Les Miserables

Firstly, I must say what an absolute privilege it was to be invited to the prestigious Bristol Hippodrome by BLOC to see one of the eleven amateur productions of the legendary Les Miserables. As a collaborative production between groups in a few NODA Southwest districts, we have also collaborated to produce this show report, attending 2 dates and therefore seeing both show teams between us.

 I didn’t think we’d ever see the day when this would be released for any Adult amateur society to perform, and personally (Mike Purnell) I’ve always found it quite an honour to even perform any of the songs in a concert setting. That said over forty years of seeing this show professionally by an ultimately talented cast of actors who are at the top of their game, any of the groups around the country due to perform this must have really felt the pressure was on. There was a definite buzz in the audience to a degree I haven’t experienced before as a NODA representative. I felt everyone present was going to experience something very, very special and they were correct. So much talent on the stage (and of course in the South West!) and well-deserved standing ovations. I would say (Delia Lee) this whole project has done wonders in promoting both Les Mis but also the amazing talent in Am Dram across the counties.

SET DESIGN: this was strong overall, with some inventive touches such as the Victor Hugo quotes etched onto the scenery like a chalkboard, and the use of perspective on the side pieces, along with smooth scene changes using trucks, all worked well. The barricade, while doubling as interior rooms, we felt did need “roughing up”, adding more interest, so could be  realistically climbed or fought on. The large gap in the centre stopped it being a complete barricade, which was a shame. Similarly, the garden wall and railings into Valjean’s house were too small and easy to climb, the truck behind didn't help the scene.

STAGING/DIRECTION: There was excellent pace achieved through very swift scene changes and excellent use of blackouts in certain parts of the stage and cast to move props and scenery on and off stage.  There were times that perhaps the ensemble were added in unnecessarily, and ended up being quite distracting, some of those big moments e.g. Stars, or Fantine’s death, didn’t need it. We did wonder about Eponine staying on the table post her death for such a long time but felt that Gavroche joining her when he died was such a lovely touch.

LIGHTING: As previously mentioned, the projection concept of Hugo's book words and drawings as dressing worked really well. There was good use of colour and haze. The lighting was clearly well designed—dramatic, atmospheric, and generally very effective in enhancing the production. At times, however, it felt a little too dim; and whilst understanding the intention to create mood and atmosphere, it occasionally made it difficult to see details, such as the makeup work. The lighting design in the Barricade attack scenes in particular worked really well. The end of Stars was incredible and magical, (though couldn't see Javert's face). There were some well-worked follow-spots. 

SOUND: the sound for individual performers was slightly too low to begin with, apparently this was mentioned during the interval, and it was quickly resolved. The ensemble and static choir sound was immense. Sound effects were great and timed well too.

MUSICAL DIRECTION: So wonderful to hear the 14-piece orchestra, who played beautifully, a difficult score well managed and timed. The balance with the ensemble/static choir was on point.

CHOREOGRAPHY: Some nice, danced moments in the production, although perhaps a little contrived rather than natural on occasion. I liked the couple in the shadows stage left reenacting the young Fantine falling in love and being abandoned, as she sang ‘I dreamed a dream’. Lovely Ladies was an outstanding version- it really told the story. The concept of having the ensemble on for Javerts’ suicide was interesting, I would much have preferred them to enter after Javert’s death, it really distracted from such an intense moment. “Turning” itself was a great moment when costume voice and movement just came together and created a magical theatrical moment

COSTUME/MAKE UP: All appropriate and in keeping with the style and period. As mentioned, we lost a little of the details due to the low lighting. The wedding costumes were beautiful and colouful.

In reviewing the Principal Performances:

VALJEAN:

 (David Bryan) You brought a quiet intensity to the role, your rendition of Bring Him Home drew audible gasps and was so beautifully in control. What stood out for me was how well your ability to balance the inner turmoil with quiet dignity. I certainly felt the chemistry between you and Javert and also with Cosette - all were extremely sincere.

 (Lewis Oatley) You sang beautifully and had a quiet inner strength which shone through your performance. Your vocals were clear, accurate and well controlled, even when hauling Marius onto your shoulder and diction was superb. A compelling and powerful performance.

JAVERT:

(Luke Whitchurch) you gave a strong and memorable performance. From the moment you stepped on stage you had a commanding presence, serious, focused and believable as a man obsessed with justice. Your singing was clear and controlled, especially during “Stars” which you performed with a quiet intensity. Instead of overacting you let the emotion build slowly showing how deeply he believes in law and order. You showed Javert’s inner struggle as the story unfolded and showed the character starting to breakdown not with big gestures but subtle changes in voice and expression.

 (Pip Knowles) you were outstanding, with amazing vocals. A lovely clear and pure tone that was everything you could wish for. ‘Stars’ was beautifully sung and the end lighting when the auditorium was flooded with stars was just magical. You had a gentle presence that was commanding again, showing clearly the inner struggles.

Fantine: This is a role that demands both emotional vulnerability and vocal finesse,

(Dani Copperstone) your portrayal was deeply moving and beautifully realized. You radiated a quiet strength and made her grounded, sincere and heartbreakingly human. I Dreamed a Dream was delivered with honesty and longing - a true highlight of the show. I felt you portrayed her with care and conviction.

 (Grace Kelly) A delightful, gentle portrayal showing both her vulnerability and strength, beautifully sung and very moving. You had a lovely clarity in your vocal tone which enhanced the performance.

Marius:

 (Leo Sermulins) Another heartfelt interpretation capturing the characters youthful idealism and emotional vulnerability. Empty Chairs at Empty Tables was moving and emotional, showing a genuine connection to your grief and loss.

(Harrison Waterhouse) Again, a gorgeous voice and Empty Chairs, was heartbreakingly beautiful.  You blended beautifully with Cosette and had lovely chemistry.

Cosette:

 (Anna Townhill) you brought a gentle warmth and sincerity to the role. Your voice carried beautifully in your solo moments where you captured Cosette’s innocence. A Heart Full of Love was beautiful.

 (Jessica Holden) A lovely gentle performance, with beautiful soprano tones, lovely relationship with Marius, your voices blended beautifully.

Eponine:

 (Zoe Farrow) another heartfelt performance that resonated with the audience. You captured the characters quiet strength and unrequited love with sincerity and vulnerability.

 (Lizzie Lever) A really strong heartfelt performance, lovely controlled vocal quality with a beautiful tone.

On My Own was a standout moment on both evenings

Thenardier:

 (Ryan McKenzie) This was a good blend of “Camp” and “menace” that kept us entertained and uneasy. You leaned into the characters’ comic absurdity without ever losing sight of the darker undercurrents. A masterful take on a character who is as grotesque as he is unforgettable. 

(Simon Gregory) you provided the comic relief without ever slipping into caricature, balancing this with some genuinely sinister moments, which gave the character real depth.

Mme. Thenardier:

 (Emma Griffiths) You brought a great fiery energy and sharp comic timing to this role. I mentioned earlier that sadly the lighting was a bit too dim as I know you and your hubby would have given us those exaggerated expressions showing us the brashness and your scheming nature. You certainly gave us confidence and flair and a standout vocal.

(Leah Farmer) A confident and entertaining performance again bringing out the comedic elements without becoming a caricature. A really energetic performance.

Enjolras:

 (Dominic Callaghan) One of the standout voices of the night. Very impressive. You had a commanding presence very suited to the characters passionate leadership and unwavering conviction. 

(Matthew Graham) again a standout performance with strong vocals and a commanding presence.

You both led Do You Hear The People Sing with absolute confidence. Great performances.

Young Cosette and Gavroche (Belle Barker/Finlay Blackman) (Scarlett Wilshere/Ollie Wood)

You all brought heart and charm to the stage. Very natural talents and confidence. Castle On A Cloud was certainly a very touching moment while Gavroche’s cheeky energy and fearless spirit added spark to the barricades. I’m sure we will be seeing you all in future productions. Good luck.

The ensemble were the absolute backbone of this production. So well drilled and so committed. Every movement was sharp and vocals on point. The solo lines (which must have been a nightmare for any sound engineer) were as good as any Westend ensemble. The static choir, although unseen until the very last moment, helped create a beautiful rousing sound throughout. At the End of the Day, Lovely Ladies, Do You Hear The People Sing and One Day More all exceptional. Had you held the lights for two more seconds a standing ovation would have occurred at the end of act 1 without a doubt.

It’s so rare to witness an amateur production that is of this scale along with those technical accomplishments, but on the whole this was nothing short of extraordinary, a sweeping heartfelt triumph that just proves how powerful community theatre can be when passion and commitment is first and foremost.

What made this production truly special was its heart, care and precision poured into so many details. This was without doubt a celebration of what can be achieved with a collaboration and a shared belief in the power of storytelling. It really was at times quite breathtaking and mesmerising, a huge congratulations from all of us.

© NODA CIO. All rights reserved.