Les Misérables in Concert
The 10th anniversary concert video of the international musical sensation Les Misérables might be the best thing to appease fans until a full-fledged movie comes along. Or it might be even better, with a dream cast of Colm Wilkinson (Valjean), Michael Ball (Marius), Alun Armstrong (Thenardier), Judy Kuhn (Cosette), Lea Salonga (Eponine), Michael Maguire (Enjolras), Ruthie Henshall (Fantine), and Philip Quast (Javert). Alain Boublil and Claude-Michel Schönberg's score vividly captures the passion of Victor Hugo's epic tale of pre-revolutionary France, combining tear-jerking ballads ("I Dreamed a Dream," "Bring Him Home") and rousing anthems ("Do You Hear the People Sing"). The format of the 1995 concert is more like a dramatic cantata than a fully staged production; the singers stand at their microphone stands with an orchestra and chorus behind them, but they do wear costumes and participate in some movement. At certain points, the video switches to action from a stage production. The 147-minute video includes an encore in which 17 actors who have played Valjean around the world each sing a line of "Do You Hear the People Sing?" in his native language, a testament to the enduring power of this show to audiences everywhere. --David Horiuchi Riverdance: Live from New York City
The Irish hard-shoe sensation Riverdance underwent its second incarnation with Live from New York City, a 1996 performance filmed at Radio City Music Hall. The dazzling choreography and energetic score remain, but Michael Flatley was replaced by less-flamboyant Colin Dunne, a superb technician who works well with Flatley's former co-lead, Jean Butler. About a half-hour longer than the 1995 original, Live from New York City expands upon the second act's theme of the Irish leaving their homeland for other parts of the world. In the most engaging new number, "Trading Taps," a trio of Irish dancers faces off against two urban American tappers. While much of this show will be familiar, it's different enough to be enjoyed on its own terms. It's also more stylishly shot, but that's also its biggest drawback--frenetic editing that allows only brief glimpses of the dancers and leaves the viewer dizzy. --David Horiuchi
