Les Misérables: Let the People Sing

Review written by Joyce Eyre 11th & 13th June 2025, with additional content from Regional Councillor Andy Brown.

I can only imagine the mixed emotions when BMOS were honoured to be selected for the unique opportunity to produce the UK amateur premiere of Let The People Sing (Les Misérables), collaborating with Bilston Operatic Company, Bournville Musical Theatre Company, and West Bromwich Operatic Society. The audition process was enjoyable, well organised, exhaustive and totally rigorous, whilst drawing on the exceptional individuals from the West Midland area, who couldn’t wait for their chance to maybe get involved. As the NODA representative, I was delighted to be invited to join the audition panel, where choosing from so many talented performers proved both time-consuming and inspiring. Key members from the collaborating societies worked with the BMOS production team at every stage to maintain consistency and impartiality. After approval from Chris Key (Les Misérables Associate Casting Director), BMOS were given the green light for their carefully chosen cast and production team to proceeded full stem ahead and produce their own version of this renowned show at The Alexandra Theatre.

Based on Victor Hugo's novel, Les Misérables is a powerful musical by Boublil, Schönberg, and Kretzmer, known for its epic story, striking music, and evocative staging. Exploring themes like revolution, hardship, and compassion, it features memorable songs such as “Do You Hear The People Sing?” and “One Day More” that highlight both the emotional and social depth of the show.

With a skilled ensemble, smooth transitions, and strong vocals, 'At The End Of The Day' stood out as a favourite for me. Each performer delivered harmonies and a level of quality comparable to the West End. I was extremely fortunate to be able to see both Wil Neale and Aaron Gibson who were dual cast as Jean Valjean, both were individually absolutely superb, bringing slightly different nuances when delivering not only the dialogue but also Wil bought a raw strength to his stage presence whereas  Aaron showed perhaps a little more tenderness and caring to his character  especially when interacting with Fantine and Cosette. Both giving excellent performances, highlighted by moving renditions of “Bring Him Home” and “Who Am I?”.

The same can be said of all our leads in fact, Robbie Love as Javert, the perfect vengeance-seeker, blind to all but his own desires to see ‘justice’ done, but his voice is also a booming, glorious showstopper with ‘Stars’ being an absolute favourite of mine. Annabel Pilcher as Fantine was a perfect betrayed damsel with a rich, textured voice which carries the iconic “I Dreamed a Dream” so spellbindingly. Beth Dickson’s Eponine was the rebellious firecracker/ jilted would-be lover, carrying her wounds all over her vocals in the devastating beautiful “On My Own”. Cosette and Marius played wonderfully by Ismay Dudzinski-Grubb and Luke Griffiths offered the starry-eyed performances of instant infatuated lovers with swooning vocals to match.

The tragedy is certainly fulsome here but there’s a good dose of comedy too, provided by the cheeky young rebel Gavroche, played brilliantly by Jaron Lewis-Haynes on both nights I attended. Im sure Theo Traat was equally as vocal (he showed us at auditions) ‘Vive La France!’ The gloriously grotesque pair of schemers Thénardier and wife, played perfectly by Tim Jones and Sophie Grogan. “Master of the House” and “Beggars at the Feast” are fantastic narrative bookends, too. I would also like to mention Ben Evans who played Enjolras, along with Marius and the students performed such a rousing rendition of ‘Red and Black’

As always experienced director Stephen Duckham undertook the challenging project with a keen focus on making the production the companies own with balance, action and emotional inaction whilst Aaron Gibson who was not only Valjean but also the assistant director and assistant movement coordinator, along with Lauren Shirley set the bustle and movement of the ensemble numbers with the necessary stillness and of course the comedy elements. I must mention the set design that worked exceptionally well on the large stage, the two imposing changeable towers. The cast themselves moved the scenery towers to create different scenes, which included visuals of crowded apartments, brief views of a factory, a makeshift brothel, and of course the iconic barricade. Integrating the scenery changes into the production must have required many hours of choreographed movement. These aspects contributed to each scene's presentation, enhanced by the lighting design used throughout. The effect when Javert fell to his demise from the bridge was so very effective. And the sense of towering theatricality was of course heightened by the presence of the wonderful Midland Concert Orchestra, who’s performances were directed by Phil Johnson. Throughout the rehearsal period the cast had learnt every note, harmony and lyric under the expert musical direction of David Easto and of course assistant musical director and accompanist Callum Thompson. The period costumes, numerous wigs and makeup were absolutely wonderful in every respect and enabled the cast to become completely believable characters.

What more can I say ? The Birmingham Premier of Les Miserable’s, Let The People Sing was a truly epic piece of theatre, one which showcased and championed unmistakable quality in every respect. I know the aftershow blues affected everyone deeply on this occasion, however what amazing memories were made not only by everyone involved but by the sell out audiences too, giving standing ovations nightly to recognise the spectacular performances we had just witnessed.

                         A truly magnificent piece of musical theatre.

 

As West Midlands Regional Councillor, I was delighted to be invited — along with my wife — to attend the same performance as Joyce Eyre.

I have a small confession to make I’ve seen Les Misérables on the professional stage close to 60 times, including the concert version and various other countries. It’s safe to say this is my favourite musical of all time.

From the moment we entered the auditorium, the visual impact of Let the People Sing lighting set the tone. It was immediately clear that we were in for not just an enjoyable evening, but something truly special — and that certainly proved to be the case.

Les Misérables is a show with no weak songs, no moments you'd want to skip — and this cast did every one of them justice. Each performer delivered a powerful, memorable performance.

The question we’re all left asking is: how do you top that? Honestly, I’m not sure. But what a privilege it was to witness a production where the people were indeed allowed to sing — and did so, in remarkable style.

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