I dreamed a dream in time gone by
When hope was high and life worth living
I dreamed that love would never die
I dreamed that God would be forgiving
Then I was young and unafraid
And dreams were made and used and wasted
There was no ransom to be paid
No song unsung, no wine untasted.

-- Fantine in "I Dreamed a Dream" from "Les Misérabels"


I, too, have dreamed a dream -- that "Les Misérables" ended just into the second act. Look, "Les Miz" probably is my favorite musical -- I've certainly seen it several more times than any other -- but I've come to realize just how little I care about Act II.

And, with Tuesday's opening-night performance of the touring production doing a week of show at PlayhouseSquare's Palace Theatre, I decided to live my dream. I sat relatively riveted during Act I, as the company belted out such classics as "At the End of the Day," Master of the House," "Stars" "One Day More" and, of course, the aforementioned emotional song by Fantine. And because what is perhaps my favorite number in the show, "On My Own," opens the second act, I stayed through intermission.

And then I fled in the night like Jean Valjean.

Shameful, you say? A true fan would never do that?

Maybe, but consider my case:

-- Again, I've seen it, several times over the last 15 years, including the recent film that is up for the best picture Academy Award.

-- I am not writing the review of this production for The News-Herald and www.News-Herald.com, instead leaving that duty in the very capable hands of correspondent Bob Abelman, who does a fantastic job reviewing theater for us.

-- I was a little under the weather and very tired.

By the time the first act ended -- about 9 p.m. -- I was dreaming a dream about my couch. And yet I stayed for "One My Own," which has to say something. And boy was it worth staying for.

I was worried right before the show started when it was announced that one of the understudies for the role of Eponine, Erin Clemons, would be performing the role. I really love that song, and I am often a little disappointed by performers' interpretations of it, but bravo, Ms. Clemons. Well done. She knocked it out of the proverbial park.

In fact, if you're also maybe a little "Les Miz"ed out at this point, this production may still be worth seeing simply for the talent on stage.

With the movie still fresh in my mind, it's hard not to compare some of the performances. While I'll still take the key female performers in the film -- Anne Hathaway (Fantine) and Amanda Seyfriend (Cosette) over their respective counterparts, Genevieve LeClerc and Lauren Wiley, the latter pair was just fine. On the other hand, I thought Peter Lockyer made a better Valjean than Hugh Jackman and Andrew Varela a better Javert than Russel Crowe. In a show such as "Les Miz," it all comes down to the singing, and this pair of fellas really delivered, especially Varela. His rendition of Javert's signature number, "Stars," just about blew the roof off the place.

 Andrew Varela performs a fantastic rendition of Javert's "Stars."

And if you've seen the movie but not a stage production, I strongly encourage you to head downtown to see this show. It's interesting to see how the two are similar and different. The key difference, I think, is the way the songs are sung. For the movie, director Tom Hooper ("The King's Speech") wanted more dramatic, less sing-songy renditions of the songs. It's best paid off with "I Dreamed a Dream," which alone could earn Hathaway the best supporting actress Oscar. (As lovely as it is, LeClerc's just seemed inconsequential by comparison.) On the other hand, it's nice to hear these songs really SUNG again. Truly, this is the better show for your ears.

 "Master of the House," led by Thénardier (Timothy Gulan, top center) and his wife (Shawna M. Hamic, front right, was a real crowd-pleaser Tuesday night, as the catchy and funny number tends to be.

The eyes are another matter. This scaled-down production of "Les Miz" -- first in Cleveland two years ago -- can't hold a candle to previous, more elaborately staged productions or to the film. The staging is well done, of course, but it just all seems too small for the show. (For years, "Les Miz" was performed on the much larger stage of PlayhouseSquare's State Theatre, and recently the touring production of "Priscilla Queen of the Desert" had to be moved from the Palace to the State because it just wouldn't fit on the former's stage.)

With apologies to folks in set design, though, the performances are what matter most, and they are topnotch.

And apologies to anyone offended by my early exit, and hopefully counted among them are none of my generous hosts from PlayhouseSquare. I promise to stay for all of "Sister Act," a musical opening at the Palace March 5.

UPDATE: Abelman's glowing review is live. Check it out. 

-- Mark Meszoros | Entertainment@News-Herald.com | @nhfeatures

Truth be told, I'm typically not all that interested in dance shows.

Don't get me wrong. Professional dancers and choreographers are tremendously talented people, and there's plenty to love about the world of dance. But, as someone who's worried about falling down when he tries to walk and chew gum, I don't relate to that graceful world all that much.

Yet, as someone who greatly appreciates music and high-quality audio, I was very interested in a specific aspect of "Come Fly Away," the latest entry in the current Broadway Series at PlayhouseSquare in Cleveland. One of the many shows choreographed by the renowned Twyla Tharp, "Come Fly Away" is built around a collection of songs recorded by the late Frank Sinatra.



However, unlike Tharp's "Movin' Out" -- built around the songs of Billy Joel -- a vocalist wasn't cast to perform the songs. Instead, "Come Fly Away" cast Sinatra's himself -- or at least recorded performances by him -- and combines them with a live big band on stage.

How would this work? Would it sound good. Would it feel natural? (Pretty well, mostly and sort of are the respective answers.)

Sitting about seven rows back on Tuesday's opening-night performance, Sinatra's voice and the band backing it did not sound like a cohesive whole. The sound of the band sounded like it came, from, well the band. Sinatra's vocals, on the other hand, sounded like they came from above. Perhaps it was meant to sound as if he is singing from heaven, but it's a bit odd. (It should be noted, though, that when I moved to the back of the Palace Theatre at the show's end, the sound was more unified, so maybe good seats come at more than one kind of a price.)

I'm leaving the actual News-Herald review of "Come Fly Away" to Bob Abelman, a regular contributor of well-written, thought-provoking theater reviews, but I will say the show did boast lovely and sensual -- even downright sexy -- dance numbers, and it was great to hear the Chairman of the Board's voice for an hour and 15 minutes. ("Come Fly Away" is a short show with no intermission, which may help you drag someone who isn't a fan of dance down to the theater. Tuesday's show started a little after 7:30, and I was home in Willoughby before 9:30.)

Courtesy of PlayhouseSquare

Anthony Burrell and Ashley Blair perform 

one of the sexy numbers in "Come Fly Away."

There is not one line of dialogue in "Come Fly Away," so all the communication comes via Tharp's choreography and Sinatra's music. And while Sinatra may not have sounded as if he was standing with the big band, he sounded great singing truncated versions of "That's Life," "My Way" and scads of other tunes.

So start spreadin' the news: Sinatra's in town ... sort of.

-- Mark Meszoros | Entertainment@News-Herald.com | @nhfeatures