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Victor Hugo’s vast tale of faith, love and revolution might be approaching two centuries old but Alain Boublil and Claude-Michel Schönberg’s musical adaptation has ensured this timeless tale lives on – breaking box office records and running longer in London’s West End than any other musical.
In this School Edition staging, the creative team at Glasgow Philharmonia’s Movies to Musicals bring the scale and quality of the West End to Stirling’s Macrobert Arts Centre in a vivid sensory assault of sheer talent.
Former convict Jean Valjean escapes parole to begin a new life, yet the shadows of his past are never far. Decades later, as the revolutionary students agitate impoverished Parisians to take to the streets, the past catches up with Valjean as paths from history cross.
Under Sam Hiller’s direction, new life is injected into the musical that so many are familiar with. Valjean’s faith – a key component of Hugo’s novel – is firmly spotlit. The abridged nature of the Schools Edition also ensures real pace to the production.
Performances from principals and ensemble are equally worthy of mention. Huge ensemble numbers – from Look Down to At The End of the Day are elevated to heavenly levels. The controlled wall of sound from the ensemble is captivating.
Blair Cunningham dazzles as Valjean, sparring with the equally talented Nathan Ogston as Javert. Their Confrontation is truly compelling, performed in the shadow of the swan song of the dying Fantine, beautifully played by Sophie Lawson.
Melody Nehme’s Eponine delivers an emphatic then tragic highlight of Act II, set beautifully against the violence and destruction of the Parisian uprising.
And as ever, necessary comic relief to the otherwise dark and dreary story is delivered in spade loads by the Thenariders – Craig Mackie and Emily Convery.
So immersive and engaging is this production, it’s easy to forget the talent on stage is up-and-coming. The quality truly is extraordinary.
Macrobert Arts Centre is the perfect stage for this mammoth production. The proximity to the action is a huge boon for audiences. Let’s just hope we can see more shows of this scale at this extraordinary space.
The real polish to this production lines in the seamless marriage between onstage and off. Technically, the production substantially exceeds expectations.
Kieran Kenny’s lighting design is a feast for the eyes – inventive in ways where other productions of Les Mis over the years have fallen. In particular, Javert’s Stars and the sewers are a visual spectacle.
From start to finish, it’s hard to outline just what a professional job Movies to Musicals has done. This unmissable spectacle isn’t around for long – and it’s no surprise that the run is a sell-out.
