Les Miserables

This legendary show is an almighty challenge for any operatic society to tackle and for students, in this case aged from eight to eighteen, almost impossible to succeed.    It was therefore with a degree of caution that I took my seat and waited for the curtain to rise.   Very soon, any doubts were blown away by the wonderful performances from many of the principal players.

Very soon it was apparent that this would be a special performance.    Opening with the prologue where Valjean is released from the prison chain gang to begin parole, after being warned by Javert that he would always be a marked man, one quickly forgot that these were very young people playing these famous roles.  

Tom Ball as Jean Valjean possessed the presence and poise of a highly experienced actor and a singing voice of exceptional quality. The famous Bring Him Home was spine tingling.  As a mere seventeen year old studying performing arts and music at Central Sussex College he will be in much demand and I predict a successful career ahead for him.

Keir Gilbert-Halladey as Javert was also top class with a convincingly menacing persona in this cruel character and was well contrasted with the reformed sinner Valjean.    He also wants to act professionally and is a member off the National Youth Theatre.         

Isabelle Leach  is just sixteen and at the Brit School.    I liked her Fantine a great deal and the scene in which she became a street lady was very powerful acting.   She played the vulnerable and tragic character with great empathy and her death scene was highly emotional, at least to this reviewer.   She possesses a special singing voice.   Well done Isabelle!   

Jack Field  was a brutish, low class scoundrel  as M. Thenardier with marvellous stage presence, equalled by Fran Loosley as his equally repulsive wife Mme. Thenardier.  Their scenes really brought out their coarseness  and were a treat to watch.    "Master of the House" was a definite highlight.   Their vile gang  were ably played by Josh Bull (Montparnasse), Nick Hughes (Babet), Alex Smith (Brujon) and Will Blayney (Claquesous).

Hugh Blayney brought a seriousness and gravitas to the  important role of Marius and his scenes with Cosette and Valjean were sensitively portrayed.

I liked Becky Bond as Cosette a great deal.   She is a member of the National Youth Theatre and was beautifully cast.   Certainly one to watch out for.

Two very young people excelled in important roles: Millie Salmon was a very suitable Little Cosette, gaining the audience's sympathy at her plight under the Thenardiers.   Wesley Kent-Hargreaves was a casting director's dream as the urchin Gavroche with his skinny frame and long blond hair.    However many times I see Les Mis in future, I will always picture him as the archetypal Gavroche.

Ella Richards was a pretty and effective Eponine singing the iconic song "On My Own"  with passion and a lovely voice.    Her longing for Marius was unbearably sad to watch.

Hugo Soar was a heroic, brave Enjolras and brought the necessary bravado to this important role.

Jacob Carter as Foreman, Pimp and the student Feuilly showed his developing talent and is another to watch out for.     Huw Landauer did well as Bishop in an early scene and as Joly, another of the students.    Others fighting on the student barricade against the authorities were an extremely effective team of Ross McFadden (Combeferre), Gabriel Moody  (Courfeyrac), Daniel Crego-Bustelo  (Grantaire), Freddie Hull (Prouvaire) and Jamie McFadden (Legles).

Well done to all the ensemble members, too numerous to mention by name - all played their part and gave their utmost in all the company numbers.    One really believed in all their scenes, transported into a world away from the comfortable theatre surroundings.

Enormous attention to detail was evident throughout, both in set, costumes, hair and make up.   The show had pace, tension and much star quality.   The sets were simple and the stage largely uncluttered which was wise, given the large cast.    I particularly liked the realistic mobile barricade and the sewer scene (which was achieved with white downlights only).   The in-house costume and make up team really excelled themselves and a great eye for detail was evident - the leading characters aged visibly as the show progressed.

Choreography by Alys Dreux was slick, punchy and carried out with passion and energy, a tremendous plus.

The fifteen piece band under the baton of energetic and talented musical director, Martin Sargeson gave a professional standard performance which is as expected in this company.   The tempi were spot on.

The director, Fiona Kuhn-Thompson should be enormously proud of this splendid show, which in large part is due to her imaginative and inspirational direction.    She was ably assisted by Elanor Bond.

Sound and lighting were splendidly effective and added greatly to the professional feel

A word for the comprehensive programme with interesting cast biogs and quality photos. It was heartening to note that NODA and our aims were given a full page.

There were very few criticisms I can make ..... a hand moved in a freeze, always noticeable - I heard  "fo-rever" instead of "for-ever" a few times - Once or twice principals could have "cheated" and faced the audience instead of across stage ..... but these are very minor matters compared to the enormous pleasure given to a highly enthusiastic audience   The standing ovation was thoroughly deserved.

It is highly likely that several of the principals will have a professional career  as the talent is definitely there.     That said, I would always caution young people from going into showbiz unless they could not possibly imagine anything else.   It is a hard life and the failure rate is very high. 

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