Les Miz is "A truly grand achievement!"

-Chicago Sun-Times-

'Les Miserables' a Joy to Behold

By Chris Jones
Chicago Tribune

"...great scores — and, make no mistake, “Les Mis” is among the most emotionally stirring musical-theater compositions of the 20th Century — invariably deliver more when performed in a more intimate setting. Assuming you have the right performers.

The Marriott has the right performers, all right.

And thus, at about half the ticket price of a downtown touring Broadway show, the Marriott and director Dominic Missimi are delivering a slightly more modest but very fine new production of “Les Miserables” that, fear not, retains the majesty and sense of occasion of this incomparably epic, yet proudly populist, musical.

In these trickily litigious times, Missimi and his designers have shrewdly retained enough of the original theatrical style to mesh with people’s typically fond memories of the show...

There’s no turntable, and the theater-in-the-round setting made the barricade a tough assignment. Designer Tom Ryan came up instead with a kind of skeletal, see-through model... [through which] you gain a better visual invocation of the fatality of the student uprising.

I’ve never heard a Marriott show better sung. Broad swaths of the cast have done the show on Broadway or elsewhere. John Cudia, who plays Valjean, has played both the Phantom and Valjean on Broadway and delivers the vocal dexterity you expect — but also the rich emotional center that doesn’t necessarily come with that same territory. The Chicago star Kathy Voytko, who plays Fantine, just gets better and better with every show. And as Javert — for me, the most important role in the show — Richard Todd Adams is quite superb, making sense of a carefully textured villain incapable of relativistic thinking.

This is a great opportunity to introduce a young person to this show or rediscover its soaring melodies. .."

They'll Storm the Bastille to get to this 'Les Mis'

By Hedy Weiss
Chicago Sun-Times

"... you might very well be knocked out by the splendidly staged, ravishingly sung production of the show that opened Wednesday at the Marriott Theatre in Lincolnshire. The Marriott is one of just five theaters nationwide to be given the rights to produce "Les Mis" in its initial post-Broadway incarnation, and director Dominic Missimi has pulled out all the stops in this tremendously effective, emotion-charged production that features a number of Broadway veterans.

And don't think downscaled. Think intimate and winningly human-scale (despite a cast of more than 30 actors), intensely acted, exceptionally clear (every lyric can be heard, unlike on Broadway) and exquisitely lit (Diane Ferry Williams' work has the quality of an Old Master painting). True, there is no turntable (this is a plus, and of course the Marriott's in-the-round configuration more than compensates in many ways). But there are barricades (credit Thomas M. Ryan for the ingenious set pieces), and a sewer, and a real sense that the audience is part of the scene.

John Cudia (who played the title role in "The Phantom of the Opera" in the recent national tour here) is a young-looking Jean Valjean, yet he is a most intelligent actor with a gloriously wide-ranging voice. And you will not hear a more heart-piercing version of the prayerful "Bring Him Home" than his, with all its honeyed falsetto notes, nor will you hear a more forthright take on "Who Am I?"

Playing police inspector Javert, Valjean's lifelong "law-and-order" nemesis, is Richard Todd Adams, whose clarion delivery of "Stars," as well as his final soliloquy, all but stops the show. Adams and Cudia are superbly matched.

The creamy-voiced Kathy Voytko is a very real and sympathetic Fantine, and she delivers a heart-piercing rendering of "I Dreamed a Dream." The revolutionaries -- led by Patrick Cummings (as Enjolras, the firebrand) and Chris Peluso (as Marius, the young romantic) -- also are well-cast and golden-voiced, with Leah Horowitz, as Valjean's "adopted" daughter Cossette, bringing just the right in-the-dark quality to "In My Life," and Anne Letscher's martyred tomboy Eponine refreshingly real rather than rock-star cute.

Michael Accardo and Catherine Smitko are full of Dickensian vulgarity as the money-sucking Thenardiers. And 10-year-old Jonah Rawitz is such a zesty presence as the little messenger Gavroche, you might wish he had more to do.

But it is not just the leading players here. There are times when the voices of the ensemble mass into such a multilayered, soaring chorus (applause for musical director Brad Haak and conductor Patti Garwood and her orchestra) that the music creates its own form of redemption and even banishes memories of the witheringly funny sendup of "Les Mis" found in the satirical revue "Forbidden Broadway."

Boublil and Schonberg may have lost their way in their recent effort, "Pirate Queen," but they've always said that "Les Mis" would be their enduring achievement, in large part because Hugo's story is so monumental and heartrending. This splendid Marriott edition proves their point, and then some. A truly grand achievement."

Les Miz is a triumph...!

By Barbara Vitello
Daily Herald

"Marriott Theatre's on a roll.

After snagging the rights to "The Producers" last year, the Lincolnshire theater scored another coup when it obtained the rights to "Les Miserables."

Twenty-one years and a half-dozen national tours after it opened on Broadway, the megamusical by Alain Boublil, Claude-Michel Schönberg and Herbert Kretzmer based on Victor Hugo's 19th century novel makes its regional premiere at Marriott. Once again Marriott, peerless when it comes to re-imagining Broadway spectacles on an intimate scale, delivers.

Dominick Missimi's revival is a triumph, and the first-class artistic team of Diane Ferry Williams (lighting), Thomas M. Ryan (set) and Nancy Missimi (costumes) share the credit. Brilliantly cast, briskly paced and deftly staged (sans turntable) with a gloriously operatic ensemble under music director Brad Haak, Missimi's "Les Mis" succeeds on practically every level.

The impressive array of Broadway imports include Richard Todd Adams, chilling as the merciless Inspector Javert; Kathy Voytko in another richly evoked performance as the impoverished Fantine; Chris Peluso, a fine singer whose transformation from infatuated student Marius to sober young man is subtle and credible; and John Cudia, sublime as Jean Valjean, a man hardened after 19 years in prison and transformed by kindness into a model of social conscience and compassion.

Cudia reflects the charisma and confidence of a Broadway vet, yet his powerhouse turn doesn't overpower. A robust baritone with a gossamer falsetto, Cudia's wonderfully moving performance of the hymn-like "Bring Him Home" is easily the most riveting, emotionally charged moment of the night.

Remember his name -- it will undoubtedly come up later this year when the Jeff Award nominations are announced."

Masterful... Four Stars!

By Dan Zeff
Illinois Wire

"How do you adapt a spectacle like 'Les Miserables' to an intimate ni the round stage? First, you hand over the production to a creative director like Dominic Missimi at the Marriott Theatre. Then you hire a superb cast of singers and actors, provide them with countless period costumes, and let the power and sweep of the story take over. Teh result is the stunning revival that Chicagoland audiences will be able to enjoy for the next three months.

Actually, customers at Marriott shoudn't be surprised at the excellence of the Marriott 'Les Miz.' This was the theater that reinvented 'Cats' and 'Miss Saigon,' restaging those scenery-heavy shows on such a human scale that the elaborate sets of the Broadway versions seemed intrusive. And so it is with the present 'Les Miz...' The stripped down physical production allows the story to move at a much faster pace... Solutions to staging problems never descend into compromises in this production... The intimacy of the stage allows the performances to reinforce the sense of social injustic that motivated Hugo's original work back in 1862.

John Cudia is masterful as the ex-convict Jean Valjean, both as a singer and actor. He even brings off that nearly unsingable falsetto aria 'Bring Him Home' with unforced feeling. Cudia is matched by Richard Todd Adams as Valjean's implacable adversary through the years, the law-obsessed Inspector Javert.

The total ensemble numbers 32 performers, perhaps a Marriott record. If I were one of those 32, I would run to the theater for every performance. They are all part of something that special."

Magnificent Musical Epic

By Dorothy Andries
Pioneer Press

"Director Dominic Missimi has fully realized the vast, heart-wrenching story of this this Tony-winning show on the theater's in-the-round 27-foot by 27-foot stage.

John Cudia, in his Marriott Theatre debut, played Jean Valjean with consummate humanity. He sang beautifully and radiated the character's inmost being -- initially embittered by imprisonment and later transformed into a man of compassion. His nemesis, police officer Javert, was portrayed with skill by Richard Todd Adams. His character's obsession with the letter of the law -- Valjean has broken parole and prospers under a new name --is in contrast to the bishop of Digne, France, (Fred Inkley), whose lie saves Valjean from additional jail time and sets on him a path to redemption.

Fast forward to the student uprising in Paris and that famous barricade. Valjean has given Cosette a loving home and she has become a beautiful young woman. After a chance encounter, she and the student Marius fall instantly in love. Leah Horowitz and Chris Peluso were well cast as the young couple.

Few numbers on any stage match the students' rousing "Do You Hear the People Sing?" The Marriott show boasted strong male voices, notably Patrick Cummings as Enjolras, the leader of the rebellion.

Among the fallen is the love-struck Eponine, sung by Anne Letscher, whose "On My Own," is one of the show's most beloved songs. The real tear-jerker, however, was Valjean's "Bring Him Home," which Cudia sang softly and with utmost tenderness.

The songs in "Les Miserables" are richly melodic, with strong, simple rhymes, and the singers' diction was nearly perfect. Musical director Brad Haak underscored its operatic style, and Marriott has more than done justice to this magnificent work."

A Spellbinding 'Les Miz'

By Betty Mohr
Southtown Star

Inventive direction in Marriott's intimate space heightens play's emotional impact

At first, I had doubts about the revival of "Les Miserables," now at Marriott Theatre in Lincolnshire. How could that in-the-round theater compete with Alain Boublil's and Claude-Michel Schonberg's Broadway spectacular, which previously played in the mammoth Auditorium Theatre space? Yet, to my incredible delight, Victor Hugo's exalted epic of 19th century France, under Dominic Missimi's extraordinary direction, soars to new heights of heart-piercing passion and soul-stirring emotion at the Marriott.

Indeed, under Missimi's direction, the show more intensely focuses on the crux of Hugo's novel, which looked at child abuse, economic privation and harsh laws, and suggested that love had the power for incredible good. Missimi makes up for the extravagant scenic elements of the Broadway-style musical productions - such as its swirling turntable staging and larger-than-life barricades - with his own brand of sleight-of-hand magical effects.

The stunning lighting design by Diane Ferry Williams provides for inventive and fascinating imagery. Williams' light effects convey startling images of the Paris sewer system, the gunfire battle of French rebels and the dazzling fall of Javert, the rigid officer of the law, into a watery grave. In addition, the glorious music and poetic lyrics presented by the Marriott's outstanding orchestra, come through with spine-tingling splendor.

The vocal prowess of the amazing ensemble further highlights the show's lavish musical score. Songs sung by the ensemble, such as "One Day More" and "Do You Hear the People Sing," are rousing, and the comical "Master of the House," performed by Michael Accardo and Catherine Smitko, is exuberant.

This "Les Miserable" is a spellbinding production. As the best show I've ever seen at Marriott, I cannot recommend it too strongly.

Marriott's 'Les Miserables' Creates Intimate Impact

By Steve Leary
BroadwayWorld.com

The Marriott Theatre in Lincolnshire, Illinois, one of only five regional American theatres chosen by Mackintosh to mount a post-Broadway production of Les Misérables, proves that a blockbuster show can be recreated for the smaller stage – and in the round – without losing any of its impact. Marriott Theatre’s production, under director Dominic Missimi, has assembled a Broadway-worthy cast (many of the Marriott cast have Broadway credits), top-notch designers and music direction to successfully recast the show in a space half the size of most Broadway houses. The result is impressive.

What we have come to expect from Les Misérables is spectacle, but the Marriott’s relatively intimate setting allows the tale to unfold as if the audience were one of the characters, never more than a few yards from the action.

The story spans 17 years, taking protagonist Jean Valjean from prisoner to factory owner and town mayor. Actor John Cudia, as Jean Valjean, recently seen in Chicago in the title role of The Phantom of the Opera, inhabits the character with a commanding presence and voice.

Kathy Voytko and Richard Todd Adams are outstanding as Fantine and Inspector Javert. Chris Peluso shines as Marius and Catherine Smitko and Michael Accardo are hilarious as Monsieur and Madame Thènardier.

Mackintosh’s instinct to mount Les Misérables at the Marriott Theatre in Lincolnshire has proven to be a smashing success.

Marriott’s “Les Miz” Is A Theatrical Triumph!

By Michael J. Roberts
Chicagopride.com

It is hard to put into words the absolute magic that energized the theatre in the round space at the Marriott Lincolnshire Theatre on Wednesday's opening of Les Miserables. Being honored as being one of only five theatres in the country to gain the rights to produce this epic musical since its closing on Broadway last year, Marriott's Director Dominic Missimi has assembled a stellar cast which propels this version as the standard others will have to follow.

As with Marriott's production of Boublil and Schonberg's other mega hit Miss Saigon several years ago, the limited space makes you focus on the story and not the theatrics. Because of that, this production of Les Miz easily surpasses the original London and Broadway productions because it is the story and the relationships that are key. For those who don't know the plot or who haven't read Victor Hugo's classic novel, Les Miz tells the life story of Jean Valjean spanning three decades with the backdrop of the student uprising during 19th century France.

What propels this production into the stratosphere is the cast beginning with the mind blowing John Cudia's portrayal of Jean Valjean. Cudia, who in the only actor to play both the Phantom and Valjean on Broadway, and who just played the masked man in the recent Chicago Phantom tour stop, props the rest of the cast on his shoulders and carries them to theatrical glory. Forget his more famous predecessors including Colm Wilkinson and Peter Karrie. Cudia gives one of the best performances Chicago audiences will ever see, and embodies Valjean with a humanity that is palpable. Match that with a glorious tenor voice that had even the most jaded in the audience crying like a baby after "Bring Him Home". Cudia is quite simply the best Valjean ever to put on the uniform. Same can be said of Richard Todd Adams' Inspector Javert. It is a no hold bars performance and his aria, "Stars" is breathtaking.

Cudia's real life wife, Kathy Voytko, who just finished a successful run opposite Ana Gasteyer in Passion at the Chicago Shakespeare Theatre, resembles Patti Lupone's Fantine and her rendition of "I Dreamed A Dream" makes you wish the character wasn't killed off in the first half hour of the nearly three hour production.

The brilliance of the cast goes on and on. Chris Peluso's magnificent Marius is the perfect age to play this part, as usually casting directors skew it a little older. Peluso's ‘Empty Chairs at Empty Tables' is sung and staged perfectly. Anne Letscher's Eponine totally won the audience over at her first entrance and her belting rendition of ‘On My Own' revels any recording; Catherine Smitko and Michael Accardo steel every scene they are in as the Theinardiers.

The sets and lighting are genius and transforms the space into a multi-tiered venue for the actors to work their magic. Musical Director Brad Haak, has for the first time in years, been able to eliminate the tinty orchestral sound caused by the musicians being placed behind a glass wall and the sound piped in. How he did this remains a mystery, but boy does make a world of difference.

For those who love the show, or for those who just love theatre, Les Miserables at the Marriott Lincolnshire is not be missed.

Hold On to your Seat Breathtaking... Four Stars

By Joe Stead
Chicago Critic

"Chicago area theatregoers should consider themselves mighty proud to have this venerable company in our midst, serving up intimate and revealing musical productions that often put the originals to shame. Simply put, the Marriott "Miz" is "hold on to your seat" breathtaking. Director Dominic Missimi and Musical Director Brad Haak deliver all of the dramatic and musical goods to create an awe-inspiring evening of musical theatre at its zenith.

A certain amount of Divine inspiration and talent have assured this Marriott premiere to be a major event. The casting is amazing, so much so that one almost expects Colm Wilkinson and Patti LuPone to drop in for cameo appearances. Fresh off the starring role of "The Phantom of the Opera," which he headlined at the Cadillac Palace Theatre, Broadway veteran John Cudia is a mesmerizing Jean Valjean. His Christ-like visage, soaring tenor voice and serene stage presence are all ideally suited to this demanding assignment. And Richard Todd Adams proves to be a remarkably dilligent and foreboding adversary, investing the hard-hearted cop Javert with a real sense of purpose and dignity. His rendition of "Stars" is both beautiful and chilling.

Missimi and his ace production team (Set Designer Thomas M. Ryan, Lighting Designer Diane Ferry Williams, Costume Designer Nancy Missimi and Sound Designer Cecil Averett) have creatively solved all of the challenges this lavish spectacle posed for the Marriott's intimate arena stage. It's so captivating you won't have time to miss the turntable and hydraulic barricade from the Broadway, London and touring productions. And the Marriott's space provides the ideal way of getting up close and personal with musical classics we have loved and cherished. "Les Miz" is the very best of the 1980's and early 90's British opera invasion of Broadway, and you're unlikely to find a better account of it than the Marriott."

Epic Musical Enthralls on Intimate Marriott Theatre Stage

By Tom Williams
Chicago Critic

"True to the expectations, Marriott’s Les Mis is an enthrallingly perfect production. This classic opera contains a great score, wonderful songs and an uplifting story of the power of the human spirit and unconditional love.

Marriott Theatre and director Dominic Missimi have a quick paced, beautiful show filled with veterans of past productions of Les Mis. They sing flawlessly to Brad Haak’s fine musical direction with Patti Garwood’s tunefully rich 11 member orchestra. The exquisite lighting by Diane Ferry Williams on Thomas M. Ryan’s unique minimalist set design including the quite different barricade worked well on Marriott’s in-the-round stage. Not using a turntable barricade was a refreshing original concept. Les Mis is another example of how epic musicals can become more powerful on smaller more intimate stages. This production is among Marriott Theatre’s finest to date. Get to Marriott Theatre to experience a rare theatrical event—Les Miserables. You’ll be amazed at the quality you’ll get for only $45 per ticket. Les Mis is one of the best shows of the season. It is a major achievement for Chicago theatre. If you only see one show this year, make it Les Miserables at Marriott Theatre."

Marriott's 'Les Miz' a Must-See

Les Miz By Al Bresloff
Chicago Theatre Critic

"If anyone has any doubts as to why Marriott Theatre in Lincolnshire is considered the "premium" regional theater, seeing their latest production will change their minds. I was a bit apprehensive on how they could stage a major massive musical piece like "Les Miserables" on their small theater in the round stage. Anyone who has seen this show knows that there is a massive set and a large cast, but director Dominic Missimi and his staff have absolutely defied all the naysayers with the most startling production that I have ever seen at this theater. From start to finish, this production is "perfection" and every member of the opening night audience left the theater with high energy and waiting to tell their friends and family about this marvelous production. Thomas M. Ryan has designed a working set that allows for great sight lines and yet we get all the feelings that the writers wanted (with a massive set). Diane Ferry Williams lighting is more than perfection as she achieves effects that one can only imagine and Nancy Missimi's costumes are, as always, perfect.

The cast assembled by The Marriott staff couldn't be any better. All of the voices are spectacular and John Cudia as Jean Valjean is amazing! This score calls for a strong Javert as well and Richard Todd Adams handles this role with greatness. The comic roles of the Innkeeper and his wife are deftly handled by Michael Accardo and Catherine Smitko (they do a rousing rendition of "Master of The House") and the other major players, Anne Letscher (Eponine), Leah Horowitz (Cosette) , Chris Peluson (Marius) Kathy Voytko (Fantine) and young Jonah Rawitz (the adorable Gavroche) are all worthy of any stage on Broadway. Young Eponine is played by Arielle Leigh Dayan and young Cosette, Elianna Kate Schnittman (who does a wonderful "Castle on A Cloud")."