<html><body><div style="color:#000; background-color:#fff; font-family:HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif;font-size:16px"><div class="" align="center" style="text-align:center" id="yui_3_16_0_1_1431975967040_3756"><b class="" style="">Amazing Grace<o:p class="" style=""></o:p></b></div><div class="" align="center" style="text-align:center" id="yui_3_16_0_1_1431975967040_3755">By Tom Wachunas<o:p class="" style=""></o:p></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3754"><b class="" style=""> </b></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3723"><b class="" style="" id="yui_3_16_0_1_1431975967040_3746"> “… a progress from evil to good, from
injustice to justice, from falsehood to truth, from night to day, from appetite
to conscience, from corruption to life; from bestiality to duty, from hell to
heaven, from nothingness to God…” </b>–Victor Hugo, from <i class="" style="" id="yui_3_16_0_1_1431975967040_3724">Les Misérables<o:p class="" style=""></o:p></i></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3722"><i class="" style=""> </i>Considered among the greatest literary
works of the 19<sup class="" style="">th</sup> century, Victor Hugo’s 1862 historical novel, <i class="" style="">Les</i> <i class="" style="">Misérables,
</i>is a philosophically and spiritually rigorous examination of a society caught
in the throes of revolution that culminates in the June Rebellion of 1832 in
Paris. The beloved musical adaptation is a monumentally dramatic landscape of
poverty and despair, of wrecked hearts and shattered dreams, of moral turpitude
and the transformative power of forgiveness, compassion, and love.<o:p class="" style=""></o:p></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3722"><br></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3721"> This towering
sung-through narrative presented by Canton’s Players Guild Theatre was directed
by Jonathan Tisevich, who has also taken on the daunting role of the central
character, Jean Valjean. The production features a remarkably skilled cast and
ensemble. In conjunction with the polished musicality of the live orchestra
directed by Steve Parsons, the expressive lighting and sound design by Scott
Sutton, and robust scenic and costume design by Joshua Erichsen, the entire
evening crackles with all the panache of a Broadway encounter. <o:p class="" style=""></o:p></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3721"><br></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3720"> Tisevich
delivers a riveting portrait of a man at first rancorous and destitute after 19
years of unjust imprisonment, but who ultimately finds purpose and redemption
even as he must face the ceaseless pursuit of police inspector Javert. In that
role, Matthew Horning is a scary and rigid presence, effectively conveying a
vengeful self-righteousness and annoyance at Valjean’s goodness.<i class="" style=""> <o:p class="" style=""></o:p></i></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3720"><br></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3719"><i class="" style=""> </i>The
caliber of vocal prowess demonstrated by the cast members is remarkably high -
at times operatically nuanced - including commanding performances from Jimmy Ferko as the young revolutionary, Marius,
who is in love with Valjean’s adopted daughter, Cosette (Carly Ameling); Daryl
Robinson as Enjolras, the people’s leader; and young Zachary Charlick as
Gavroche, a delightfully scrappy boy-provocateur. Miah Bickley plays the
hapless Eponine. Her powerful rendering of the wrenching ballad, “On My Own,” is
a compelling embodiment of sadness over her unrequited love for Marius. <o:p class="" style=""></o:p></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3719"><br></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3737"> In a particularly
endearing interlude during Act I, eight year-old Corrin Smith as Little Cosette
sings “Castle on a Cloud.” As she imagines a happier life and a loving mother, there
seems to be an old, hurting soul resonant in her plaintive, crystalline voice.
Earlier on, an even more gnawing hurt and vulnerability comes through with
heart-piercing impact when Keitha Brown, as Cosette’s mother, Fantine, condemned
to a cruel (and fatal) life on the streets, sings “I Dreamed a Dream.”<o:p class="" style=""></o:p></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3737"><br></div><div class="" id="yui_3_16_0_1_1431975967040_3670" style=""> Fear not, there is
some comic relief from all this woe. Micah Harvey and Maureen Thomas are
deliciously crude, rude and conniving as the Thenardiers, thieving innkeepers
from whom Valjean must purchase the abused Little Cosette. “Master of the
House” is a show-stopping emsemble romp around the tavern executed with rabid
glee. Who knew that such insouciant criminality could be so hilarious? </div><div class="" id="yui_3_16_0_1_1431975967040_3670" style=""><i class="" style="" id="yui_3_16_0_1_1431975967040_3738"> <o:p class="" style=""></o:p></i></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3717"> That said, the most emotionally and
spiritually potent passage of the evening transpires nearly midway through the
second act when Valjean sings “Bring Him Home,” a soul-searing prayer for the
life of Marius. Mr. Tisevich doesn’t just rise to the occasion. He defines it.
Throughout this gripping anthem that declares all of Valjean’s hope and faith
and pain, his voice progressively soars as if driven by a preternatural force.
I doubt there was a dry eye in the house. <o:p class="" style=""></o:p></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3717"><br></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3718"> And how could it
be otherwise? For it was in that mesmerizing moment of bittersweet supplication
that I appreciated Tisevich not only as the astonishingly gifted actor and
singer that he is, but also for his indisputable strengths as a director. Clearly
he’s been blessed with the ineffable capacity to channel his impassioned
reading of the story into his ardent cast and ensemble. They in their turn
return the favor and pour it generously into us, the audience.<o:p class="" style=""></o:p></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3718"><br></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3739"> Their cup runneth over, as it were. And we’re
all the better for it. <b class="" style=""><o:p class="" style=""></o:p></b></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3739"><br></div><div class="" style="" id="yui_3_16_0_1_1431975967040_3740"><b class="" style=""> </b><i class="" style="">Les
Misérables, </i>Players Guild Theatre (Mainstage), 1001 Market Ave. N, Canton,
Ohio / Performances THROUGH MAY 31, Fridays and Saturdays at 8:00 PM, Sundays at
2:00 PM / Single Tickets $25; 17 and younger $19; Seniors $23 / BOX OFFICE -
330.453.7617 or <a href="http://www.playersguildtheatre.com/" class="" style="" id="yui_3_16_0_1_1431975967040_3745">www.playersguildtheatre.com</a> <o:p class="" style=""></o:p></div><div id="yui_3_16_0_1_1431975967040_3661">
</div><div class="" dir="ltr" style="" id="yui_3_16_0_1_1431975967040_3774"> For other
commentaries by Tom Wachunas on the arts in Canton, please see his blog,
ARTWACH, at <a href="http://www.artwach.blogspot.com/" class="" style="" id="yui_3_16_0_1_1431975967040_3775">www.artwach.blogspot.com</a>
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