Les Misérables – magnifique!

Following our triumphant drama and music production of Les Misérables, we were delighted to receive the below glowing review from a NSTA (National School Theatre Awards) representative:

As an NSTA representative, I had the distinct pleasure of attending Christ’s Hospital’s production of Les Misérables on Friday, 6 December 2024. Under the expert guidance of Head of Drama, Ms Dawn Wylie, and the musical direction of Mr James Bartlett, this rendition of the iconic musical was nothing short of magnificent.

Les Misérables is a musical which scarcely needs an introduction to anyone with more than a passing interest in theatre, as the legendary show has been a firm favourite with UK theatregoers since it opened in London in 1985 — where it continues to play to this day. Set in early 19th-century France, it follows Jean Valjean, a peasant who is imprisoned for stealing bread to feed his sister’s child. After being shown mercy by a bishop, Valjean breaks his parole and starts a new life but is relentlessly pursued by Inspector Javert. The story unfolds against the backdrop of a revolutionary Paris, where young idealists rise up to challenge the government. Interestingly, the original London production included Roger Allam — a former Christ’s Hospital student — as the great antagonist Inspector Javert. With this in mind, the audience at the sold-out performance would be well within their rights to wonder if they were witnessing an early performance of a soon-to-be celebrated and accomplished West End actor. By the time the final curtain was drawn, it was clear that they very well might have!

First mention must go to Gavin Pattison for the set and theatrical design truly excellent in its classy and effective simplicity. Ragged cloth flanked the sides of the stage, lit “à la Tricolore” to instantly evoke the poverty-stricken landscape of early 19th-century France, while a brickwork-effect platform rose up at the back of the stage. Little else was used for much of the show, nor was much else necessary — save for a raucous tavern scene here, a lavish gate there, and, of course, the famous barricade that dominates Act Two.

Musically, the show is famously lavish and impressive, and it was performed here with aplomb and distinction by all the performers, including a considerable ensemble and a 13-piece orchestra, composed of current students Fleur and Sam, and a few alumni, too — all expertly conducted by Mr James Bartlett.

In the opening number, we were introduced to the central conflict of the musical — that between the (soon-to-be reformed) thief Jean Valjean and the hard-nosed, unforgiving police officer Javert. Dominic’s effortless tenor voice as Valjean soared through the notoriously difficult musical material with complete ease. Harvey’s stage presence alone as Javert was almost inconceivably powerful — and that’s before he opened his mouth, revealing a rich, deep bass voice. Large segments of Javert’s lines were sung down an octave by Harvey, which is extremely rare to experience, while also being so fitting for Javert’s character that it makes one wonder why it has not been done before. As a result, the contrast between the two central characters was unmissably stark.

Another cast member deserving of special praise is Amelie as the ill-fated Fantine. The role of Fantine is a unique challenge in theatre: to be introduced after the opening number, invoke as much pathos as possible, sing one of the most famous musical theatre songs of all time (“I Dreamed a Dream”), undergo a wig change, slap at least one fellow actor (on stage, ideally), and then die of an illness that is not mentioned in the text or even hinted at until your deathbed scene (which itself occurs less than half an hour after your first appearance on stage). The role clearly demands a stand-out performer, and in Amelie, we got this and more, with every checkpoint of the rollercoaster accounted for — including a genuinely excellent rendition of “I Dreamed a Dream”. Amelie showed control and maturity beyond her years, pacing herself throughout the song and creating one of the stand-out moments of Act One.

Other highlights in Act One were Harvey’s yearning rendition of “Stars” — enhanced by beautiful lighting — and “A Heart Full of Love,” in which Marius (played by Nana), Éponine (portrayed by Amelia), and Cosette (played by Alice) showcased superb vocals that intertwined and blended quite remarkably. Guy and Rosie also shone in their depiction of the abusive squalor of the slimy Thénardier household; they clearly relished the opportunity to explore the immoral, sleazy Thénardier and Madame Thénardier respectively. The final stellar performance that cannot go unmentioned was Nana’s performance of “Empty Chairs at Empty Tables” near the end of Act Two. This was a show highlight — a three-minute masterclass in vocal performance and acting through song that really stood out, even among many other great moments throughout the evening.

Arguably most memorable about this evening for me was the opportunity to sit next to a Christ’s Hospital student who was there to support his friend but had not seen Les Misérables before. He felt every musical peak and trough quite viscerally, sometimes audibly gasping at graceful high notes, and physically reacting to particularly impressive vocal passages or dramatic moments at other times. This was a perfect reminder of how important and powerful musical theatre can be. Through the quality of this production and these performances, the young man next to me — and the rest of the audience — were genuinely moved and inspired. What a gift to him and many in the audience, who rose to give a full standing ovation at the curtain call — a well-deserved reward for the talented and passionate performers, teachers, musicians, and technicians of Christ’s Hospital.