Les Miserables School

Set - The dominant feature was the media screens surrounding the stage, which provide detailed depictions of the various environments in the narrative.  They impressively featured a transition element allowing 3D-like superimposition of one scene over another, rising or slipping away, and which came into its own dramatically in Javert’s suicide with torrents of rushing water.  As the art work is professionally rendered and comes as part of the package it cannot be faulted and the captions gave valuable information of date and venue to help anyone unfamiliar with the story.  The brick surrounds sat comfortably in the gloom of 19th century France and the gantries above the wings were dressed with depressingly dark louvred windows to give a backing for the little action that took place at the higher level.    The two staircases to the upper stage were placed one each side to allow the central portion to rotate revealing the stirring sight of a sturdily constructed barricade that spanned almost the full width of the stage. The addition of small pieces of furniture was easily handled by the cast members themselves wheeling on the large heavily laden wagon that appeared on the upper deck, or carrying in tables and chairs, a bed, a bench and wooden crates as required, all reflective of the era to create believable visual pictures on stage.  It was most appropriate that you used the trap in the middle of the stage to add a comedy element to the exit of the Thenardiers.  

Lighting - This sombre show doesn’t lend itself to a bright and colourful lighting design.  Indeed, for the most part, dark and bleak sums it up and yet, with the exception of the moody blue lighting used for the opening in the prison yard, sufficient light was always focussed where needed so that faces could be seen clearly.  When there are moments of opportunity for brightness they are notable for being in stark contrast; e.g. the daylight of the Rue Plumet garden and the gaiety of the wedding ballroom.  The use of smoky haze worked well to reflect the lighting and spread what colours were used, as well as helping to convey the atmosphere of the different locations; perhaps a little more during the Barricade battle would have replicated the lack of visibility caused by the muskets’ emissions.  The subtle changes of warmer or cooler colours for different scenes and times of day, and the focus of direct brilliant white for Fantine’s death worked well adding greatly to the psychological effect, while the red wash for the death of the students correctly flooded the stage with their ‘blood’ to good effect.  

Sound -  Vocals were well balanced against the recorded backing tracks and with very many of the cast wearing mics they were audible.  Once or twice individual mics were late by a beat and the first word was missed but most of the time the switch was spot on.  I am assuming that off stage effects, such as the voiceover at the barricade and the gunfire are on the recording. 

 Musical Direction - Sung through with little plain dialogue, this is a demanding score and, with no melody line on the backing, the cast did really well to perform it.  It would be wrong to ignore that it wasn’t note-perfect the whole time but we could overlook the fact bearing in mind the challenge faced by the young cast.  (That might be the first time I’ve ever alluded to “only a youth group”!)  However, it was easy to applaud the accomplished performances of those holding the main roles. Valjean needed a gymnastic range to hit the top notes of the much loved Bring Him Home, which he did with such control, and the Bishop’s final deep bass note was remarkable.  Cosette is at the opposite end of the scale and is so high, and so fast at times that I couldn’t catch all her words. There was good acting through song, the lyrics interpreted with facial expressions that echoed the sentiments, but I was surprised that the physicality didn’t always appear to match - remember tensions can be displayed throughout the body not just in the face; even a subtle gesture like that of Javert’s clenched hands in his dignified soliloquies - his anguish became real and his rendition of Stars quite rightly drew an ovation.   He and Valjean synchronised the final “I will be there” of the Confrontation immaculately.  The Thenardiers gave a very spirited Master of the House and the false tabs reprise/play off was greatly appreciated.  The complex harmonies, time changes and tempos of many of the songs were well rehearsed with Red and Black, A Heart Full of Love and the rousing One Day More standing out.  Diction was generally good in my ears - but how much of that was because I know most of the words?  …and because there was no accent to blur the clarity.  Odd that although this story is set in France no one attempts a French accent and yet Annie, like many other shows set in America, is universally performed by everyone in an American accent!   

Hair and Make Up - Grubby cheeks, blacked-out teeth and coarse, painted ‘beauty’ characterise many of the faces in this show; all created in an artistic way, setting them apart from the more natural protagonists.  Valjean had a typically period, neat and securely attached Van Dyke beard and moustache added to signify his step up in the world and Thenardier was also given facial hair but more comically.  Cosette alone, it seemed, was allowed to remain clean and pretty!   A huge number of wigs were required - and, sadly, many seemed to lack backstage care.  Fantine’s haircut looked untidily, and rather comically, over the top - we really shouldn’t snigger at this most degrading moment for her, and both hers and Cosette’s had undisguised hairlines, while the latter’s ringlets fell in her eyes requiring them to be brushed away.  Perhaps because of the speed of their application the periwigs and Pompadours of the Wedding scene looked poorly groomed with flyaway curls, the herald’s a particular case.  It doesn’t spoil the performance for the majority of the audience but attention to detail just refines the experience when one looks with a critical eye.  

Costumes - With most of the cast taking two, three or even four roles the number of costumes and changes was countless.  I think only Valjean and Javert stayed with one character throughout and even they had changes.  What a task organising what costume for which scene!  It was no wonder that not all the quick changes were as swift as usual; tucking in shirts! doing up trousers! aprons hanging not tied!   There seemed to be a costume malfunction with Fantine’s basque, perhaps not secured before she stepped on stage but she, quite rightly, discarded it when holding it in place inhibited her performance. The supply of so many varied and well fitting costumes always astounds me; too many to itemise individually.  Although they weren’t required to be as spectacular and colourful as in many of your shows this time, they were ‘spectacularly’ appropriate to convey the misery of the prisoners, factory workers and Lovely Ladies, the pomp of the genteel upper classes and the smartness of the tail-coated and waistcoated students, in contrast to the dishevelled Thenardiers.  It is obvious that much research goes into producing the accuracy of the period; evident in the gendarme uniform of Javert with his bicorne, Cosette’s dresses, Valjean’s army uniform, Enjolras’s customary red frogged waistcoat and the bonnets rouges. …and equally evident that a skilled eye goes into colour-scheming a musical - the matching red floral kerchiefs, pinnies, head squares and bands scattered around the Inn scene; unobtrusive but giving the company number a cohesion that pleases our subconscious.  The dazzling display of lavish crinoline ballgowns and gorgeous brocade jackets for the Wedding was properly breathtaking in its extravagance.  Just a question - was Thenardier supposed to be wearing white socks in that scene?  I did not overlook observation of the footwear - lace up ankle boots very satisfactory!   Or lack of - dirty bare feet, good.  

Choreography - This is not a show requiring big company numbers with elaborate dance routines, therefore, mainly involved moving characters around in an artful way and that may well have been more directorial decision, but the Wedding scene allowed for some staging of choreography.  The positioning seemed unbalanced with a gap at stage left and initially I wondered if one or two couples were missing.  Perhaps not; subsequent movement seemed to fill the stage more, and the movers looked comfortable and confident performing the steps whilst managing the hooped skirts.  Some comic moves were created for the highly entertaining Thenardiers to perform, joyously enhancing Master Of The House and its well deserved play off.

 Direction:  This cast had very strong principals who exhibited disciplined technique in their acting, singing and stagecraft, and it is no surprise that the show has been as well received as it has been.  Despite the gruelling material and the duration of the show they remained alert and committed to giving their utmost.  The areas of the stage were used well with cast members placed for maximum visibility at all times, and realistic groupings maintained visual interest without overcrowding or the dreaded straight lines.  I wonder how much mime practice the convicts had with their ‘shovels’ - not easy to hold an imaginary shaft that doesn’t bend!  The slo-mo action, together with the lighting, of the Barricade slaughter brought out the pathos of the waste of youthful life but the exit of students could have been tidier - the split staircase drew attention to the lack of symmetry as they climbed to the upper stage and an awareness of synchronising steps with the opposite side would have had an even more chilling effect.  Likewise the procession of ‘ghosts’ during Empty Chairs at Empty Tables - a slower, better-spaced line, walking in time with one another, would have been more nostalgic… as would a muffled tread!   Interesting to note that many of the various deaths in this epic tale take place stage left; something to do with its being sinister?  You managed to create really moving scenes as Fantine and Eponine died that required sensitive acting from the two girls and Valjean and Marius - the relationships were beautifully exposed.   There were two very well prepared stage punches/naps that should be acknowledged; they were slick in their execution requiring both parties to cooperate in making them believable - well done.  

It’s always the greatest pleasure to be invited to a Kidz R Us production knowing that I’m going to have a thought provoking evening contemplating the phenomenon that Phil has created over 30 years.  And this show, the third time he has directed it here, was no exception.  A remarkable evening.

 

 

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