“Les Misérables” loosely translates to “The Miserable Ones” in French. But for Cuban-American actor Andrew Varela, portraying the villainous Inspector Javert in the hit musical’s 25th anniversary national tour is anything but miserable. To use his own words, “It’s a gift.”
“When I go to work, people are clapping for me, clapping at me. I can hear the response from the audience, at every second,” Varela said. “So, if that can’t build you up, if that can’t lift you up on of the doldrums, then you have no soul.”
Along with a soul, Varela — like most of his cast mates — has years of musical theater experience, particularly with the show that he, and the show’s legion of devoted fans, fondly call “Les Mis.”
He was born in a city full of actors, Los Angeles, and soon embarked on his own international tour of sorts — living in Taiwan, The Philippines, New Jersey and even Miami. He made his Broadway debut in “King David” and joined “Les Mis” in 1997 as protagonist Jean
Valjean, a role he eventually played over 300 times in Broadway and touring companies. Now once again a proud touring member, but with a twist — he’s playing Valjean’s nemesis — Varela has returned to Miami until March 3, with eight shows at the Adrienne Arsht Center for the Performing Arts.
Thanks in part to “Les Mis”’s success as a movie, it currently has Hollywood’s — and perhaps the world’s — rapt attention. But finding a simple synopsis isn’t an easy task. No, its major theme isn’t Hugh Jackman’s smile, nor is its biggest plot twist Anne Hathaway’s haircut.
Varela described “Les Mis”, which is based on the 1862 novel of the same name by French poet and playwright Victor Hugo, as “the story of a man who is released from prison and is shown some kindness by a bishop. It’s the story of a man’s redemption. When he’s shown some kindness, he tries to better his life. But the world will not let him at times.”
“Les Mis” is now the longest running musical in the world and, much like several other highly successful shows — including “Evita”, “Cats” and “Miss Saigon”, it is a sung-through musical — meaning that no lines are spoken; everything is part of a song. But, you don’t have to go around belting out a jingle about midterms or hiring backup dancers for a number about your spring break plans to find meaning in the show’s universal themes.
“It has elements that everyone in the world can relate to, whether it’s grace or love or revolution or debauchery. It touches on every part of the human experience,” Varela said. “What’s interesting is that the show plays in foreign countries. In Shanghai, they still get it as much as they do in Miami. It still affects people the same way.”
Although the show transports its audience to early nineteenth century France, Varela thinks that “Les Mis” speaks to issues of 2013 America. Regardless of a viewer’s political beliefs, he or she can still relate to the characters’ passionate battle cries — or rather, emotional ballads — for their rights.
“While the time period is different, I think the notion of people standing up for themselves and asking for their freedom is something that never really dies,” he said.
Similarly, new life has been breathed into the show for this production. According to Varela, the 25th national tour has “taken a whole new design approach using the technologies of today.”
High-definition projectors showcase images on the back wall, which Varela said “add an extra actor to the stage that’s never been there before.” And the projected images aren’t just any ‘ol artwork; they’re based of off Victor Hugo’s paintings.
“The visuals that we have on stage are the visuals that Hugo had in his head when he was writing this. So, you get twice the Hugo for the price of one,” said Varela. “But the show itself has gone into a more realistic, a more verity style. It’s grittier, it’s dirtier and it’s beautiful.”
While Varela thinks that the film — of which the musical’s cast was treated to a private screening — was also beautifully done, he said that the silver screen version takes a slightly different approach to the tale, “because they were able to tell certain aspects of the story more clearly that you could on stage.”
“If you liked the movie, you’re certainly going to like our production,” Varela said. “But the voices that you’re going to find in the show are theater voices. They’re more trained. We’re actually paid to do this. You’re going to hear the music in a new way … We have some of the best voices on stage that I think you’re having going to come across.”
As for his film counterpart, Russell Crowe, Varela said, “Vocally, his challenges were different than mine. I’ve been doing this for two years now and I’ve had years of vocal training. The choices that I’m able to make as an actor, based on the singing, are going to be different than his. So, he did his level best and I do mine.”
Although the show is far from a carefree comedy, like you might expect if its titled meant “The Joyous Ones”, Varela says that “Les Mis” features the “kind of sadness that leaves your heart lifted. It’s not just the puppy dies at the end.”
As this article comes to its end, Varela, perhaps demonstrating his flair for creativity and drama, suggested a way of wrapping it up.
He said, “If, on your deathbed, you want to see one piece of theater, make it ‘Les Mis.’ You won’t regret it. I think that’s the tag.”
If you’re dreaming a dream of seeing “Les Mis” on stage, visit arshtcenter.org or call the box office at 305-949-6722.
