Les Miserables

How wonderful that N.Ireland was the first to gain permission to present the adult amateur production of this iconic musical, which celebrates its 40th anniversary this year. The original show opened in London’s Barbican Centre (then the home of the RSC), before transferring to the West End. Critic’s reviews were initially negative – hard now to believe as it is the longest running musical in the West End having played well over 15,000 performances!

The Set for this production was designed by Aiden Payne of the Lyric Scene Shop. It consisted of a couple of two-tiered wooden structures with platforms and stairs and one with an open stone arch frontage. These trucks were moved around by the cast and joined together in a multitude of ways to create the many different scenes. The stage was backed by large permanent ramps leading from stage level, left and right to quite a height. These were used for entrances and exits and for placing actors in distant view and large groups at different levels. Well sourced props were mainly moved on and off by cast – no doubt readied by an efficient stage crew. Lighting by ACK Productions was excellent with much use of hazed beams and sensitive area specials. Individuals were always well lit and black-outs perfectly timed. Sound was of high quality and balance between stage and pit was well maintained. Costumiers were not credited but a large wardrobe team had sourced a wide variety of suitable attire including uniforms and hints of that which is worn for the professional productions. Wigs and Make-up were authentic – from photos in the programme I think I missed the most wonderfully grotesque make-up on the alternative Madame Thenardier!  The talent displayed by auditionees made it possible to double cast most of the principal roles for alternate performances – therefore this review is of Friday night’s cast. I’m sorry not to have had the opportunity to see the other cast principals as well, due to full houses – I’ve no doubt they were equally impressive – so I will include the other names in brackets, so that they get the acknowledgement they deserve.

The curtain rose to the familiar sound of the chain gang of convicts doing hard labour and, straight away, the misery and injustice of “nineteen years for stealing a loaf of bread” by Jean Valjean was revealed. As the central protagonist of this iconic show , David McCrossan (Samuel Moore) seemed to start slowly, but built up his character as time went on, to a very strong performance. His varying relationships with characters he met along the way were well defined -especially the contrast between that with Javert and that with Fantine and Cosette – from bitterness to fatherly love. David’s voice also adapted to his differing musical numbers – “Who am I” to “Bring Him Home” – which had excellent light and shade. An impressive performance altogether. Boyd Rodgers (Karl McGuckin) took the role of the French Police Chief, Javert. Relentless in his pursuit of the man who continued to evade capture for breaking his parole, Boyd was totally convincing, and his rendition of “Stars” was flawless.

Beth Tiffany (Naomi Smyth) was Fantine – the penniless young woman trying to pay for the keep of her young daughter. As she progressed through her sad life of job loss, sacrifice (her necklace and her long hair) and prostitution, Beth drew much audience emotion for her honest portrayal and poignant singing of “I dreamed a dream”. Her death was a bit sudden but her appearance from the beyond when Valjean was dying, was very emotional. Fantine’s daughter Cosette was played as a young child by Eihblinn McNeill (Sophia Travers) with apprehensive innocence. Her “Castle on a Cloud” was well sung – perhaps a little too strong for an abused child? When rescued by Valjean and grown to a young woman, her portrayal was by Lauren McCann (Anna Maria Boyle). A very loving daughter to him, she was a delightfully naïve young lover to Marius and her soprano vocals were angelic in delivery. As the young child Eponine, Ella Devine (Charlie Crawley) was shown to be very spoiled by her mother Mme Thenardier, and a bully to young Cosette. Caroline McMichael (Anna Moore) became Eponine as a young woman and was revealed to have unrequited love for Cosette’s young lover Marius. Caroline was full of life – a street-smart  tomboy – although she showed her serious side in how she unselfishly supported Marius, his student friends  and their cause. She sang Eponine’s poignant and best-known song - “On My Own” - most beautifully. 

I’m not sure about the Belfast accent that Caroline and her on-stage parents, the Thenardiers adopted. Many members of the audience seemed to like it, but it grated with me. I realise that this particular family usually speak with a Cockney accent in the British version of Les Mis. – in the middle of a French play in which the main accent used is RP (Received Pronunciation/King’s English)!  I am wondering if Cameron Mackintosh will require each region to which amateur rights have been released, to adopt their regional accent for these roles?

Monsieur Thenardier was played by Desmond Havlin (Greg Fox). His portrayal was quite ‘pantomimic’ so I did not feel the menace when he was in criminal mode – ie when in the sewer as he striped the dead of their valuable possessions. His comedic musical number - “Master of the House” - with his wife, was fast moving and very well received. Jordan Arnold (Laura Kerr) - the scheming and greedy Madame Thenardier – employed excellent facial expressions, especially when they attended the wedding ball!  After all the darkness, the audience loved a chance to laugh!

Aodhan Halfpenny(Adam Madine) played romantic leading man, Marius. As an idealistic young dreamer he was suitably dashing and sang “In My Life”, A Heart full of Love” and “Empty Chairs and Empty Tables” with credible sensitivity. As always, the contrapuntal First Act Finale made a great impact.

Keith McIlhennon took the early role of the Bishop of Digne with pious generosity and had a very pleasing bass voice -as did all members of the Ensemble who stepped out to take individual smaller parts. Enjolras  - Conor Anderson, Grantaire - Luke Allen and all the students, were passionate revolutionaries who displayed comradeship as they planned and fought at the barricade. Young Gavroche was played by Finlay Bell (Duarte Silva Moreira) with a street-smart swagger – the typical brave child beloved by all. A future star in the making! The  very well-rehearsed Ensemble – as well as the tremendous choral vocals - had the extra and very important responsibility of moving the large set pieces to the exact spot they were meant to be. These people were vitally important to the smooth running of the production and, it seemed to me, did not put a foot (or a note) wrong. Congratulations to all. 

MD Colin Scott lead his 16-piece orchestra with commanding expertise, and I was aware of the trust between cast and pit. The soaring music, which is well known to so many, was a joy to listen to. Choreographer Timothy Bell was not overworked by dance numbers but everything he planned was creative and visually pleasing.  As Director, Kerry Rodgers is fast becoming a leader in her field.  Her innovative ideas and good rapport with her casts makes for stunning productions. I understand that Cameron Mackintosh included a number of do’s and don’t when he released his best loved piece to amateur musical societies, and perhaps not all are welcome.  However, Kerry worked with them and around them and can be very proud of the finished production. 

This will be held up as one of the best in the world of amateur theatre. I for one, am very grateful for the chance to attend the first production of an amateur version of one of my favourite musicals. Many people were involved in bringing this gigantic production to Belfast’s Grand Opera House stage and I salute them all. My sincere thanks go to everyone involved in any way.

 

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