Les Misérables

An open stage is draped with a worse-for-wear Tricolore, a striking image suggestive of a French revolution or two too many. Exposed lighting rig and backstage mechanics hint that a very different Les Mis is about to unfold.

Hoisted into place as the orchestra plays the opening notes, the battered French flag becomes the backdrop, where its three separate panels create the entrances which help ensure the cinematic fluidity and pace vital to this sprawling epic musical (achieved using revolves in the original staging).

Soon the multi-level mobile metal scaffold ‘Megadeck pods’ which will serve for most of the locales emerge. Six larger structures, and one smaller are wheeled into place, in non-naturalistic suggestion of most of the musical’s many locations. Not a painted flat in sight. (Could the concept extend even further to incorporate the barricade?)

Tom Sweeney’s direction takes a fresh, rewarding approach to the musical mega-hit, losing none of its dramatic power despite an occasional concert flavour, with a top-drawer community theatre cast doing the rest.

Stig Bell sings the demanding role of Jean Valjean as impressively as I’ve ever heard it on the non-pro stage, heading an impressive musical performance, vocal and orchestral, under the baton of Mark Pigot.

Kimberley Jensen’s Fantine has the right blend of bravura and vulnerability. Elizabeth Garrett’s quietly determined Cosette and Julian Gonçlaves’ ardent Marius make a charming pair of lovers. Philip Yougman and Emily Kimpton nicely realize the broad comically villainous scope of Monsieur and Madame Thenadier without pushing too far into the vaudeville. As Eponine, Caroline Reed’s ‘On My Own’ tears at the heartstrings. Peter Meredith’s Enjolras is a passionate determined revolutionary. Nick Gilbert portrays Inspector Javert with authority, only slightly undermined by a disappointing wig. Gavroche and Young Cosette received confident, animated performances from James Reville and Julia Maniason opening night.

The ensemble also excelled – vocally strong, dramatically focused and well drilled in Janina Hamerlok’s well-conceived musical staging.

Though the setting is minimalist, mood is constantly evoked by Sean Clarke’s atmospheric lighting design, with some particularly

striking moments of lighting and set design synergy.

Joy Sweeney’s costume design, as always, put the icing on the stage picture.

I do have minor niggles though. Sometimes the timing of the movement of the Megadeck pods needed a rethink, especially when it pulled focus from the climax of ‘I Dreamed a Dream’, while Fantine’s still luxuriant locks, after the cutting of her hair, needed to be better concealed, and Javert walked off prior to the lighting cue in the otherwise well-conceived solution to his death scene.

Too frequent opening night gremlins, glitches and miscues in sound, credited only to The Concourse, let down the professionalism of this splendid suburban venue. After months of rehearsal, it’s always sad if the ‘professional’ support is the weak link. Hopefully ‘professional’ pride has subsequently ensured that this no longer detracts from the production.

Such issues, thankfully rare enough, provide only minor hiccups, which don’t significantly detract from the enjoyment another impressive production on the Sydney Community Theatre scene.

Highly recommended.

Neil Litchfield

Photographer: Grant Leslie

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