Les Misérables

If you loved the Les Miz movie then you’re going to love this new stage adaptation which has all the sweeping grandeur of the screen version. From the opening boat scene to the Paris sewers finale, Matt Kinley’s set and video images, based on Victor Hugo’s paintings, are visually arresting and inspired and are what set this version of Les Miz apart from others and make it a must see.

It’s not called “the worlds favourite musical” for nothing, and when this production thrills, which it frequently does, Les Miz works its magic on the tear-ducts.

The best of all the sung-through musicals, its score is a classic of the modern musical theatre. The stirring anthems, “At the End of the Day”, “Do You Hear the People Sing?” and “One Day More” have never sounded better.

The production has the stamp of one that has been running in London or on Broadway for years, and while everyone hits the right notes, stands centre and sings to the back row, there’s little that surprises. Simon Gleeson as Jean Valjean rushed through his recitative at speed but late in the day delivered an impassioned “Bring Him Home”. Hayden Tee’s Javert was solid with his “Stars” pushing all the right applause buttons.

Newcomer Kerrie Anne Greenland as Eponine gave the best performance of the night. She captured the waif within the character and sang a beautiful “On My Own”. Emily Langridge’s Cosette was sweet, Euan Doige’s Marius vocally very lightweight, whilst Chris Durling’s Enjolras rose to the occasion when required. The character of Fantine disappears early in the plot, but before she does she get to sing the show’s iconic “I Dreamed a Dream”. Patrice Tipoki’s vocal was up there with the best of them.

Through the years the Thénardiers, two of the dream roles in musical theatre, have become more vulgar with each actor’s interpretation, and this production took it a step further. Lara Mulcahy’s blowsy Madame was big, got bigger, and had no trace of subtlety what-so-ever, while Trevor Ashley’s Thénardierwent for caricature and vaudeville,never really connecting with the heart of the role.

Under Geoffrey Castles baton the 17-pice orchestra sounded almost symphonic, while Paule Constable’s lighting design was absolutely superb. Andreane Neofitou and Christine Rowland’s rags and tatters costumes were appropriately grungy, but their design took a misstep with the Thenadier’s “Beggars at the Feast” costumes far too cartoonish.

If you haven’t seen Les Miz before, and there can’t be many theatregoers in the world who haven’t, or if you want to experience the revolution again, then this production blows all the right whistles and rings all the right bells. The barricades are absolutely in good hands.

Peter Pinne      

Photographer: Matt Murphy.