Les Misérables School Edition

As Regional Councillor, I would like to formally welcome Talking Props Theatre Arts to the NODA family. It was a pleasure to meet and speak with the production team, as well as to share a few words with the talented cast of Les Misérables: School Edition.

This year marks the 40th anniversary of Les Misérables—a true institution in British theatre and a production that has captured the hearts of audiences across the globe. Judging by the enthusiasm and commitment of this cast—even the youngest members—it’s clear that the legacy of Les Misérables is in very good hands.

With a cast of over 50 young people under the age of 18, it’s not possible to name everyone individually, but all involved were truly engaged.

Jean Valjean, the criminal-turned-hero, was played with conviction and passion by Sam Tinson, who captured the character with what seemed like ease. This was no small feat and clearly showed dedication and determination. He handled the vocal demands of the role with skill, reaching the high notes with confidence. His performance of Bring Him Home was particularly moving, and he led the cast with strength for One Day More.

Fantine, cast out from the factory and descending into desperation before being rescued by Valjean, was played with grace and emotional depth by Leah Harris. Her heartfelt rendition of I Dreamed a Dream was delivered with clarity.  

Rhys Saunders Samways gave an outstanding performance as the relentless police officer Javert. His posture and body language consistently conveyed the character’s internal struggle. Stars was sung with intensity and control, while his Soliloquy was equally compelling. The portrayal of Javert’s suicide—a moment always requiring careful staging—was handled with creativity, as he fell backwards into the arms of ensemble members. This was an ingenious and visually effective choice.

Ethan Nicol was wonderful to watch as Marius, the idealistic student who falls for Cosette. His performance of Empty Chairs at Empty Tables was genuinely moving. I particularly appreciated the thoughtful staging of Enjolras during this number, and the sensitive use of stagecraft alongside Éponine after she was shot.

Myles Richards delivered a strong and confident portrayal of Enjolras, the passionate leader of the student uprising. He led two of the show’s most iconic numbers—Red and Black and Do You Hear the People Sing? —with conviction, capturing the revolutionary spirit.  

Raph Richards brought boldness and cheek to the role of Gavroche, portraying his defiance and bravery.

There was a superb pairing in Dan Pring and Grace Cooper as Thénardier and Madame Thénardier. It was clear the director knew this duo would bring the house down—and they certainly did. They had everything needed to bring these comedic villains to life: strong vocals, good timing, and facial expressions. A particularly enjoyable touch was the inclusion of Young Éponine in the act of stealing from customers—a clever detail.

Their daughter, Éponine, was played with conviction by Dali Taylor. Her solo On My Own was delivered with powerful emotion and vocal strength.

Cosette was played by Evie Baylis, who brought both innocence and warmth to the role. Her performance in A Heart Full of Love was particularly strong, showcasing her vocal ability.

Jamie Taylor Wicks, who joined the cast later in the rehearsal process, took on the role of the Bishop of Digne—a character pivotal to Valjean’s redemption. Jamie brought sincerity to the role, with a clear voice that left a strong impression.

Edward Lloyd, like many in the cast, performed multiple roles—including the factory foreman, Bamatabois, and Grantaire. He stood out for his confident stage presence and vocal skill, bringing individuality and depth to each of his characters.

The ensemble were truly wonderful, with every member bringing energy, character, and commitment to the performance. The choreography of full ensemble numbers was executed flawlessly, particularly in songs like Lovely Ladies and Master of the House.

Costumes were at times simple, but effective highlighted by key pieces such as Éponine’s raincoat and cap, the colourful jacket of Enjolras, and the flamboyant, exaggerated outfits of the Thénardiers.

The set was minimalist but worked well within the space and scale of the venue. The barricade, though simple, was nevertheless effective and visually impactful in the revolution scenes.

The conclusion of Les Misérables is always deeply emotional, and this version handled it with great sensitivity. The image of the fallen students appearing in white was a poignant touch. The reunion of Éponine and Gavroche, as well as Fantine seeing both the young and now-married Cosette, added further weight. It was a thoughtful and clever interpretation.

The powerful score by Claude-Michel Schönberg was superbly brought to life by the orchestra, under the direction of Musical Director Russell Painter. From the first iconic notes—which almost shook the auditorium—the sound was rich and spectacular.

In conclusion, this was a high-calibre musical experience, full of talent and commitment. It’s always encouraging to see youth theatre tackling such a challenging show with such maturity and excellence. I, for one, eagerly await Talking Props Theatre Arts’ next production and warmly welcome them once again to the NODA family.

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