Wednesday, November 22, 2017



BOSSY at Brentwood Theatre


A huge challenge to fit Victor Hugo’s epic onto the tiny Brentwood stage. BOSSY, who have been here before, wisely choose to emphasise the human stories rather than the wider picture.
The barricades [anyone for tennis?] are effective, with smoke and flashing lights from the battle beyond. Good work from the student militants here, and in the stillness of Drink With Me, the ante-bellum atmosphere poignantly suggested. Huge commitment from the ensemble for At the End of the Day, and the wedding ball looked good too – lovely gowns and convincing choreography. The ending makes a real impact: the simple tableau of Valjean’s death, with the newly-weds seated in front, before the company join in one last anthem, the youngest revolutionary up aloft, desperately waving the red flag of freedom.
Props and costumes vary in their impact – the map of Paris was excellent, the red tablecloth under it somewhat too small. The gates to Valjean’s garden on the rue Plumet, as so often, prove problematical, but once they are in place, there are some fine stage pictures for the operatic quartet and trio.
An excellent cast this time out, with some fine voices, despite the relative youth of these performers. Sam Harper makes a compelling Valjean, wonderfully sung with real emotional impact – Bring Him Home predictably moving. Joe Folley is Javert; a portrait of a man obsessed, with every word carefully shaped. He even convinces us that he is staring into the abyss before his final descent into the Seine.
Katherine Dodds plays Cosette, working well with her imposing Marius [Dan Pugh]. I might have liked a less introspective Empty Chairs – the phantom faces behind, strikingly lit, should not capture all our attention. Jodie Tarrant is the tragic Fantine, giving us a well-phrased I Dreamed a Dream, though it was a shame her eyes were obscured by her hat and the lighting. A superb Eponine from Tia Stack – one of the best On My Own I’ve seen, simply staged but with 100% emotional investment. As student leader Enjolras Jamie Wilson is in fine voice, and gives a captivating depiction of youthful idealism.
Enjoyable comic relief from the Thenardiers [Rosie Griffiths as the nasty Madame, Lady Macbeth to Michael Percival’s coarse, well-sung Monsieur]. Two nice little dance numbers for them, before each is dumped to the floor.
And Sam Johnson makes a great Gavroche – more Artful Dodger than innocent Oliver – a cocky young urchin engaging with his audience and making the most of his dramatic role in the uprising, even in his violent death, left largely to the imagination.

Not the ideal venue for the musical theatre MD, but Cathy Edkins provides solid support for her young singers, mostly on keyboards, though oboe and trombone are also prominent. Les Misérables is directed by Gaynor Wilson, bringing the familiar story to life, and encouraging some fine performances from soloists and ensemble.

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