 530,982 words long. To put that into perspective, that’s nearly 58 hours on Audible. In other words, it is a long book – an epic collision of fate, justice, and redemption set against the grime and grandeur of 19th-century France. At its heart is Jean Valjean, a man crushed by the law for stealing a loaf of bread, hardened by 19 years of imprisonment, and reborn through an act of grace – hunted by Inspector Javert, whose rigid devotion to order blinds him to mercy. Their struggle is the central plot of the play. And the Paris Uprising of 1832 provides a potent background for the musical. There is a lot of ground to cover in 3 hours. And every minute is worth it.
I, like many, was a teenage Les Miz groupie (who wasn’t back then?). There wasn’t a piece of the original I didn’t feel intimately connected with. Time passes, and tastes change, and the songs of our youth are not so present. I remember the incredible music, the thrill of seeing Colm Wilkinson perform, and just the power of the story. So it is with great unexpected pleasure that James Powell and Laurence Connor (Directors) made me fall in love with this show again. The staging, the incredible use of levels, the cleaning of awkward transitions, and the moments of silence are all perfect.
Providing a stunning performance, Nick Cartell (Jean Valjean) is nothing short of miraculous. In each phase of Valjean’s life, Cartell is as much a chameleon in execution as his hair, makeup, and costumes. As a brutally beaten criminal, he acts the part. He acts as a respectable man of industry and mayoral prestige. He does so with believability as Valjean, never out of character and always to perfection. In addition, Cartell has the enormous capacity to move an audience with his vocal performance. “Valjean’s Soliloquy” and “Who Am I?” pull at the heartstrings. But “Bring Him Home” – in Cartell’s skillful, transcendent performance – is a certifiable showstopper. Tender, rugged, and everything in between, Cartell will surprise you with his virtuosity.
Inspector Javert’s antithesis is necessary for Valjean to be whole. Nick Rehberger (Javert) is a man of fantastic sternness and lovely sensitivity. Rehberger exudes confidence, and his performance is sincere and passionate. “Stars” and “Javert’s Suicide,” two of his solos, highlight Rehberger’s skill as a strong and intimidating performer.
The trappings of the story itself rob us of Fantine way too early. Lindsay Heather Pearce (Fantine) is immaculate. She opens her mouth, filling the space with her voice – an overpowering grace, passion, and beauty. Pearce provides the quintessential Fantine with such strength and emotional force that you forget you’re watching a musical. Pearce pulls you in and holds you with every note.
Matt Crowle (Thénardier) and Victoria Huston-Elem (Madame Thénardier) are hilarious and a delight to watch, as are all their maniacal machinations. “Master of the House” is one of my favorite scenes in the show, and Crowle shines throughout – as he does in every scene. Huston-Elem, however, does something with her performance in that number that I’ve never seen before, and I love her for it. You can’t take your eyes off her anytime she is on stage.
As the firebrand at the helm of the rebellion, Christian Mark Gibbs (Enjolras) is less a man than a manifesto in motion – unyielding, electrified by conviction, and relentless in his pursuit of a France where the forgotten and oppressed stand as equals with the rest of society. His rendition of “Red and Black” moves in a way other performers have not often moved me. His high baritone is gorgeous. Then, with all the inspiring revelry the song calls for, Gibbs sings, “Do You Hear the People Sing?” The result is galvanic and rousing. Gibbs is magic.
Mya Rena Hunter (Éponine) delivers a heartbreak that lingers – raw, unvarnished, and achingly human. By becoming Éponine and tracing each note with longing and silent fortitude, Hunter does more than simply play her; she makes the inevitable all the more painful. Jake David Smith (Marius), sometimes written off as a romantic idealist, has a unique dimension. His portrayal of Marius captures the lofty aspirations of youthful love and the crushing weight of revolution’s cost. Smith is gentle, torn, innocent, and genuine – everything you need in a Marius. Delaney Guyer (Cosette) turns what could be a symbol of innocence into something more decadent – radiant but not fragile, hopeful yet not oblivious. Her voice carries the quiet defiance of someone who chooses love despite a world steeped in loss.
The passion and fire of the ensemble give every moment an explosive intensity that is nothing short of startling. Each actor adds a dramatic effect, creating a collaborative energy of talent. The sheer intensity of sound when the entire cast sings together washes over you and fills you with the music. They are a powerhouse and a true force.
Listening to live musicians is such a pleasure. Under the direction of Will Curry (Conductor) and Glenn Alexander II (Music Director), the orchestra excels. Every instrument fits the story wonderfully. The rich, deep sound they all produce enhances every moment. A key component of the production’s success is the musicians.
Gone is the revolving stage of the past; instead, the set design takes us inside a much more intimate portrayal of France. Matt Kinley (Set & Image Designer – inspired by the paintings of Victor Hugo) is brilliant. The fluidity of pieces and images all colliding together is astounding. All the while, it never feels like it’s too much. There is always something to see and sense, whether the stage is full of set pieces or barren, but so atmospheric to bring you into the heart of the text.
Working hand in hand is Paula Constable (Lighting Designer). There are so many fine details and layers of light and fog. It felt so authentic. I was awed by the lights filtering inside the cafe from above. There are so many subtleties and layers of light. It perfectly harmonizes with Finn Ross and 59 Productions (Projection Realization). This Les Miz feels sensory and immersive. In conjunction with this, Mick Potter (sound designer) immerses us in the world of the barricade with unexpected nuance and depth.
Everything is perfect with the costumes, whether it is Andreane Neofitou (Original Costume Designer) or Christine Rowland and Paul Wills (Additional Costume Designer). The quick changes are a delight; the depth of pattern and detail on even the simplest pieces are luxurious. They capture the embodiment of this epic tale with an incredible force of line and texture.
For me, Stefan Musch (Wigs, Hair & Make-Up Designer) is the crowning jewel in design for the evening. I don’t even know where to begin. Yes, I do: Wigs. The wigs are fabulous, just amazing. We follow time in wig changes (and what felt like Javert’s receding hairline). Whatever wizardry Musch possesses is astounding in a cohort of incredibly talented designers.
The original team deserves endless praise. Claude-Michel Schönberg (Music), Herbert Kretzmer (Lyrics), Trevor Nunn and John Caird, James Fenton (Additional material – in all three incarnations), and John Cameron (Original Orchestrations) took our breaths away in the 80’s and still do. Stephen Metcalfe, Christopher Jahnke, Stephen Brooker (New Orchestrations), and James Fenton again create a new sound, still in conjunction with the original, but with surprises and new harmonies that mesmerize and exhilarate with every single note. Do not miss the sumptuous songs and musical score.This Les Misérables isn’t just a revival – it’s a revelation. A seismic rush of theatrical brilliance that reaffirms why Hugo’s masterpiece refuses to fade. Every component comes together to create something expansive and intensely intimate: a performance that does more than just tell the tale; it makes you feel every painful note of desire, every glimmer of defiance, and every arduous moment of redemption. This Les Misérables charts its bold course, demanding to be seen with fresh eyes and felt with an unguarded heart. It reveres the original while daring to reinvent, proving that some stories don’t just endure; they transform, resound, and, in the hands of visionaries, blaze to life once more.
Run time: 2 hours and 58 mins with 1 intermission.
Recommended for ages 10 and up.
Zions Bank & Broadway at the Eccles present Cameron Mackintosh presents Boublil & Schönberg’s Les Misérables
Delta Hall at the Eccles Theater
Salt Lake City, Utah
February 26th – March 15th, 2025
Wednesday, February 26, 2025 7:00PM
Thursday, February 27, 2025 7:00PM
Friday, February 28, 2025 7:30PM
Saturday, March 1, 2025 1:00PM, and 7:30PM
Sunday, March 2, 2025 1:00PM, and 6:30PM
Tuesday, March 4, 2025 7:00PM
Wednesday, March 5, 2025 7:00PM
Thursday, March 6, 2025 7:00PM
Friday, March 7, 2025 7:30PM
Saturday, March 8, 2025 1:00PM, and 7:30PM
Sunday, March 9, 2025 1:00PM, and 6:30PM
Tuesday, March 11, 2025 7:00PM
Wednesday, March 12, 2025 7:00PM
Thursday, March 13, 2025 7:00PM
Friday, March 14, 2025 1:00PM, and 7:30PM
Saturday, March 15, 2025 1:00PM
Tickets: $59 – $249
Tickets are available at the Eccles Theater box office, 131 South Main Street, SLC, UT 84111 or by visiting Broadway-at-the-Eccles.com or by calling 801.355.2787 (ARTS)
Broadway Across America/Broadway at the Eccles
Les Miserables Tour
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Accessible Performances:
CAPTIONED: Saturday, March 1st at 1:00 PM
During our OPEN CAPTIONING performance, we offer a screen near the stage that will provide live captions throughout the show. Patrons who are interested in the captioned performance should select seats located at Orchestra Right on the Main Floor (excluding Orchestra Pit seating).
During our CLOSED CAPTIONING performance, this service may be utilized from any seat. Click the link StreamText.net on your smart device at the start of the performance to be taken to the Closed Caption link. Please note that the screen will be black until dialogue begins.
AUDIO DESCRIPTION: Friday, February 28th at 7:30 PM
The spoken narration of the performance’s key visual elements. Devices are available at the Patron Services window in the main lobby.
ASL INTERPRETED: Friday, March 7th at 7:30 PM
Patrons who are interested in the American Sign Language (ASL) performance should select seats located at Orchestra Left on the Main Floor rows D-H.
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