LES MISERABLES

LES MISERABLES

King Edward VI School Chelmsford

29.01.16

Not a show for the faint-hearted, Les Mis. The “School Edition” not noticeably less challenging than the full-fat grown-up version.
Director James French, in his first big musical for KEGS, gets 110% from his huge company of urchins, students, convicts, topers, dancers and ladies of the night. The battle of the barricade is stunningly effective, as is the stirring climax to Act One. The choral set-pieces – Turning, At the End of the Day, Look Down – are superbly sung, and the idealistic “schoolboys” are strongly characterized individuals.
The solo voices are excellent, taking the operatic scoring in their stride, led by Joseph Clark's haunted Valjean, Isabelle George's tender Eponine and Joseph Folley's cold, clipped Javert.
Musical Director Tim Worrall keeps everything tightly together, conjuring a satisfying symphonic sound from his prominent pit orchestra.

photographs: Essex Chronicle

Richard Broadway writes for the KEGS Newsletter:

Richard Broadway became the sixth Head Master of KEGS in the year Shakespeare co-founded his Lord Chamberlain's Men. More recently, he has ghost-written appreciations of performances at his old school. This is his last.

Masques in the reign of the Virgin Queen. A Victorian pantomime with songs. Niche shows on the new stage: Smike, Jennings Goes to School, the made-in-house Midas. And more recently the big blockbusters: Oliver!, Joseph, Anything Goes.

This marvellous Les Mis must surely top them all – a huge challenge bravely undertaken and triumphantly met.

House Full notices out, and we make our way into the already crowded hall as, on the extended stage, the convicts are already wearily breaking rocks.

The catwalk encloses the impressive pit band, and is inventively used for many of the scenes, allowing smooth transitions between the big set pieces and the more intimate moments. The powerful end to Act One an outstanding example, with the soloists ranged around in front as the chorus swells on the main stage.

The principal players give confident, engaging performances. And convincing vocal accounts of the challenging Schönberg score.

Not least the youngest actors: Elliot Harding-Smith as a cocky little “top-of-the-class” Gavroche, superbly sung. And what a treat to have such a good voice [Matthew Wadey] for Castle in the Cloud instead of the cute breathiness which has become the norm.

The cast is hugely strong in depth, too, with all the young revolutionaries in the ABC café neatly differentiated, and small roles like the Bishop [Benjamin Russell], or the tipsy Grantaire [Benjamin Kinder], given full weight.

Molly Sun-Wai brings an artless innocence to the tragic Fantine, Charlotte Abbotts as the older Cosette is girlishly charming, an ideal foil for Thomas Mitty's finely nuanced law student revolutionary Marius. Eponine, the first to fall in the uprising, is beautifully sung by Isabella George – her duet with Marius – A Little Fall of Rain – exquisitely done, the trio A Heart Full of Love another musical highlight.

The terrible Thénardiers are given broad-brush characterizations by Benjamin Southern-Thomas, blatantly watering the wine under the nose of his clientèle, and fishwife Hazel Ellender as his frightful missus. Nice to see them resplendently dressed as beggars at the feast.

Harry Clark carries most of the revolutionary fervour as Enjolras, waving the red flag, rallying his doomed troops with style and a strong will.

The legendary role of Jean Valjean is superbly taken by Joseph Clark. Fighting for justice, bearing his guilt, ageing and dying, this is a compelling performance by any standards. His face-off with Javert is an electric moment on front stage. Joseph Folley plays the obsessive Inspector with exemplary precision and panache. A tall, menacing figure, his black-gloved hands firmly behind his back, he draws the eye whenever he appears. Every word is clearly enunciated; his big number – Stars – is given a kneeling climax, a bold move which seems only to accentuate the emotional heft.

Given the inevitable budgetary limitations, the staging is thrillingly effective. On countless occasions, Joseph Thorogood's set design, George Twinn's lighting and James French's groupings form a thrilling fresco – notably at the barricade. The runaway cart – often risibly lightweight – is here, with its load of luggage, a believably weighty burden for Valjean. The scene changes happen seamlessly – the drunkards clear Thénardier's tavern, for instance; the inn – well frequented by underage drinkers – is another great crowd picture, giving opportunities to the colossal chorus; their distant singing behind the final deathbed scene makes another subtle transition.

The twenty-strong pit orchestra – surrounded by the cat-walk fore-stage – produces a stunning sound, generally well balanced with the voices. [Claire Greenwood's oboe heard to touching effect.]

Les Misérables is directed by James French, with the assistance of Elizabeth Hutchinson and Henry Sainsbury; the Musical Director is Tim Worrall, with sound design by Rafee Ahmed.

This huge company, on stage, in the band and behind the scenes, have earned the indelible memories they'll have of this milestone show. And they thoroughly deserve their moment of triumph at the end of Act One, to say nothing of the rapturous roar, the double encore and the standing ovation that greets their last bow. One of the many reasons that the performing arts are so vital in education. As Victor Hugo has it: '“Le beau est aussi utile que l'utile.” Il ajouta après un silence, “Plus, peut-être.”' 'Rien n'est tel que le rêve pour engendrer l'avenir.'

LES MISERABLES

LES MISERABLES

Tomorrow's Talent at the Civic Theatre

15.07.15

"selfie" from Tamara Thénardier

Taking the barricades by storm, the hundred-strong Tomorrow's Talent company in a memorable Schools' Edition Les Mis.

It's an uncluttered, polished production, directed by Gavin Wilkinson [assisted again by Emma Tapley] with admirable narrative drive and some superb stage pictures, and economical, powerful effects. The runaway cart, for example, is done with a magical combination of light, sound and chorus movement. The lighting [lighting design by Jenny Urquhart] is crucial, since scenery is necessarily minimal – gates, barricades, just one empty table, a bed for Fantine, a chair for the dying Valjean. Often the grouping of the massive forces recalls the revolution artwork of David or Delacroix.

Stage pictures like Enjolras, with his red tablecloth, facing the chorus, or the barricades manned behind the death of Eponine, or the “phantom shadows” of the fallen, match the stirring score in emotional intensity.

The ensemble work is focused and forceful – the chain gang, the lovely ladies, the topers in the Thénardiers' tavern and of course the revolutionaries marching for freedom, defending their barricade to the death.

The company includes many experienced and accomplished young performers. Even the smallest cameos – a drunken diner, Whore 1 in her pink bodice – are scene-stealingly spot-on.

Dreaming the Dream as Fantine are Anna Maria Acevedo, her eyes gleaming with hope before reality and the tigers bring her back to earth, and Lauren Bullock, a feisty Fantine, with superb vocal control.

Like Fantine, most of the parts are double, even triple, cast. Giving the versatile young performers a unique chance to live the show twice, and giving the lucky few a chance to see them tackling very different roles. Dominic Short, for instance, is a hot-headed revolutionary and a vindictive factory worker, as well as a hilariously evil Thénardier, memorably watering the wine …

Tragic Eponine, first to die for the cause, is done by Naomi Ashford – heart-breaking in On My Own – and Matilda Jackson, a credible, complex spoilt brat grown up.

Cosette – a challenging role vocally – is impressively tackled by Isabelle Casey and Alice Talbut. Her younger self – tresses recalling the Bayard illustration – by Scarlett Greaves and Polly Towers.

The street urchin Gavroche – unmasking the traitor and conducting the revolutionary chorus – is shared by Jonah Miller, cute and vulnerable, and Alexander Stuckey, knowing and cocky.

Idealistic young Marius is strongly cast – Jack Martyn with scintillating stage presence and excellent audience rapport, and Jack Harlock, a man of the people, naïve as a revolutionary, gauche as a lover, his voice at its best in an impassioned Empty Chairs.

A trio of Thénardiers, all in their different ways making the most of the coarse comedy and the colourful wedding scene: Mark Ellis and Holly Hosler-White, Chester Lawrence and Amie Whitaker, Dominic Short and Tamara Anderson.

And three superb Valjeans, too. Thomas Tull, who also brings moving gravitas to the Bishop, and opens the batting for the chain gang and for Drink With Me. A deep voice, and a credible ex-con. Mark Ellis, a rich-toned Thénardier, and a thoughtful Jean Valjean, struggling with his demons and his dilemmas, and singing superbly in Bring Him Home. And the outstanding Chester Lawrence, who also does a cheeky innkeeper and a saintly Bishop, is superb in his big numbers and as an elderly Valjean, confessing to Cosette and haunted by visions.

Two principals star in all six shows. Henri de Lausun's forceful Enjolras, great physical presence and an inspirational singer, punching the air with his rifle at the Act One curtain. And Samuel Wolstenholme as a haughty Javert, using stillness and nuanced vocal delivery to bring out the complexities of the character. His “Stars” is superbly shaped, too, though, like all of the performers on stage here, his voice is years away from its maturity.

But they have been encouraged to use technique to sell a number, which makes the production seem so flawlessly professional.

The Musical Director is Mark Sellar, who brought the same composers' Miss Saigon to this stage two years ago. And there's plenty of oomph from the pit band under the baton of Patrick Tucker.

A unique experience, seeing Victor Hugo's schoolboy revolutionaries played so convincingly by schoolboy actors, and seeing the wide Civic stage filled with children of the barricades. Thinking that this year's stirring chorus includes the performers who will take a starring role or three in years to come ...

production photograph: Louise Freeland

LES MISERABLES

LES MISERABLES

Chelmsford Young Generation at the Civic Theatre

14.11.12

Every show a sell-out; every show a standing ovation.

No surprise to those who know Young Gen's work, or who saw them man the barricades in 2006.

This new production is every bit the equal of that one – some of the cast lucky enough to be in both. And many of this company are making their final appearance with CYGAMS. Because, though it's easy to forget, this is a youth company, constantly renewing itself.

Ray Jeffery's direction achieves unbelievable professionalism, in a seamless show where music [Bryan Cass in charge] stage management [Dawn Lawton heading the team], costume, sound and light come together in a flawless whole. [The dockside brothel Lovely Ladies just one of many impressive stage pictures.]

And then of course there are the performers. Many of the huge cast are alternating roles, giving them more to learn, but giving more of the youngsters a chance to shine. So Henri de Lausun, for instance, is a student revolutionary some nights, a strongly sung Javert on others. [The boys' voices are commendably mature generally; Tom Tull's Javert is just as spine-tingling in "Stars".]

Most major characters are shared, and it is interesting to see different approaches to these iconic roles. So we enjoy Callum Crisell's dissolute, evil, baby-faced Thenardier, as well as Josh Butcher's priceless gawky, grimacing Master of the House - he is also the kindly Bishop in the Prologue. Two brilliant heroes: Sam Toland's assured, nuanced approach, or Chester Lawrence's more visceral Valjean, emotionally charged especially at the start.

The romantic Marius is shared between two experienced actors: Bart Lambert, passionate and direct, heartbreaking in A Little Fall of Rain, and Luke Higgins, a convincingly cerebral rebel, a touchingly contemplative survivor in the deserted café.

Though this is very much a company show, with the ensembles one of its great strengths, some performances do stand out [though there's not a single weak link in either cast]. Alice Masters makes a vulnerable Fantine, but knows how to sell a show-stopper. Sophie Walker has great presence as the feisty Eponine, one of the most complex characters in the piece. And Kathryn Peacock's Cosette has an attractive vocal style. As the hot-headed leader of the young revolutionaries, Andrew Steel gives an inspiringly impassioned performance, and Gavroche, youngest recruit to the cause, is a cheeky, confident Jackson Buckler, and not only in his spotlight moments.

The trio and quartet towards the end of Act One are both beautifully sung and staged, there's a poignant nobility to the staging of Empty Chairs, and the enormous forces are always thoughtfully deployed. Do You Hear The People Sing is built skilfully, both musically and visually; the conga exit from the Ballroom [the setting effectively suggested by a couple of swags and a lintel] and the whole company entrance for the rousing finale are perfectly timed.

What an achievement! Artistic excellence, full houses, a highlight of the year, I'm sure, for many of the audience, and for these factory girls, nuns, beggars, wedding guests and sewer rats, a memorable milestone in their performing career.

LES MISERABLES

Bossy at the Brentwood Theatre

04.11.09

Les Mis in miniature ? Victor Hugo's vast epic cries out for a big stage, but Bossy made the most of the limited space of the Brentwood Theatre, taking more than half the floor area for their ingenious in-depth set: black box, Montreuil and then finally the famous barricades.

Being so close to the performers brought its advantages [as long as the action stayed off the floor]: the words were clearly audible, and the more intimate scenes had real impact – the death of Fantine, Javert's drop and Valjean's final moments.

The score makes no allowance for immature voices; the boys especially relied on technique and characterization in their big numbers. Alexandra Phillips' Eponine had many of the evening's more memorable musical moments; Katie Lawrence, as Fantine, sang with conviction and a pleasing vocal style. The older Cosette was Laura Wood, with her younger self shared by Rosie Bloom and Georgia Chantry.

I liked Reiss Meister's Javert, with his sinister presence and cynical smile. In the demanding role of Jean Valjean, James Wilson had a very promising voice, both singing and acting, and gave us a moving Bring Him Home. And I was impressed by Sam Chapman as Marius. He has a lot to do, and sustained his character well. Empty Chairs at Empty Tables , with its “phantom shadows” was superbly done. David Gillett gave a confident double of the Bishop and Bamatabois. Master and Mistress of the House were Ollie Cross and Livvie Milne. Ollie needed to project his personality more, though his vocal performance was spot on; Livvie was wonderful in a grotesque perruque.

Among the little people, Gavroche was energetically and engagingly played by Daniel Wild, a role he shared with Tom Carswell.

David Pickthall's band was banked up stage right. The individual players could shine here too: lovely to see, and hear, the cello part so prominent.