Les Miserbales School Edition

Following on from their production of ‘Les Misérables School Edition’ at the Brindley Theatre last year, A Place For Us kick off their partnership with the Epstein Theatre with a staged concert version of their production, which was once again directed by Kate Allerston.  After seeing their fully staged version in October, it was great to see the other cast take to the stage. The cast were seated on stage for the whole concert, with some on raised platforms. The principal cast were sat on the front row, with the orchestra positioned on stage. The entire cast must be applauded for their excellent approach to this. Not once did their concentration lapse nor did they distract from the action. A row of microphones were placed at the front of the stage, with characters coming forward for their songs. What was pleasing was the commitment to character, especially in the movement when coming downstage for songs. Each and every member of the cast had thought about their character, and moved in such a way to portray that character. Extra effort had been made to ensure that the cast were costumed throughout as well, with principal characters having costume changes throughout, especially the aging of Valjean. This goes to show the great attention to detail Kate has to ensure a fully realised theatrical experience.

Fresh from winning the District 8 award for Best Musical Director of a Youth Production, Chris Bastock and Corey Gerrard were back at the helm, with Chris conducting the orchestra. It was great to see Chris at work, with him being on stage with the orchestra. He was in control of the orchestra and was sympathetic to the cast, allowing moments to linger. The orchestra were a delight to listen to, bringing the iconic music to life. The vocals of the cast matched the quality of the orchestra, showing great work from both Chris and Corey.

The choreographer for this production was Colin Kiyani. With it being a staged concert, there wasn’t much choreography required. The movement that was performed added to the production.

Technical elements were strong throughout this production. The sound balance between the orchestra and cast was spot on and perfectly balanced. The lighting contributed effectively to the production and was unobtrusive, which was what was needed. The tricolore that was created with the lighting provided a nice backdrop.

John Rakestraw brought an emotional depth to the role of Jean Valjean, creating a wholly convincing character. His acting through song was a particular strength and John was able to connect with the audience very well through his vocals. It was beyond clear how much John put into his performance at the conclusion of the production. Well done.

Iris Preston was a fantastic Fantine. It was a performance full of maturity, with a strong vocal. Iris’s acting through song was a particular highlight. It was a very convincing performance.

Joel Haslam and Harriet Hines once again brought comic relief to proceedings with their portrayals of Thenardier and Madame Thenardier. They both relished every comic moment offered to them, and delivered their vocals very well. They created a convincing partnership.

Ruby Horton gave a strong performance as Eponine. Vocally strong, she really shone in the emotional moments of the show.

Scott Summers reprised his award-winning role as Marius, giving an even stronger performance. His vocals were full of emotion, and his interactions with other characters were strong. He created a wholly believable relationship with Cosette.

Sophie Culshaw proved to be an engaging Enjolras. She commanded the stage when needed, really taking on the leader of the revolution.

Abi Horley-Potter delivered a strong Cosette. Her vocals were effortless. This was a great performance as the ingénue, and Abi created a great partnership with Scott.

Darcie Wright did very well to convey the cheeky character of Gavroche. She really got the audience on side, and her vocals were good.

It takes a lot of guts standing on stage by yourself singing such a well-known song, and Isla Russell delivered a very good rendition as Young Cosette.

The ensemble impressed in smaller roles and the ensemble numbers. As mentioned, their diligence was particularly noteworthy. The wall of sound coming from the ensemble when they all sang together was fantastic, with some lovely harmonies coming through.

Overall, this was a very good production. The orchestra were strong, there were emotional performances, and it was clear how much this production meant to the cast.

A big thank you to everyone at A Place For Us for their kind invite.

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