Les Miserables School Edition

Act One Beginners’ Les Misérables, performed at Blackburn Empire Theatre, offered a heartfelt and confidently shaped retelling of Victor Hugo’s epic story. The company approached the material with sincerity, discipline, and a shared sense of purpose that gave the evening a steady emotional core. Scenes moved with clarity, the ensemble worked with admirable focus, and the production allowed the cast to shine brightly.

Directed by Leanne Wharf, the production flowed with assurance. The cast responded well to their shaping, stepping into scenes with intention that kept transitions crisp. Musical Director Julia Taylor led her thirteen‑piece orchestra with calm authority, drawing a beautifully balanced sound that supported the young vocalists without overpowering them. The performers trusted her completely, glancing for guidance when needed but singing with independence and confidence. Vocal coach Alice Butterfield brought out excellent ensemble harmonies and strong solo performances. Bethany and Jessica Whittaker choreographed Master of the House with precision, the comedy played with gusto, the ensemble synchronised and obviously enjoying each moment.

The set, provided by UK Productions and overseen by Stage Manager Tom Whittaker and his team, framed the stage with staircases, balconies, and arches that shifted fluidly from streets to sewers to churches. Projections, run by Greg Wharf, clarified each change in place and time, while staging and props under Linda Howarth’s guidance supported the storytelling without ever intruding. Lighting by Rhys Roberts and Ryan Clegg, with Megan Marley on spotlights, added atmosphere and texture, shaping tunnels, streets, and barricades with confident shifts in tone. A gentle wisp of smoke drifted through certain scenes, catching the beams and giving the stage picture a subtle depth. Sound by MASH AudioVisual remained clear and steady throughout, keeping vocals clean and the orchestra well balanced.

One moment where every department aligned beautifully was the Lovely Ladies sequence. The stairs swung into place with rhythmic precision, the lighting shifted tone with each arrival, and the costumes struck a smart balance between character and propriety. The cast handled the movement with confidence, and the crew remained invisible, their timing impeccable. It was a scene where staging, sound, lighting, costume, and performance all breathed together.

Theo Alderson’s Jean Valjean was a deeply felt performance, physically and emotionally committed. His vocals were strong throughout and Bring Him Home became a standout moment of the evening. Theo controlled the top notes with impressive softness, choosing tenderness over force, and many in the audience were moved to tears. He carried Valjean’s journey with sincerity, shaping the character’s strength, fear, and compassion.

Sebastian Heywood brought Inspector Javert to life with striking poise, but it was his reactions, the listening, the loitering, the tension held in stillness, that made the performance compelling. His undoing at the end was beautifully judged; in that moment of ferreted madness, he loosened his hair just slightly, a small, dishevelled gesture that spoke volumes. His soliloquy was controlled yet raw, offering a clear window into Javert’s turmoil.

Summer Stubbs was fabulous as Fantine, delivering a decline that was brutal, honest, and excellently played. Her vocals at the dockside were raw and gripping, and I Dreamed a Dream was a genuine “wow” heartfelt, beautifully judged, and full of quiet pain. Her death scene was tender and deeply emotional, honouring Fantine’s story without overstating it.

Sara Zahraoui gave a beautifully lived‑in performance as Éponine, capturing longing, resilience, and heartbreak with instinctive clarity. Her furtive glances toward Marius told whole stories, and On My Own was sung as a confession rather than a showpiece, full of grounded emotion. She let the audience feel how deeply Éponine loved him and how willing she was to sacrifice her own happiness to keep him safe.

Louka Millar offered a vocally strong Marius, showing impressive range and ease with the top notes. Empty Chairs at Empty Tables was a highlight: he began softly, cautiously, and allowed the vocals to grow with despair as the ghosts of the fallen moved in around him, closing the space and almost suffocating him. It was a powerful, sensitively judged moment.

Suki Holt brought a lovely lightness to Cosette, her high soprano notes ringing out clearly with no strain. Her performance carried gentle warmth, and her chemistry with Louka Millar felt genuine and tender, giving their scenes a natural ease, In My Life/A Heart full of Love was simply beautiful.

Mickey Wilkinson brought real fire to Enjolras, full of revolutionary spirit and conviction. His leadership in the ABC Café scenes was commanding, and Red and Black carried striking urgency thanks to his presence and vocal strength. He moved with purpose, every gesture reinforcing Enjolras’ unwavering belief in the cause.

Leo Berry commanded the stage as Thénardier, moving with a wonderfully weasel‑like slyness that made him instantly unsavoury, and the audience loved it. The missing teeth added grimy charm, and his stooped, sheering energy made his comedy excel. Paired with Ruby Whittaker as Madame Thénardier, the two were unstoppable. Their chemistry was electric: his leap into her arms was hilarious, her stashing of silverware up her dress perfectly timed. Both delivered excellent vocals and sharp comedic instinct.

Jack Cole was fantastic as Gavroche, his vocals clear as a bell and timed to perfection. He brought fearless spark to every entrance, darting through scenes with cheek and courage. His death was extraordinary, the look of shock before the fall was a tiny detail that gave goosebumps and hit the audience with real force.

The barricade ensemble, Alfie Feeley, Madison Cronshaw, Ava Millar, Jasmine Majid, Isabelle Balfour, Gracie Thorpe, Jasmine Robinson, and Millie‑Ann Daniel, formed a strong backbone of the production, many doubling as dock workers, lovely ladies, gentlemen, and other characters. Their versatility kept the world populated and alive. With Rosie Beaumont as a factory girl, and Megan Duncan as young Éponine. Autumn Wharf sang loud and clear as young Cosette, capturing the sadness of the song with maturity beyond her years, and her attempts to get away from the Thénardiers were genuinely funny.

With a further eighteen ensemble members working tirelessly, the stage was always busy but never crowded. Everyone remained animated and purposeful, each performer contributing something vital to the world of the story. Their movement, reactions, and constant awareness created a living backdrop that supported the principals without ever distracting from them. It was disciplined, collective work.

The whole evening was a testament to what young performers can achieve when guided with care, supported by a committed creative team, and surrounded by a society that believes in them. Les Misérables is never easy - yet Act One Beginners approached it with heart and unity, creating a moving, beautifully judged evening of theatre. Thank you to all at Act One Beginners, especially Sue McKay for the warm hospitality. I wish them luck with future productions.

 

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