Les Miserables Schools Edition

BCMCS Youth Theatre should be incredibly proud of their production of Les Misérables School Edition. This is a demanding and much-loved musical, and it was clear throughout that both cast and production team approached it with care, commitment and a genuine love for the material.

Louise Ward. The director guided the story well, assisted by Libby Hill. The use of the ensemble was particularly effective, creating strong stage pictures and moments of impact. Although there were a few occasions where staging levels affected sightlines: from where I was sat, I could not see onto the stage because of positioning. The overall flow of the production remained clear, and the intention behind the storytelling was evident. Musically, this production was a real strength. Under the direction of David Wilson, supported by Jennie Pearce, the live music added depth and atmosphere throughout. There is something special about hearing this score performed live, and the cast were supported well, creating some powerful and moving moments within the performance. Jeannie Pearce Keys 1 Tom Bowes Keys 2. Thomas Leach Percussion. Mark Jones Bass. Julie Leach Reed 1. Ruth Parry Reed 2 Jenny Downing Reed 3. John Parkinson Horn. Dave Parkinson Trombone. Mike Lyons Trumpet.

The technical elements all worked together to support the world of the show. Costume, props and make-up were consistent and appropriate for the period, helping to establish the tone effectively. There are always small details to refine such as avoiding modern elements like pink acrylic/gel nail polish or avoiding visibility of dark under garments under lighter costumes — but overall the visual presentation worked well and supported the storytelling. Costumes Kathryn Wilkinson, Lauren Flitcroft and Boyz Costumiers. Make-up Ursula Greenhalgh and Clarice Greenhalgh. Props Jennie Pearce

The set design and construction deserve particular praise. The use of levels and the inclusion of the barricade added depth and scale to the performance. It was clear that a lot of care had gone into creating this set in-house, and the cast moved around it with confidence. The staging allowed for a variety of strong visual moments and helped bring the world of the show to life. Scenery by Andy Parmar, Dennis Boulderstone, Charlotte Parmar and Chris Grady

With a cast of 46, this was an ambitious production. The ensemble worked hard throughout, maintaining energy and engagement across the performance. Aside from a few minor blocking challenges, the cast should be proud of the commitment shown. A particularly commendable moment came when the fire alarm sounded during the performance, the cast handled this with professionalism, finishing the number, exiting calmly, and resuming seamlessly. A real credit to everyone involved.

Freya Islip played Fantine. Archie Howarth played Jean Valjean. Stephanie Stone played Cosette. Jacob Harvey played Bishop/Combeferre. Nic McCartney played Marius. Lewis Parmar played Enjolras, Asher Reid played Grantaire/Bamatabois. Jacob Farnworth played Foreman/Prouvaire. Grace Farnhill played Young Cosette and Scarlett Bates played Young Eponine.

Just picking a few stand out performances: Cameron Tate as Javert was a highlight of the production. His portrayal was controlled and thoughtful, allowing the character to develop naturally without being overplayed. The subtle progression in his performance was particularly effective and engaging to watch.

Izzy Paxford and Matty Gilkey as Madame and Monsieur Thénardier brought excellent comic relief to the production. Their partnership worked well, with strong characterisation and clear enjoyment in their roles. Their performance of Master of the House was lively and well received, providing a welcome lift in the story.

Ben Stott as Gavroche made a strong impression despite the size of the role. His confidence, timing and characterisation brought energy to the stage, making his moments memorable and impactful.

Abigail Eccles as Éponine delivered a sincere and engaging performance. Her stage presence drew the audience in, and her rendition of On My Own was a strong and emotive moment within the show.

Overall, this was a good production that highlighted the talent and dedication within BCMCS Youth Theatre. The commitment from both cast and crew was clear, and the sense of pride in the performance came across to the audience.

Thank you for inviting my guest and me to your production. It was an enjoyable evening, and you should all be very proud of what you achieved. I look forward to seeing what you bring to the stage next.

 Craig Pinnington, D5 Assistant Rep.

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