Victor Hugo, Les Misérables, and the Catholic Imagination
by Addison H. Hart
In 1985, the Royal Shakespeare Company’s musical version of Victor Hugo’s Les Misérables opened to less than enthusiastic critical acclaim. The majority of critics were dismissive of the production. “There is a string of impressive sights over the three-and-a-quarter hours,” wrote John Hiley, “but little to grip the ear and still less to trouble the mind.”1 Susie Mackenzie chimed in: “[O]ur admiration is solicited not on the grounds of something truthful and profound, not on the grounds of something intelligent and stimu . . .
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