Les Misérables

Les Misérables is based on a book by Alain Boublil, with music by Claude-Michel Schönberg and lyrics by Alain Boublil. It is set in 19th. Century France. Jean Valjean is released from years of unjust imprisonment but finds nothing in store for him but mistrust and mistreatment. He breaks his parole in hopes of starting a new life, initiating a life-long struggle for redemption as he is relentlessly pursued by Police Inspector Javert, who refuses to believe that Valjean can change his ways. Finally, during the Paris student uprising of 1832, Javert must confront his ideals after Valjean spares his life and saves that of the student revolutionary who has captured the heart of Valjean’s adopted daughter.

There wasn’t a set as such, the stage was completely bare, with the occasional image on the back wall stating the date and place of the action and scenes were intimated by the use of excellent props. However later, when black tabs were closed and then partially opened a magnificent ‘barricade’ appeared which was turned, when needed, to depict another scenario. 

Jean Valjean was outstandingly played by Matthew Alsop. He totally captured the various nuances of the character by his superb acting skills and by his magnificent tenor singing voice which was just stunning. All his songs were so exceedingly well delivered especially ‘Who Am I’, which gave me goosebumps and the interpretation of ‘Bring Him Home’ was just incredible with his voice ‘breaking’ with emotion. There were several times I had tears in my eyes, and this was certainly one of them. It was a remarkable and exceptional performance. Leighton Hendon was perfect as Inspector Javert. His whole demeanour, so helped by his stature, was strikingly portrayed as he dominated the stage and so arrogantly tried to effect the ruin of Valjean. He too has a powerful singing voice and his singing of ‘Stars’ was superb as was that following his realisation concerning Valjean, of ‘Javert’s Suicide’. This actual happening was so well accomplished by his falling from the top of the Barricade. Oliva Thorne excelled as Fantine, her singing of ‘I Dreamed a Dream’ was so movingly sung. Phoebe Harris was delightful as Young Cosette and she so sweetly sang ‘Castle on a Cloud’ and Darcy Thomson was just perfect as Adult Cosette. She has a beautiful soprano voice and the duet ‘A Heart Full of Love’ with Marius was divine. The scene at Valjean’s demise was so sensitively and so emotionally expressed, another tearful reaction. Josh Lewis was fine as Marius, the idealistic revolutionary, and there was lovely chemistry between him and Cosette. His reflective singing of ‘Empty Chairs at Empty Tables’ was sublime. Josh also played other roles. Another excellent performance came from Madeleine Donovan as Eponine, she not only brought out the tomboyishness of the character but also the unrequited feelings she had for Marius were so evident when she sang ‘On My own’ - it was truly heart-breaking. Light relief came from Oliver Lowe as Mr. Thenardier and from Lillie Torr as Madame Thenardier. Oliver splendidly portrayed the sly, opportunist, unsavoury and comedic aspects of the role and Lillie excelled in bringing out similar traits but with a more scheming and sarcastic attitude. They were a great pairing and their rendition of ‘Master of the House’ was indeed just that - masterful. Both were involved in other roles. Rebecca Stott was first-rate as Enjorlas, she totally dominated the group of fighters with great forcefulness and belief in the cause and again was involved in other roles. Elias Proctor was so adorable as Gavroche. He was so small but what an amazing singing voice he had so evident in ‘Little People’ and he brought out the cheekiness of Gavroche so ideally as he slipped through the barricade to bring back information, but it was such a sad moment when he died. Good support came from Daniel Hunt (Grantaire & Others), Antony Wood (Feuilly & Others), Ruby Randle (Lesgles & Others), Eve Hunt (Combeferre & Others), Ruby Chandler (Courfeyrac & Others), Rafferty Williams (Joly & Others), Josiah Bawden (Prouvaire & Others) and from Phoebe Harris (Young Cosette). There were also eleven others with multiple roles along with thirteen in the Ensemble. There were some very imaginative and innovative scenes, including ‘Lovely Ladies’ with such a sensual and sexy array of ‘ladies of the night’ shall we say, the Battle scenes at the Barricade were just awesome with the accompanying gunfire and explosions, ‘Beggars at The Feast’ with lovely choreography so well executed and the ‘Finale’ with Valjean, Fantine and Eponine was just so emotional as they were then joined by the whole cast in the singing of ‘Do You Hear The People Sing’ with those emotive words - “It is the future they bring when tomorrow comes.”

This is a very complex and demanding show and for it to be performed by young people in such an inspirational way was just awesome. All the principals were brilliant in their respective roles but to do total justice to the show you need the backing of an ‘ensemble’ for all the minor roles as well as for all the other important characterisations and they too, were terrific. All the singing and acting by the principals and by the chorus was absolutely stupendous and together with the settings, excellent costumes, props, lighting and sound effects this proved to be a most dramatic and awe-inspiring piece of theatre. 

Many, many congratulations to Creative Director Joshua Mason, to Musical Director Matthew Szadura, to Choreographer Emily Skill, to Lighting Designer Daryl Hoare, to Sound Engineer Chris Grimshaw, to Scenic Carpenter Gareth Elvidge and to everyone else, both Backstage and Front of House, that were involved in this fabulous and innovative production. Also, my thanks to Joshua for his warm welcome and hospitality. 

© NODA CIO.  All rights reserved 

© NODA CIO. All rights reserved.