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The themes of “Les Misérables” are still as relevant now as they were when it was originally released almost 40 years ago, Mya Rena Hunter, who plays Éponine Thénardier, said. With an election coming up, a story highlighting students’ voices is more poignant than ever.

“As we go through time and as we experience different world events, different generations have different reactions towards the piece,” Hunter said. “(The students in the show) really put themselves on the front line to see and be the change.”

The U.S. “Les Misérables” Tour began its current run in October 2022 and had its 800th performance on Tuesday in Syracuse. The story depicts the June Rebellion of 1832 in France and revolves around love, redemption, loss and passion. It was nominated for 12 Tony Awards when it debuted and is considered one of the greatest productions in Broadway history.

Like Hunter, actress Victoria Huston-Elem, who plays Madame Thénardier, connected the show’s story to election season. The students who revolt in the story want to create a better world, and that message resonates with audiences of all ages, Hunter said.

“We all know what it feels like to need hope,” Huston-Elem said. “We all understand wanting to revolutionize something that’s making us feel held back. There are universal themes. There’s a reason why you can see this show running another 40 years.”

Taking part in Les Mis’ long legacy is an honor and a serious responsibility, Huston-Elem said.

Huston-Elem is a Syracuse University alumna (‘06) and this stop on the “Les Misérables” tour is her first time returning to perform. She hopes any SU students pursuing musical theater see her performance on the tour as proof that a successful career in the industry is possible.

“It’s just chock full of memories,” Huston-Elem said. “I mean, every corner that I walk down, every building that I remember — from when I was not yet 21. It’s wild. It’s a wave of nostalgia everywhere you go.”

Huston-Elem said Les Mis’ impact gives the cast and crew a great responsibility to make sure the show is of the highest caliber. Many people define eras of their life by when they first saw “Les Misérables.”

Production stage manager Ryan Gardner said it’s an honor to be part of Les Mis’ legacy, and described it as one of the “all-time greats.” He said the show’s status as a quintessential Broadway musical adds pressure to the cast and crew because people expect perfection.

Christian Calabrese | Staff Photographer

This version of “Les Misérables” involves a project and multiple moving set pieces, so it takes 16 hours to load into a new venue. Eleven trucks and a team effort are also required to bring the show to life each night.

“You have this responsibility to the piece and it’s magnified by the fact that it’s such a well-known and beloved show,” Gardner said.

For Hunter, playing Éponine is an important undertaking because she is a Black actress wearing her hair in locs. She has never seen an Éponine in any production of Les Mis that looks like her, and considers that representation a crucial responsibility.

“For a lot of people who look like me that may be in the audience, it’s probably their first time ever seeing an Éponine that looks like me,” Hunter said. “To be able to open the door for that perspective is something that I really pride myself in with this role.”

Hunter said the media shapes the public’s perspective. Whether it’s film, television or musical theater, actors must be intentional with their performances. Audience members will take something away from the show, and actors have a responsibility to tell the story.

Huston-Elem described the cast and crew as a “well-oiled machine.” She said Les Mis is purposeful, with no unnecessary beats throughout the show’s nearly three-hour runtime. They have the show down to a science and every performance “chugs along” at a quick speed, despite its length.

The show is largely a traditional version of Les Mis, keeping the story and characters close to the original show, Huston-Elem said. Visually, though, the show explores new territory. It includes backdrops of Victor Hugo paintings and a cinematic screen behind the actors.

As the production stage manager, Gardner is part of the team responsible for making sure the show runs smoothly. The team calls technical cues, manages understudy tracks and reaches out to upcoming venues.

Les Mis is one of the largest productions currently touring, and the only one that opens on Tuesday nights after a Sunday show, Gardner said. Other large-scale touring shows like “Wicked” and “Lion King” open on Wednesday nights.

This version of the show involves a projector and many moving set pieces, so it takes 16 hours over two days to load into a new venue. With 11 tractor trucks and the team working through the night, Gardner described the load-in process as a “mad dash.”

Gardner said theater is special because it forces the audience to put away all cell phones and distractions to focus on the live show. In today’s world, he said, that is a refreshing experience.

“(The audience) pays for their ticket, and they owe us nothing,” Huston-Elem said. “They don’t have to applaud. They don’t have to enjoy it. It is up to us to get up there and give them what they paid to see, to give them that long-lasting experience — and I hope that we do.”

Published on October 27, 2024 at 10:29 pm