Les Misérables - School Edition

Wranglers Youth Production Group

Les Misérables School Edition

As seen by Nina Jarram NODA SW District 3 Representative

Directed by: Wendy Holmes

Choreographed by: Wendy Holmes

Musically Directed by: Sharon Mitchell

The Muse Theatre, Lipson

Imagine that as a child, you have asked your parent to tell you a bedtime story, the one about the kind escaped convict chased around France by an evil policeman. You have heard it many times and can recite each word as you hear it. It never grows old, or boring or a chore, so the invitation to visit the Wrangler’s Youth Group production of Les Misérables was another storytelling opportunity that despite my exposure to its magnificent 40 year existence was one that I was excited to experience.

The Muse Theatre is a space that allows for creative imagination and we were introduced to projection screens either side of the stage and the ‘poster girl’ iconic image of on banners featuring what I believe was the actress playing Young Cosette. At the back of the stage was a simple yet versatile piece of set depicting many of the different scenes cleverly manipulated as the action progressed. Scenery was provided digitally using projected images to support the context whether informing us of dates, places, accompanying flashbacks to Fontaine’s, I Dreamed a Dream , or presenting as landscapes to inspire our imaginations. Sometimes a lack of large scenery and set can be distracting and unstimulating but with such sympathetic and alluring performances from the cast, our focus was truly on the music and acting and well deservedly so.

Lighting effects were cleverly devised and added to the ambience of the plot. From the bold red lighting accompanying the barricade to the sympathetic small ripple of blue light on the floor depicting the pool that Valjean was drinking from, we were helped along the journey of the characters by these flawless lighting transitions which added a professionalism that these young performers deserved.

This was a very well-directed piece of theatre with many clever nuances which prevented the action from appearing immaturely or insensitively acted out. Occasions of note were the fight scene between the ladies which was suggested and hidden from view by braying spectators, and the fallen cart scene which again was depicted through well imagined strobe lighting, sound effects and the power of suggestion.

Having such a wide range of performers is also a challenge for a Director, especially in a show which tackles more mature themes and which has a challenging vocal score. In this production, the smaller children were brought on as the offspring of older characters during the bigger ensemble numbers. Quality rather than quantity is important for our younger performers as through this training process of learning stage craft, they are given the opportunity to develop important skills in spatial awareness, collaboration, time management, waiting patiently backstage and more importantly, confidence to perform in front of an audience alongside their peers whilst learning from their role models. Other actors were also required to move the set around accordingly and bring props on and off alongside performing. This provides an excellent opportunity to encourage an understanding of the bigger picture of how different pieces of theatre need to come together. This production was a masterclass in inclusivity in all areas.

Costuming such a large period production is always a challenge but the characters were presented appropriately with the inspiration of the French flag colours in evidence through waistcoats, dresses, cravats and jackets. Hair was styled appropriately and make up was scarce as it should be with a focus on grubby faces achieved through stage make up to show the contrast between the working class and the elite. Realistic bloody wounds were successfully achieved and portrayed in a believable way helping the audience to lose themselves in this fast paced piece of naturalistic theatre. I would have liked to have seen bare feet replace modern jazz shoes but this is possibly to do with health and safety restrictions or budgeting restrictions and cannot always be overlooked in the quest for authenticity.

Vocalists had evidently been well drilled by the music production team and there was good projection, solid harmonies, and collectively portrayed a well-rehearsed performance of a demanding vocal score. The female ensemble were particularly strong with powerful vocals, excellent acting through song and convincing characterisation of ‘Lovely Ladies. ’ They performed with a mixture of light and shade ensuring that we were not being shouted out throughout this impactful number. This is important musical direction and again it is good to see that professional training is being delivered throughout the rehearsal process. This female power house team also doubled as male characters providing them with the challenge of working on contrasting physicality and sometimes difficult singing pitches in songs written for the male voice. 

There was an absolutely superb female soloist in Red and Black singing alongside the actor playing Enjolras and again the actor singing the second verse of Drink With Me. Both very competent and articulate performers helping to keep the narrative through clear diction and a warm, mature tone. Grantaire was played by another fine actor and singer keeping up the pace of the show and proving that every cameo is of note and can stand out in the crowd if done properly. The actor playing Gavroche had excellent storytelling skills and commanded the stage with a notable presence.

Enjolras was played by an excellent actor who was pivotal in keeping the fluidity of this fast paced production. She sang with authority and expression and was a match for the more mature and experienced actor who portrayed Marius.

Our female leads were delivered by three confident young women who emotively sung their songs with clarity and precision. Eponine had a beautiful soft vibrato  and a strong voice. The actor demonstrated excellent acting through song and her face clearly told of her struggle with unrequited love towards Marius. A very glamorous Fontaine, despite adding a pop riff during I Dreamed a Dream, sang with passion and regret and pulled off a quick transformation as she went on to portray the demise of this important character. The actor playing Cosette had a beautiful pure soprano voice and a convincing representation of a growing love for Marius. Along with the actors playing Eponine and Marius, the singing of the trio, In my life, was hauntingly beautiful and sung just as good as the professionals. What a poignant moment in the show this was to behold.

We received some welcome comedic moments amongst this drudgery of fighting and death from Monsieur and madame Thernadiere, the crooked innkeepers. The two actors portrayed a great comic relationship through their facial expressions and gestures and although the tune of their songs were compromised by over characterisation and dynamics, there brought a breath of fresh air to the proceedings and a juxtaposed reaction from the audience.

Our three demanding lead male roles led the show and provided the younger actors a masterclass in how to sustain characterisation, successfully interact with one another and deliver strong vocals worthy of an adult production. The actor portraying Marius had a superb voice with a beautiful tone and which blended in beautifully with the female actors in their songs together. He was a totally believable character, convincing in his love for Cosette, his respect for Valjean, his platonic friendship with Eponine and his disregard for the Thernardiers. He drew the audience in to his story and his interpretation. As we witnessed Marius grow older, the actor was able to adapt his physicality and stance accordingly. He is obviously a versatile actor as I last saw him playing the thigh slapping prince in the Wranglers pantomime, a totally different assignment.

Javert was wonderfully cast to an actor who took ownership of this overpowering character from the very beginning of  the show. He sang powerfully and accurately, portraying a man falling from grace ending up tormented by decisions made in his past. He did not once stray from his characterisation showing experience and a knowledge of his craft.

The part of Valjean is one that keeps the pace of the show going so requires a strong actor with the ability to master challenging songs and the declining physicality of a man over a number of challenging years. This actor did not disappoint. He had a stunning top vocal register and his falsetto moments were pure joy. He successfully carried us on his journey with his superb acting through song and created a believable character in all of his different relationships with others both within the script and upon the stage. He presented us with a slightly different interpretation of Valjean than we are used to, and portrayed him as more exposed emotionally rather than strong willed and reserved. This actor brought down those barriers showing his vulnerability. Sometimes there is the danger of vocals and dynamics being compromised by over emoting a song but this comes with experience and vocal control. 

When there are these fine talents to lead by example and drive the action, then it motivates the rest of the cast to up their game and strive to match their delivery and they certainly did.

 

PLEASE NOTE:

Any observation made by the reviewer can only be based on what he sees at the performance in question.  The reviewer may have received information in advance of the performance and it is inevitable that his assessment will be effected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in particular the performance viewed.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances, and are only made to encourage higher standards in Amateur Theatre.

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

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