The highly dramatic and now iconic musical that is based on Victor Hugo's epic novel, 'Les Miserables', is now so entrenched in the musical theatre canon and our psyche, that we all - at least those with any theatre knowledge at all - have our own ideas on what makes a perfect production of this show; and if, like me, you were fortunate enough to have seen the original West End production way back in 1985, then it it understandable if I am perhaps a little subjective at times. It is a very difficult musical to perform, and becomes even more so with every production as it becomes more and more well-known. The roles are not easy ones.. even those who appear in only one or two scenes, they are a huge part of the dramatic impetus and narrative drive, and cannot afford to relax, not even for a second.
I am more than happy to report that the young teenagers and children from Bowden Theatre Works put their absolute alls behind this show, and committed 100% to this production which truly showed and helped make it the success that it certainly was. Every single cast member, whether Valjean or chorus member deserves full credit for their energy, their understanding, their dedication, and faithfulness to the text and music.
An impressive composite set which folded in and out, or expended when necessary worked very well. My only criticism here is that the walkway at the rear of the stage above the large entranceway was too high. I was seated only half-way down the circle, and when cast cast were standing on this walkway, their heads and shoulders were missing. At the rear of the circle, the whole body must surely have been out of view.
An impressive and strong start to this show with the prisoners on board ship, and this strength, energy, and indeed drama, continued throughout, right up to the moving finale. One thing I would say is that if there was anyone in the audience who did not already know the story, then it would have been rather difficult for them to follow the storyline in this production. No help was given to places, dates, and we had to use our imaginations to understand what happened between scenes. Further, Valjean was the only character to noticeably age throughout the show, with his physicality weakening on his every entrance and looking very frail and grey by the end. This was superbly done.
My biggest negative critique of this show was the company's decision to use pre-recorded backing tracks throughout. This for me was a mistake. Many of the songs as laid down on these tracks did not suit the performers who were to sing them. Some were much to fast, some did not give the soloists any help (when help was needed) with their note, and some should have been transposed to a more natural key for the performer to be more comfortable singing. In fact, the tracks were a hindrance more than they were a help. The Musical Director stood in the orchestra pit on her own throughout, waving her baton, but hardly anyone on stage ever looked at her, there was no need, she could not do anything to help if she was not in charge of the music!
As I have already mentioned though, the entire cast coped superbly with this. Even those teenage boys whose voices were wavering between treble and adult gave it everything they had, and we totally understood their predicament. [I have been through this myself too, so know what it is like!] However, since i am going to be just a little subjective, then please allow me to give a special credit to those on stage this evening who for this reviewer at least, managed to impress just a tad more than the rest, either by the quality of their singing, the sincerity of their acting or both. First, and perhaps most obviously is Jake Hornsey for his masterful understanding of the mammoth role of Jean Valjean. A hugely personable stage presence combined with a lovely singing voice, and the ability to subtly age throughout too. Keira Lambe's Fantine was plaintive and sincere, Annabel Clarke's 'Castle On A Cloud' was superb, and made the perfect Little Cosette. Ross Provart and Isabel Fletcher-Shaw deserve a mention as the obnoxious innkeeper and his wife, M et Mme Thenardier, finding much comedy and entertaining especially in the ball scene towards the end of the second act. However, for me, my favourite character on stage this evening was the young teenager who played the role of Eponine, Jess Camileri. Her understanding of her role, and her genuine unrequited love was heart-wrenching, as well as having a lovely sonorous singing voice too.
Sound levels were generally good throughout, but sometimes the lighting design did not do the production any favours. Especially in some of the shows more iconic solo songs, they chose to use a special which made small circles of light twirls an the stage floor. This truly did not work sadly. The cast mics also needed to be turned up at times. Solos or harmonies were at times too quiet, and the backing tracks too loud. Also, were those with smaller supporting roles wearing mics? I hazard to think not, since I was unable to hear them at all sadly. Not their fault though of course. Fortunately I knew the lyrics and was able to lipread. Others would not have been so fortunate.
A powerful production which was true to the composers and writer, whilst affording the young people of the local area (I would imagine aged between 6 and 17) to perform in what must surely be one of the world's most famous and most loved musicals. An imperfect production, but a hugely important experience and learning curve for all involved.
Reviewer - Matthew Dougall
on - 8.12.23
on - 8.12.23
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