Les Miserables
at David Posnack Jewish Day School

Reviewed on January 23, 2019

Jaime Happel
JP Taravella High School
Submitted for publication to Florida Theater On Stage

"Liberty, Equality, Fraternity." Brought about by The French Revolution, the French Republic seems to have made a faux pas when choosing this slogan; the prominent themes exquisitely reflected in David Posnack Jewish Day School's production of "Les Miserables" will make such an ordinary motto waive its flag and surrender to the adoption of superior notions: sacrifice, redemption, and unity.

Based on Victor Hugo's novel of the same name, "Les Miserables" follows a convict's exploits in 19th century France as he battles criminal justice and moral struggles. The French concept album premiered at the Palais des Sports Theatre in Paris of 1980 and Cameron Mackintosh's British adaptation quickly became a worldwide phenomenon, later the West End's longest-running show and Broadway's fifth-longest-running musical. Claude-Michel Schonberg, Alain Boublil, and Jean-Marc Natel, composed the original French music and lyrics; Herbert Kretzmer, Trevor Nunn and John Caird translated the award-winning production to English.

Matan Dalal harnessed impeccable stamina in his portrayal of the bread-stealing slave of the law, number 24601, Jean Valjean. Dalal possessed a clear development of Valjean's complex character, which was only enhanced by crisp articulation, strong projection, and powerful vocal ability. His fierce commitment to character was seen as he commanded the stage. As the show progresses and Valjean must age believably, Dalal, a young actor, showcased an impressive level of maturity. A distinct father-daughter relationship was sweetly present between Valjean and Cosette (Lillian Milgram). Milgram's charming soprano register wonderfully matched her winsome character.

Ilana Schimmel confidently depicted Eponine, remaining constantly engaged whilst exhibiting imminent character growth throughout the production, most notably in her compelling rendition of "Building the Barricade." The Thenardiers, Harrison Braver and Ariel Fischer, displayed exemplary comedic timing and the eccentric couple's playful chemistry heightened energy levels. Both Fantine (Margalit Maleh) and Enjolras (Sophie Fischer) presented remarkably controlled vocals and captivating stage presence.

As a whole, the ensemble tackled such challenging material quite well, truly capturing iconic elements while placing their own spin on the production. The cast differentiated their multiple personas throughout the show; however, narrative inconsistencies sometimes occurred due to underdeveloped characterization. The ensemble excelled at remaining on tempo and executing the intricate score with great success, ABC Society Members and Factory Girls being commendable standouts. Some moments lacked dynamics and motivation, causing a dip in energy levels, but when the cast collaborated as a unified front, they filled the space beautifully whilst supporting impactful group-numbers such as "One Day More."

The production's colorful lighting was precisely detailed in regards to reflection, death, and battle scenes. Sound was unbalanced at times, causing performers and orchestration to overpower one another. The majority of costumes were appropriate for the time period and exceptional makeup brilliantly highlighted the aging process, with graying hair and wrinkles serving as visual representations of significant passages of time.

With "A Heart Full of Love," David Posnack Jewish Day School's production of "Les Miserable" demands the respect of little people, instills the importance of rebellion, and reminds us that even when life is dark and dreary, we must be unafraid to dream.

Amanda Kopelman
NSU University School
Submitted for publication to Florida Theater On Stage

It's 1789, and the storming of the Bastille has catalyzed the French Revolution and the uprise of thousands of civilians; it's 1830, and King Charles X of France is overthrown. The remnants of France — society split by social class, by wealth. It's 1832, and the barricades of France are being constructed. Posnack School's "Les Misérables" encapsulates the action and emotion that is the chaos of 19th century France.

It's 1983, and the humble beginnings of the musical we are know were in form after the initial adaptation of Victor Hugo's novel, "Les Misérables"; Hugo's passages and paragraphs became lyrics and melodies for the original concept of the novel's becoming a musical. When "Les Misérables" was first introduced, critics did not seem to have anything positive to say about the musical, however, loyal audience members did. As the public began to defy the critics' awful reviews, the box office began selling out, and "Les Misérables" became the West End's longest-running musical.

As the story commences, The Factory Girls perfectly embody and represent the poor working class with "At the End of the Day", an action-packed musical number. As the Factory Girls exit the stage, Posnack School's lighting design transforms into the serenity of Fantine, played by Margalit Maleh, and her iconic "I Dreamed a Dream"; Maleh's believability and stunning voice adds a level of professionalism and sophistication to the classic musical. As the drama and tragedy of Fantine's death is played out, Master and Madam Thénardier, played by Harrison Braver and Ariel Fischer respectively, bring comic relief to the depressing life of Cosette, portrayed by Lillian Milgram. Despite the cast's occasional inharmonious notes, Posnack School's fantastic orchestration and great energy bring "Master of the House" to life, leaving the catchy lyrics and comedy of Braver and Fischer with the audience. The care and love of Jean Valjean, played by Matan Dalal is, for the most part, of genuinity and truth as he cares for Fantine's daughter, Cosette.

"On My Own", emotionally sung by Posnack School's Eponine, Ilana Schimmel, and enhanced by the simple and focused lighting, perfectly shows the power that Schimmel's voice is able to demand on the stage. In great contrast, the lighting shifts to a deep red, and the actors are boldly in place for a bloody battle. With sharpness and great focus, Enjolras, played by Sophie Fischer leads the cast from "The First Attack" through "The Final Battle" as the cast's costumes are defined in "Red and Black". Despite its occasional set and microphone malfunctions, the crew stepped up to the challenge of making the battle scenes mostly fit the time period and appear as visually realistic as possible. As Jean Valjean saves Marius, played by Jonathan Spier, the tone of the musical begins to shift gears.

With a beautiful aura of white, "The Wedding" begins; Marius and Cosette are dressed in stunning white attire, adding an element of elegance and gentleness to the otherwise violent theme of "Les Misérables". With energy, sophistication, and the occasional harmony, Posnack School's "Les Misérables" shows the contrast of social classes and teaches its audience how there is always a chance for redemption — not only during the initial start-up of the musical in 1983, but in life as well; an important lesson is taught, that there is always "one day more".

Aysha Zackria
NSU University School
Submitted for publication to Florida Theater On Stage

Do you hear the people sing? In David Posnack Jewish Day School's heart-wrenching production of Les Miserables, the iconic songs of angry men resonate proudly.

Set several decades after the French Revolution, Les Miserables follows tortured soul and compelling protagonist, Jean Valjean. After spending 19 years in prison for a crime of good intentions, he is given a chance to start over, one he believes he does not deserve. He subsequently dedicates his life to doing well by others, raising Cosette, the daughter of a woman cast out of the factory he now owns, and aiding the ABC Society in their rebellion. Based on the 1862 novel of the same name, Les Miserables was originally adopted into a French musical with music by Claude-Michel Schönberg, premiering in 1980. The English adaptation includes lyrics by Herbert Kretzmer and book by Trevor Nunn and John Caird. The original 1986 Broadway production won eight Tonys, including Best Musical, and four Drama Desk Awards.

Matan Dalal, as Jean Valjean, conveyed the character's desperation through an obvious understanding of the lyrics, supported by his clear enunciation. In his many solos, his dynamic vocals and large range impressed. Ilana Schimmel, playing Eponine, commanded the stage with her powerful presence. She vividly explored her character's unrequited love for Marius. Harrison Braver, as Thénardier, Master of the House, had hilarious physicality, making him seem like a larger than life caricature. His chemistry with Ariel Fischer, playing Madame Thénardier, bolstered the believability of their relationship. The duo stood out with evil, yet delightfully funny greed.

Joshua Riesenburg, as Gavroche, juxtaposed his youthful energy with the many older characters. His role as an innocent casualty of war sparked a growth of angered motivation in the ABC Society. Margalit Maleh, playing Fantine, immersed herself completely. Her performance was extremely evocative of true fear and despair, especially through her rich vocals. Similarly, the members of the ABC Society were consistently engaged and in character, even when scenes did not go entirely to plan. Their passion was infectious. Although some ensemble members lacked energy and investment in the story, the production as a whole was cohesive and enjoyable.

Lighting established tone effectively, reflecting the progression of the plot while transitioning smoothly. The use of white spots to create tableaus was especially notable in battle scenes. With a minimal set, the costumes served as an excellent vehicle of immersion into 1832 France. The use of color conveyed the class of each character clearly. Makeup visually aided the passage of time, using graying hair and sunken eyes to express aging.

David Posnack Jewish Day School's production of Les Miserables proves that there will always be "one more dawn," "one day more."

Vanessa Morris
Deerfield Beach High School
Submitted for publication to Florida Theater On Stage

Les Misérables is a harrowing musical about the triumphs of prisoner 24601, Jean Valjean, a humble man who was imprisoned for stealing bread for his family in 19th century France. It takes 19 years of slave labor for him to escape. It follows his rise to heroism during the French revolution. The musical is the 5th longest running Broadway Musical, making it a ubiquitous name in households. Because of this familiarity, it is harder to break from what the ‘industry standard' calls for without some adversity. Les Misérables also happens to be one of the most difficult scores to sing. DAVID POSNACK JEWISH DAY SCHOOL had the onerous task of conquering such a difficult arrangement.

DAVID POSNACK JEWISH DAY SCHOOL worked very well under high stakes, acting with great enthusiasm and singing with passion. The dedication to singing the impossibly wide range of notes was meticulous and impressive. Actors had to both project and uphold stage presence. One actor that had done this stunningly well was Madame Thenardier, played by Ariel Fischer. She is probably the poster child for the term ‘stage presence'. There was never a dull moment when she was on stage and she amplified the energies of those around her. She was able to act the age of a Madame as well as serve as comic relief. Her vocals were also on point and she served well in alleviating the tension of a scene.

Jean Valjean played by Matan Dalal had carried what seemed like the world on his shoulders, upholding his stage presence and energy throughout a long show run-time, regardless of onstage time. His emotion was commendable and his vocals were unwavering through the whole performance. He was able to project while remaining passionate and rooted in character.

There was a constant battle that is known all too well in high school theatre. High tech Mic connection versus the modern day iPhone. The sound was being cut at left and right but the effort of actors to both project and readjust to the microphone cutting back in was beyond valiant. What lacked in sound tech was made up for in lighting. The way the stage was lit was incredibly beautiful and always enhanced a scene. Specifically the Epilogue. The song was not only beautifully lit, but it had also been sung and choreographed incredibly by the entire cast onstage. It was a strong finish to a strong performance.

Les Misérables is a daunting piece to approach, with its extreme note range, to its difficult parts to play, it would be easy to want to abandon ship. But DAVID POSNACK JEWISH DAY SCHOOL took a chance, took a leap of faith, and fared well under pressure. The production reinstilled why high school theatre should be celebrated.

Julia Musso
NSU University School
Submitted for publication to Florida Theater On Stage

When a war-plagued city is in shambles and filled with hatred, can love and integrity reign supreme? Through David Posnack Jewish Day School's compelling rendition of "Les Miserables", we are reminded that only through resilience can justice be served.

Based on the 1862 novel of the same name, "Les Miserables" dramatizes the tortuous tale of accidental criminal Jean Valjean and his journey towards redemption after nineteen years of wrongful imprisonment. It premiered on the Great White Way in 1987, and is one of the longest running musicals in Broadway history, adorned with eight Tony Awards, including Best Original Score and Best Musical. Filled to the brim with anthems of hope and salvation, "Les Miserables" highlights the importance of perseverance during times of strife, and that only through love can our wounds be healed.

Powerful, protective, and passionate, Matan Dalal 's interpretation of the story's protagonist, Jean Valjean, was a sight to behold. From beard to toe, Dalal convincingly presented his character's drive to succeed as he fought for justice against his fiery nemesis, Javert, played by Max Benmoha. Throughout the performance, Dalal's voice never wavered, despite the rigor that comes along with the musical's demanding score. Playing the headstrong and fiery Eponine, Ilana Schimmel blew audiences away with her stunning vocals and captivating facial expressions, particularly during the heartbreaking ballad, "On My Own". Without fail, Schimmel stayed committed to her character's complex arch and rarely if ever dipped in energy while singing some challenging melodies.

Adding just the right amount of comedy to the production's heavy and depressing plot line was Harrison Braver as the money-hungry "Master of the House", Thenardier. From his eccentric mannerisms to the undeniable chemistry he had with his fellow performers, Braver snatched the audience's attention whenever he stepped onstage. His comedic timing was impeccable, leaving the crowd rolling with laughter after almost every line. Notable performers also included Joshua Riesenburg as Gavroche, and Margalit Malen as Fantine. Although the two had limited stage time, Riesenburg's commitment to his character's youthful yet stubborn nature and Malen's silky-smooth voice left a resounding imprint on the show.

The technical aspects of the production, although simplistic, effectively brought the audience to the world of eighteenth century France and illuminated the mood and atmosphere of the story's grim surroundings. With the exception of some microphone volume inconsistencies, the sound was well done, with an appropriate volume balance between the orchestra pit and the performers. Additionally, the magnificent lighting set the tone for a variety of moments in the show beautifully, most notably during the battle scenes and songs, where red and white flashing lights were presented to illustrate gunfire and bloodshed.

As the final note closed David Posnack Jewish Day School's dynamic depiction of "Les Miserables", it was clear that their performance shone as bright and beautiful as the "Stars"!