LES MISERABLES

Always a box office favourite, this was the fourth time Fusion has presented “Les Mis” in their 15 year history. As young members move on and the company evolves, it is interesting to see a slightly new approach from the same director with new principal players.

The Set, reminiscent of the professional London set, was effective, with dark sombre buildings whose boarded windows were sometimes lit from behind. I liked the steps at the back, leading up to a footbridge over a barred sewer tunnel, which were well utilised. Lighting was mixed – mainly atmospheric but the cyc was often left unlit which was a pity. Projections on the front gauze were appropriate and appreciated.

Sound was also mixed but the orchestra was always sympathetic to solo singing and diction was good. Some costumes were a bit tired looking – of course, apart from those in uniform or at the ball, these were poor and downtrodden people. I was glad to see that the latter were not too clean.

With a cast of around 60, the ensemble was perfectly engaged in the plot, which is very important in this show. I was glad that only the older girls were employed as ‘ladies of the night’ in the suggestive number “Lovely Ladies”, although sadly there would have been some very young girls in Victor Hugo’s day.

Conor Taggart played the huge role of Jean Valjean, successfully transforming from rough ex-prisoner to respectable gentleman. He saved the best for last –  “Bring Him Home” was memorable. Rory Jeffers was strong and authorative as Javert and Fantine was sensitively played by Marie-Therese Clenaghan. The two little girls, Grace Killen and Charlotte Nicholls, played young Cosette and Young Eponine in engaging fashion and Grace sang “Castle on a Cloud” very sweetly. Thenardier and Madame Thenardier – the only pair in this show who offer the audience a chance to laugh – were played by Jordan Muxlow and Tierna McNally. “Master of the House” was a lively and bawdy scene in which Tierna showed good comedic promise.  I missed seeing more of a hint of menace in Jordan’s comedy. Enjolas (Daniel Marshall) and all the young students were enthusiastic and sang very well in “Red & Black” and the lead into “Do You Hear the People Sing” which is always emotive. Young Zach Watson was an animated Gavroche. All the smaller named roles were fulfilled with confidence and added necessary background and atmosphere to the story.

Lucy Donnelly (Eponine), Ethan Haddock (Marius) and Jordyn Cummings’ (Cossette) contrapuntal singing in “A Heart full of Love” and “One Day More” was excellent. Lucy made an impressive Eponine, displaying sensitivity or feistiness as appropriate. Jordyn was a delightful Cosette – very believable in her relationship with Valjean and with Marius. He (Ethan), although small in stature, had a big voice and his vocals were impressive.

As always, Ian led his 13 piece orchestra with expertise and directed the show with empathy. Jillian’s

choreography, which was mainly movement and placing rather than dance, was all appropriate to the piece. This young company are lucky to have the opportunity to present Les Miserables again and the audience rightly gave them a standing ovation at the end, to which I add my appreciation.

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