Les Misrables
Les Misérables
Les Misérables is certainly not a ‘school’s musical’ in terms of theme, scope, technical range and intensity. It contains none of the ‘cute’ factor! Almost 10% of the school population was involved in this production and they could not afford to take an amateur approach. We wondered at their ambition and at the sheer scale of the project. Yet on the opening night we knew at once that there was nothing amateurish about this performance. From the elaborate set and accomplished orchestra, to a cast full of stage presence, this was a theatrical feast. Daniel Super, who played Gavroche, described the whole experience as being “professional, something big”. He is entirely right.
Hugo’s celebrated novel explores the darkest of emotions and experiences. The principals conveyed these with astonishing passion and maturity. Lucy Steele’s portrayal of Fantine was dignified, yet poignant. Abi Jebson’s Eponine was feisty, while her emotive singing reduced many of us to tears. Anyone who saw the show will have images of the Thenardiers firmly imprinted on their minds for years to come. They were larger than life and utterly, delightfully grotesque. The catalogue of stars continues with Marcus de Minckwitz’s embittered Javert and Annabelle Harris’ sweet (but never fluffy or sugary) Cosette. Tom Harrower’s rich portrayal of Jean Valjean did not falter. The power and control sustained by a pupil of barely eighteen was remarkable.
Readers might now be forgiven for thinking that a few stars stole the show. Audience members will know that the true power of Les Misérables came from the united energies and passion of all involved. Mrs Fair, the director, saw the strength of the production in the ensemble work of the cast. They were indeed adaptable and they seemed to relish many of their varied and provocative roles.
A revolving stage, paired with strong lighting, added impact and brought further creative possibilities to the production. It was the perfect forum for the young prostitutes to advertise their wares in ‘Lovely Ladies’. The impressive barricade looked all the more stunning as the stage revolved and the two attacks were full of dramatic intensity.When ammunition runs out during the second attack, young Gavroche runs out to the enemy side, to collect more. Caught in the crossfire, he is shot down. His tragic death is poignantly revealed when the stage swings round to show his limp body. This depiction of death serves as an emblem for the deaths of so many students struck down in the failed insurrection. In fact, this is a tale suffused in death, a point that is brought into sharp focus when Marius sings the agonizing ‘Empty Chairs at Empty Tables’.
What then of the show’s lighter moments? The drunken enthusiasm with which the Thenardiers entertained their punters in ‘Master of the House’ produced a real spectacle. The pair was earthy and vulgar and we were with them all the way. Their reprise during Marius and Cosette’s wedding was caught up within a whirlwind of dancing and colour. The entire company were involved in a truly energetic and uplifting finale. This was entirely fitting; the success of this performance is quite certainly the result of many committed musicians, dancers, actors, stage managers, and not least Mrs Fair as the director. A military operation resulted in a highly creative, striking piece of theatre.
Miss H Pike