|
 Michael Hayward-Jones bring
love of
theater, deep insights
into character
of Thénardier
in Les Miserables
By Daniel Hines
Publisher
America’s Seniors/TodaysSeniorsNetwork.com
While interviewing Michael Hayward-Jones, who describes himself as the
"oldest member" of the touring production of Les Miserables, I
said his character of Thénardier, the abusive inn-keeper and recurring
opportunist in the show, is one of the most despicable characters in a show
populated with some despicable people.
He was quick to correct me.
"Actually Thénardier is not necessarily a bad man, " he
observes. "He is a survivor. And, as such, he is another of the
archtypical figures in the production. Just as Javert exemplifies the Old
Testament qualities of judgment and Jean Valjean exemplifies the New Testament qualities of love and
forgiveness, Thénardier is like a lot of people today. He isn’t bad, he
just survives and doesn’t know how to make good judgements."
.
That Hayward-Jones should speak in such dimensions about the nature of the
principals of the production is not surprising considering his background.
The 56-year-old native of Charleston, WVA, originally had planned to become
a minister, receiving his bachelor’s degree from a small private
University and his Master’s degree in religion from Colgate University.
While awaiting a call—which never came—into the ministry,
Hayward-Jones was invited by a friend to attend an audition for a Summer
stock theater.
"I had done some performances with my friend before, and he knew that I
liked to dance, so he invited me to join him."
In one of those twists of irony that mark people’s lives, Hayward-Jones
got the part and his friend didn’t. From there, is was only a short while
before he was in New York, starting a thirty-year career ranging from
Broadway through regional theatres to film and television. Broadway and
touring credits include Promises, Promises, The Sound of Music, Beauty and
the Beast, Call Me Madam, A Christmas Carol, Me and My Girl, Evita, The King
and I, On the 20th Century, A Little Night Music, She Loves Me, Brigadoon
and Mame. Regional appearances include The Importance of Being Ernest (Long
Wharf), The Invisible Man (Cleveland Play House) and Mirette (Goodspeed
Opera House). He has guested on Law & Order and The Cosby Show and has
appeared in the films Trifling with Fate, Power and Garbo Talks.
While to some it would seem a gulf exists between the Church and
theater, Hayward-Jones said he was first attracted to the Church because it
seemed to him that institutions more so than individual effort offer an
avenue to make things better for the world, and that theater is one of
those institutions even as the Church is.
Now, he has immersed himself in the role of Thénardier.
"Thénardier is crude…he’s a hit man, with his wife pulling the
strings," he observes. To which I nnoted that this was not unlike
another Biblical reference in which Adam blames Eve for deceiving him into
‘eating the apple.’
Hayward-Jones agreed, adding that many people who see Les Miserables say
they identify most closely with his character of Thénardier.
"They come to me and say, ‘I really liked that guy…he’s not
confined by any moral restraints…he just does what he has to do…’."
The argument could be made that this is more of a credit to Hayward-Jones’
immersion into the character of Thénardier than being an endorsement of
Thénardier himself.
And, to Hayward-Jones, that’s the most important thing of all—to make
his character come alive.
"I have been doing this role for five months now," he muses.
"But each time, it is different, and I remind myself that no matter how
many times I do the part, it is the first time that the audience has seen
it, so I have to always do my best."
He points out there are many things that can impact his presentation. For
example, the large group scenes on the stage are not ‘blocked’ meaning
that there is no choreography and each night, there are differences in the
presentation.
How do they avoid chaos on stage? "We don’t," Hayward-Jones
says. "We play the chaos…it’s a microcosm of life and all the
emotions of the situation."
Therein lies the key to the continuing success of Les Miserables,
Hayward-Jones believes.
"Alfred Hitchcock said the story was perfect for a stage musical. It
has been presented as a book, in movies, on the stage…and, whatever the
medium, it brings deep-rooted human elements to its audience."
Then, returning to his central theme, he observes, "It truly is a
play of archtypical figures."
One might think that such deep insights can come only from a person with
dark, brooding shadows. This isn’t true with Hayward-Jones. Listen to his
comments about growing older on the stage:
"I have blood clots older than the average age of the other cast
members…my friends tell me that when I’m 95, I’ll be wheeled out onto
the stage, trying to remember my lines…I’ll always be a performer…"
Like many visiting performers to The Fox, Hayward-Jones is enthralled
with the setting and rich history The Fabulous Fox presents. He was in St.
Louis several years ago, playing the Spoon in Beauty and The Beast—a time
he refers to as his dinnerware days.
"The Fox is just a magnificent setting," he points out. "I
love playing there and I am looking forward to being in St. Louis
again."
How does he maintain his enthusiasm for traveling theater and what advice
does he offer for seniors:
"Love, Laugh…and, of course, come to see Les Miserables,"
says. "It has all the elements that can transform your life, whether it’s
just for a couple of hours of escapism or to help you make important
life-altering decisions." |