Enduring Strength Touring Production Of ‘Les Miserables’ Conveys All The Emotional Power Of Earlier Shows

“Les Miserables” Wednesday, June 19, Spokane Opera House

‘Les Miserables” has done it again.

This was my fourth viewing, and I swear, the emotional impact was just as strong as the first.

This is the kind of cultural treasure that keeps getting deeper and richer. I found myself recognizing themes that I had never fully appreciated before: the importance of forgiveness, the inequity of unrequited love.

Add these to the more monumental themes of social justice, the importance of living an honorable life, and the incredible power of the bond between parent and child, and you’ve got three hours of the most intellectually stimulating musical theater imaginable.

This company, the only one currently on tour in the United States, is as good and often better than either of the other two companies that have played Spokane.

Robert Evan is an outstanding Jean Valjean, embodying the strength of muscle and mind in the show’s central character. His ethereal version of “Bring Him Home,” and the finale’s companion piece, “Bring Me Home” were like heartbreaking prayers.

Lisa Capps was also a standout as Fantine, the downtrodden mother of little Cosette. Capps brought a strength and intelligence to this role that I have not seen in previous Fantines.

And Dawn Younker was perfect as Eponine, full of streetwise toughness, yet capable of the most touching vulnerability in her unrequited devotion to the young student rebel Marius.

Andrew Redeker was a fine Marius, easily capable of breaking the hearts of both Eponine and Cosette.

The best surprise of the night came when J.P. Dougherty bounced on stage as the slobbish innkeeper, Thenardier. I thought he looked familiar, and a peek back into the 1991 tour program confirms it: He played Thenardier in the show’s first Spokane visit.

The other Thenardiers I’ve seen since then have not lived up to his standard, and now I remember why. He is unsurpassed at delivering “Master of the House” in a sly and sloppy leer, and he fills his role with dozens of extra comic gestures, expressions and nuances. Kelly Ebsary made a fine foil to him as Madame Thenardier.

The overall production went off with the clockwork precision we have come to expect in touring companies of “Les Miz.” The massive sets and revolving stage no longer seem so spectacular in themselves; what impresses now is the imagination evident in the way those devices are used for the maximum dramatic effect. Also, the sound seemed exceptionally good up front, although I don’t know if that held true for the back of the house and the balconies.

I always come away from “Les Miz” overwhelmed by two things.

First is the incredible richness in theme, attributable to the remarkable mind of Victor Hugo. This story is a romance, a revenge thriller and a historical epic, yet it goes far beyond all of those genres to be something exponentially greater. Second, I am always amazed by the relentless consistency of quality in nearly every scene, every song.

In most shows, you can tell when they are building toward a first- or second-act finale. In this show, there are a dozen moments powerful enough to be the crowning moment of any lesser show.

You must excuse me. I’m a true “Les Miz” fanatic. But obviously, I’m not alone. The remaining shows are nearly sold out.

, DataTimes MEMO: “Les Miserables” continues through Sunday; call 325-SEAT.