Les Misérables – ‘Let the People Sing’
Theatre Royal Brighton
UK Amateur Première
Performed by the Brighton Theatre Group
in collaboration with Brighton and Hove Operatic Society, The Rattonians,
and Worthing Musical Theatre Company
By special arrangement with Cameron Mackintosh and Musical Theatre International
Directed by Jodie Michele and Michael Burnie
This year marks the 40th anniversary of the first productions of Les Misérables, opening at the Barbican in October 1985 and moving in December to the Palace Theatre in the West End just 2 months later. I went to see it a few days before Christmas that same year, at the time the critics were panning it, and – I confess – it was not an evening that I remember with particular fondness. However, I was a young, inexperienced and naïve theatre-goer, and I like to think I’ve grown up a bit since then. Plus, such has been audiences’ love of ‘Les Mis’ – the popular contraction of the show’s name – that it ranks almost as highly as ‘The Mousetrap’ in its longevity.
So, this year marks such a special time in Les Misérables’ long history that it was decided to celebrate this landmark achievement by inviting 11 UK leading amateur theatre companies to stage their own performances, and the Brighton Theatre Group was delighted to have the honour of being chosen as one of them, delivering no fewer than 12 performances over 10 days. It is a truly wonderful thing to witness a fantastic community project showcasing such a wealth of talent and enthusiasm for their art, demonstrating absolutely how an ‘amateur’ production is supremely able to stage a production of such stature on a truly professional level.
The casting was superb. For such a large assembly of performers this is crucial, and at the Theatre Royal in Brighton it works magnificently. It is regrettable that each member cannot be credited here individually, however I need to say that this is a fantastically unified piece, every ensemble member deserving of high praise.
The central role of Jean Valjean (opening night played by James Harrington, alternate nights performed by Craig Whitely) is a very demanding part and James Harrington delivers a hugely powerful performance throughout, at times almost unbearably moving. He manages to convey both vulnerability and strength to the character with a voice which carries emotion of huge depth, most notably in his rendition of the immensely poignant ‘Bring Him Home’.
Valjeans’s nemesis is of course the ubiquitous Javert (Wayne Roberts), who pursues him over the course of many years after torturing him as a slave, eventually granting him parole, from which Valjean absconds. Years later when Valjean has created a new life and achieved status as mayor in his community, Javert recognises him, threatens him and vows to remain relentless in exposing him. Wayne Roberts is superb as a cruel, unbending and merciless slavedriver, ever unforgiving, his impressive vocals chillingly menacing, only slightly giving doubt to his obsession with his pursuance of Valjean later, in his subtle rendition of ‘Stars’.
‘Fantine’s (Amie de Valero Bragg) ‘I Dreamed a Dream’ is probably one of the most well known songs from the show, and was equally affecting. Amie’s performance was particularly outstanding showing both fragility and determination in equal measure.
Nina Hayward as Cosette, and Max Jenkins as Marius gave us such charming, sweet portrayals of their characters, both with clear beautiful voices bringing tears to my eyes, so immediately engaging were these two talented performers. Also, a word here about the Youth Company performers, Aaryan Willmott, Juliette Mitchell-Gear and Georgia Burns, who simply explode with young acting potential, deservedly earning their applause.
However, all the angst and tragedy was marvellously offset by the arrival on stage of the the perfectly horrible innkeepers, the Thénardiers (peformed with great comic relish by Carl Lovejoy and Lucia Romero Clark). In a story which is often pretty tragic and emotional, they lightened things up with their bawdily funny characters and vocal pieces which contained laugh-out-loud lyrics; Ms Romero Clark clearly delighting in her over-the-top panto ‘baddie’ role, and M Lovejoy at times almost happily morphing into a character reminiscent of Fagin. In the penultimate wedding scene, both popped up in dark glasses, hoping to disguise themselves – without success – with M. Thénardier closely resembling the recently sadly departed Ozzie Osbourne.
Although ‘Les Misérables’ is an (arguably) rather too long a piece (for me) with hardly a breath between songs, the criticism it attracted in the early months of its 1985 opening run, as being overly melodramatic and disrespecting Victor Hugo’s fine novel, was soon eradicated by the audiences that flocked to see it then. And still do.
A truly brilliant production from this inspired creative collaboration, with absolutely everything thrown at, and into it, culminating in a standing ovation on this opening night, which was well deserved. The experience will stay with me for a very long time.
The Brighton Theatre Group delivered consummate performances from the wholly committed company, every one of them completely invested in the project. From the brilliant set, choreography, orchestra, acoustics, lighting and sheer beauty of this production, every detail was just perfect. Cameron Macintosh and the original producers and lyricists should be proud. The Brighton Theatre Group has certainly done them proud staging a simply stunning production. This was musical theatre at its very best.
‘Let the People Sing’. And they certainly did.
⭐⭐⭐⭐⭐
Reviewer: Gill Ranson
approx 3 hours inc 20 min interval
Theatre Royal Brighton 13 – 23 August 2025