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Cast

Eponine .... Tanesha Ross*
Fantine .... Claire Neumann*
Javert .... Robert H. Fowler*
Jean Valjean .... Andrew Foote*
Madame Thenardier .... Mary Lee Marson-Aloia*
Marius .... Schyler Conaway*
The Bishop of Digne .... John Watson Stewart*
Thenardier .... Robert Koutras*
Cosette .... Liz Schivener*
Enjorlas .... Paris Nix*
Factory Woman .... Nicole Lewis*
Young Cosette / Gavroche .... Ava Aloia

Orchestra

Conductor / Piano .... Colin Keating
Keys .... Paul Marszalkowski
Guitar .... Mark Sundermeyer
Bass .... Ross Krater
Drums .... Andrew Short
Reed .... Alyssa Comeau

Crew

Director .... Christin J. Hubbard and Jacques Stewart
Musical Director .... Colin Keating
Asst. Musical Director .... Paul Marszalkowski
Production Stage Manager .... Brendan O'Brien*
Stage Manager .... Julianne Menassian*
Sound Designer .... Tony Tambasco
Choreographer .... Jacques Stewart
Dance Captain .... John Watson Stewart*
Scenic Designer .... Gibbs Murray and Bruce Bentz
Costume Designer .... Meghan Leigh Pearson
Lighting Designer .... William Joseph Gibbons-Brown
Props Master .... Stephanie Meraz
Technical Director .... Bethany Taylor
Producing Artistic Director .... Jacques Stewart

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Les Miserables is a musical so epic in scope that it can intimidate even the most seasoned of theatre professionals. Tech and dress periods rarely go beyond a day in the Weathervane's repertory schedule, but Les Miserables was given twice that time; a testament to both its perceived complexity, and Artistic Director Jacques Stewart's dedication to getting it right.

Les Miserables changed the sound dynamic of the Weathervane Theatre again; the orchestra was moved to the balcony level, which both elevated the natural sound image, and more significantly moved it to the center of the stage. More present than the band had been hitherto, and with all of the principal performers on body mics, I had much more freedom to explore the nuances of Schonberg's music, and bring its full emotional spectrum to life.

I imagined I would be largely competing against the mix of the recent cinematic release of Les Miserables, but among the many compliments patrons paid me for my work were favorable comparisons to productions they had seen previously on Broadway and the West End. They frequently cited the "wall of sound" I created for some of the more heightened moments ("Do You Hear the People Sing," "One Day More," and the finale) as some of the most emotionally powerful work they'd heard in a theatre.

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Blog: "Do You Hear the People Sing?" The Adventures of Tony. In this post, I blogged some of my thoughts on the historical and literary contexts of Les Miserables.

Design Plates
Sound Plot
Signal Flow

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