Les Misérables

Not many people in the amateur theatre world are lucky enough to get a chance to perform in Les Misérables, however members Salt & Pepper Youth Theatre Company are some of the lucky few (I’m not jealous, honestly!). An iconic show like this is by no means easy, but Salt & Pepper made it look effortless. From strong casting and professionalism from the young actors, to stunning aesthetics and a beautiful sound, this group have done it justice from start to finish, leaving audiences in tears and earning a well earned standing ovation. Moving an audience to tears is a sign of strong and passionate acting, something which every single member of this cast displayed. While the story itself is emotional, it hits deeper when the cast portray every emotion well. One of the stand out elements of this production for me was the casts ability to act through song, particularly the principals, but also notably in “Do You Hear The People Sing?” – there was so much passion on display! I must also mention the stunning image created at the end of this number.

Joanna Milborne-Chatt has done a sterling job in the role of Director for this production. From the very start when the cast entered through the audience for “Look Down”, blocking and movement was extremely effective in carrying the story. It is clear that a lot of thought and hard work has gone into every element of staging, with the ensemble acting at all times and delivering every vocal and movement with purpose – there were no weak links. The cast also did well to execute the majority of the set changes throughout. These were some of the most slick and seamless transitions I have seen, sometimes I didn’t even notice they had happened! I found during the barricade scenes where the cast were facing away from the audience that it was hard to tell who was speaking/singing as there were no changes in lighting or blocking, but these were very short moments. There was a small element of choreography in the “wedding scene” where cast were paired up. This section could have been a bit cleaner as some of the timing was out. A scene that resonated with me in terms of staging was “Empty Chairs At Empty Tables”. Marius’ dead friends in the shadows, all moving in unison, was something that really pulled on the heartstrings. Similarly the use of slow motion along with red lighting when the students are killed was a truly stunning moment.

Having Michael J Scott on board as Musical Director will always ensure a great sound, but this production was on another level. From the offset, the sound was so full and beautiful, doing justice to some of the most iconic songs in the world of musical theatre. An orchestra of 18 musicians were led expertly by Michael, and I must give special mention to the brass section who sounded simply stunning during “At The End Of The Day” and really caught my attention. The vocals of this production were outstanding, it is obvious a lot of hard work and dedication has gone into learning the harmonies and timing of this intricate score. I did find that during “Master Of The House” the ensemble vocals were slightly heavy on the soprano side, overpowering the other harmony lines – but this is me being very picky! I would have to single out “Turning” as a standout number in the show from the ensemble – goosebumps!

The set for this production was mainly the Barricade, with some additional set pieces brought on such as gates for Cosette’s house. The gates paired with 2 sets of stairs were used really well by Marius when sneaking in/out of the garden. The Barricade stretched across the entire stage, with some sections on either side offering higher levels for ensemble to sit on during the bar scenes, and for Young Cosette’s lovely rendition of “Castle On A Cloud”. Atop the Barricade was the Orchestra who blended really well, not taking attention away from the scenes on stage. There were a handful of projections used on the back wall to show where we were in the story, however these were partially blocked by the band so were not always easy to read, especially for audience members at floor level. The overall look was great, with cast able to utilise the space differently for each scene. There were also some moments where the cast used space at the top of the Barricade, the most effective being for Javert’s suicide which was executed brilliantly.

I found the sound for this production to be a bit hit and miss at times. There were moments when the cast unfortunately could not be heard over the band and a few minor timing issues with microphone cues. Alongside this, there was some feedback when the cast came in front of the speakers or were in close proximity to others on stage. That being said, the overall sound was utterly stunning and these are some very small criticisms in the grand scheme of things. I did like the use of reverb on the microphones, it was just the right amount. Costumes overall were brilliant – they all looked very effective. They did well to show the differences in “class” between the characters. I was also impressed by the changes in wigs, hair and make up between scenes as the story progressed and the characters aged.

One of the stand out elements of this production was the lighting plot. Every cue was spot on, with many angles, levels and colours explored throughout to give the most lovely aesthetics. A lot of the lighting came from above the stage which was a great choice given that the band were on stage – it helped to keep the audiences attention centred on the actors. There were a couple of moments where single spotlights were given for soloists to end their numbers but they didn’t quite hit the mark, however this didn’t detract from the performances. Blinders were used regularly within the show, mostly for the set to be changed on the stage. These worked really well and were timed perfectly. I appreciated how the lights were well matched to the scenes/songs. Red lighting in “Lovely Ladies”, orange lighting with haze for the shooting scenes, and twinkly lights for “Stars”. All stunning choices. The use of spotlights was also spot on (pun intended). Especially the shrinking spot on Fantine as she passed away, and the use of several spots at the start of “One Day More”. The repeated use of the colours of the French flag during more patriotic moments was very effective. I could talk about the lighting of this show all day as it was just spot on!

Oliver Stagles took on the mammoth role that is Jean Valjean. His acting and stage presence was excellent and he showed so much raw emotion during his performance. Vocals were good from Oliver, but what impressed me the most was the relationships formed with the other characters throughout. Javert was played by Will Santini whose authoritative presence was perfect for the role. He gave some good vocal moments with a lovely rich tone at times. The way he held himself in character throughout was brilliant and he was fully committed to the role.

Billy Sky Clarke played the role of Marius beautifully with truly remarkable vocals – especially during his rendition of “Empty Chairs At Empty Tables”. Billy’s acting was second to none, while displaying great stage presence at all times and giving us some stunning moments with Eponine, Cosette and Jean Valjean. He played the “lovestruck youth” side of this role perfectly, such a convincing performance filled with passion. This was an incredible performance from Billy.

Georgie Parker did an amazing job as Fantine – her performance of “I Dreamed A Dream” was jaw dropping! She displayed powerhouse vocals throughout and had the audience gripped with her acting. What took this performance to another level was her acting during Fantine’s death. Her voice completely changed, sticking to the character and the emotions rather than striving for “perfect” vocals.

The same can be said for Yazmin Paige as Eponine, with the death scene played so well, a really heart wrenching moment. I think what made this even more heartbreaking was the relationship she had formed with Marius throughout. There were a lot of moments where Yazmin was facing upstage so we weren’t able to see her face, but that does not take away from the fact that this was an exceptional performance. “On My Own” was a show stopping moment, giving me goosebumps when she ran forwards. This young lady’s vocal ability is incredible!

Daisy Wheadon took on the role of Cosette and was filled with youthful, lovestruck wonder which is so true to the character. The innocence she was able to portray throughout was lovely, but what impressed me most was her voice! Such an impressive range for a young actor! She had a beautiful mix of opera and belt, which she used very well during her numbers.

These 3 young ladies would not be out of place on a West End stage, and I would not be surprised if I saw them there in a few years’ time – they have very promising futures ahead!

Paulo Thompson and Scarlett Robinson were a great pair as Thenardier and Madame Thenardier, bouncing off each other really well and giving us some hilarious moments. Their energy was high throughout and their comedy timing was spot on. I loved the scene with the hat after “Master Of The House” during the scene change! Both performed with brilliant accents and they were the perfect level of bonkers for their roles. I also really enjoyed their dance together – such a lovely comedy moment in an otherwise very serious show.

The ensemble did an amazing job in this production, consistently giving us their all with high levels of energy and stunning harmonies! They conducted themselves with professionalism at all times, aiding with slick scene changes and consistent commitment to their characters. There was not one weak link. They should all be very proud! Their performance of “At The End Of The Day” hit the audience like a wall out sound, their vocals so crisp and clear. Every word could be understood, which is very impressive for such a fast and wordy song!

Overall, this production was truly incredible! All elements came together to create a piece of theatre that the young actors will remember for the rest of their lives. So much talent on display! The cast and crew should be so very proud of what they have achieved! I must also show recognition to Salt & Peppers front of house staff and the staff of The Grange Theatre. Unfortunately there was a medical emergency shortly before the show was due to start but it was dealt with professionally and with dignity from all sides.

Thank you again to Salt & Pepper Youth Theatre Company for inviting me to the show, and I wish them the best of luck with their next production, Titanic The Musical, to be performed in November 2026.

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