Les Miserables

This is one of those moments so overwhelming with emotion and pride on exiting the theatre that finding a starting point for writing about something truly majestic, inspiring and stunning is very difficult indeed. When everyone leaving the theatre has faces of elation and joy, everyone talking about parts of what they’ve just seen and how it moved them: this is what theatre at absolutely any level is about. It’s an honour and a privilege to have seen especially the opening night of the culmination of months of hard work for the first ever amateur production of Les Miserables in the South East under the Let The People Sing Project: not that anyone would have known for an instant that this was amateur theatre, as the standards in every single aspect of the show were anything but: this was true professionalism. 

The pictures created in this show are sublime. The silhouettes of the men working against the bluest sky, with the music building and the men singing ‘Look down, look down...’ - as the lights gently come up we see them dressed in dirty rags, grimy dirt all over including their bare legs and feet, and caked with sweat: the detail in just this opening five minutes puts us right into the story with the unfairness and injustice of the way human beings are being treated and class distinctions between the officers in charge, most of them cruel, and those prisoners singing. This picture burns: on show are the incredible talents of the directors: Michael Burnie and Jodie Michele who also choreographs; the amazing orchestra led by the wonderful Musical Director Dan Lacey, the Lighting Designer Joe Wailes, all the projections including the moving projections, and the inimitable Chris Horlock leading on makeup and wigs. The attention to detail in every aspect in just this five minutes is beyond compare: and that’s before even mentioning the characterisation, which for all of them is off the charts. They all look as if they are there, but it’s more than that: it feels like they are there. They cease to be actors, they have become those men: in that circumstance, being beaten daily, broken, angry, living in dirt. And the voices: powerful, beautiful and brim full of emotion.  

This is the level of detail and attention that all of the production team and all of the actors from principals to ensemble with 100 percent commitment throw into every single moment of the show with gusto and passion. Every single audience member might have a different favourite moment or particular scene they relate to, it could be literally any moment as there is no lull in energy or commitment from any of the cast or crew at any time: it is full to bursting in every second, there is always something beautiful and new to see, some detail added for authenticity and accuracy. The choreography and staging is truly breathtaking, the costumes throughout are incredibly detailed: all the students wearing similar but not exactly the same which is wonderful; the sounds, the orchestra and the incredible stunning voices. There is not a pitch out of place. And everyone on stage is exactly right for their parts: the casting in fantastic: they inhabit their characters, truly believable.  

James Harrington plays Jean Valjean as if his life depends on it: we feel the desperation, the anger, the despair, and yet see the good man underneath. This is a stunning, incredible more than portrayal but becoming Jean Valjean and his energy and commitment set the tone and power for the whole show. His vocal range in these most difficult songs: Bring Him Home for one, is insane. The emotion he puts into his every moment on stage including every song he sings is so inspiring and moving. The addition of him being solo lit for some of these moments is a wonderful choice and adds to the atmosphere: the moment on the barricades where he sings in solo light while many of the men where frozen in shadow but the ones on the top are highlighted in an orange glow of firelight from beyond the barricades: so incredibly beautiful. 

Matching him in powerful presence yet containing and restraining it is Wayne Roberts as Javert. His power in every scene is a completely different kind from Harrington yet beautifully balanced and matched. His voice is fantastic as is his characterisation: he too inhabits the rigidity of the police officer so cast iron in his beliefs that he cannot bend at all. The moment on the bridge where we see a different side of him is utterly superb and shocking. Max Jenkins as Marius is another stunning performance: his vocal quality and tone is so gorgeous, his singing as well as all his characterisation packed with emotion. He is the perfect Marius: in some ways innocent, in love, incapable of seeing the love Eponine has for him, and pitched beautifully between just sweet enough and not too sweet. His Empty Chairs at Empty Tables is utterly heartbreaking, the most beautiful delivery. 

Other standouts are the perfect couple: Carl Lovejoy as Thénardier and Lucia Romero Clark as Madame Thénardier. These two are an absolute joy to watch, allowing the audience to breathe in the lighter and jollier moments. The pitching of the characterisation is absolutely spot on: dislikeable but fun, not too much that you hate the moments when they’re on. The ‘Fagin’ type of pitching here is the perfect one, rather than ‘Bill Sykes’. We enjoy those moments even when they are taking advantage of others, although obviously we don’t like the way they treat little Cosette, played with beautiful vulnerability with matching pitch perfect fragile voice by Juliette Mitchell-Gears. Her Castle on a Cloud is gorgeous: again, not too sweet, just right, and not sentimental, yet filled with emotion. The Thénardiers are a laugh out loud hoot when they appear together, and the scene with the forks, with each of their reactions almost earning separate applause, is especially hilarious. Master of the House stands out in both staging and choreography and lead vocals from Carl Lovejoy: fabulous fun.  

It would be easy to list every actor and why they are amazing but that would turn into a dissertation. Deserving of mention however is Aaryan Willmott as the cheeky upstart Gavroche: the smallest person to absolutely command the stage even in crowd scenes. Absolutely brilliant. Mitzi Tullett is excellent as Eponine: her feisty trying to be ‘one of the boys’ attitude and hiding a vulnerability beneath bravado and a boys cap. Her On My Own is stunning: the different emotional aspects changing through the song in her performance. James Kiley shines as Courfeyrac, his vocal tones are gorgeous and his innocent look contrasts with his feistiness in performance.  

There are some breathtaking moments on stage in choreography and staging, in performance and lighting: such as the spirit of Fantine coming to Valjean against the projection of the stained-glass church windows and their light reflected on the ground. Another is the staging and look of all the Lovely Ladies with their hair and makeup exactly right. Another is the barricade, that appears as if from nowhere, so smooth is the transition. What sets this apart from any other version of the show is the absolute commitment to characterisation from every person on stage no matter what role they play, including ensemble such as Nyx Thompson, Tany Cleary and Nathan Charman who all have such great presence.  

As the audience we need to believe in all the characters as so many of them are archetypes, so make them hard to relate to as real believable people. Yet every single person on the stage is grounded in reality, with full on commitment with every fibre of their being, to their character. Many of the audience could be heard saying “this was better than the West End version” and this is not a thought borne of a moment of being swept away, this is considered and real. You can feel the energy and the hunger for this show from each performer on the stage: is palpable. Full, flat out commitment and talent off the scale in every aspect: characterisation, singing, and working together as a team. That’s what sets this apart from other versions, and every member of the audience can see it and feel it. 

This is an incredible achievement of partnership of four different theatre companies: Brighton and Hove Operatic Society, The Rattonians, and Worthing Musical Theatre Company, with Brighton Theatre Group leading the fray, and the result is something truly memorable for years to come. This is something that every single person involved should be proud of. This is beyond stunning, beyond sublime: it’s an inspiration and a joy. Hugest congratulations to Keith Shepherd and the creative team, to all the performers, to everyone in the crew, and everyone who has supported this breathtaking adventure come to life as the most beautiful production of Les Miserables that the South of England is ever likely to see. 

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