Les Misérables

Les Misérables is indubitably Laughing Horse Productions’ most successful show to date, with the entire season in the good sized Koorliny Art Centre completely sold out. Well-presented and nicely performed, it was clear that the audience was not disappointed. It is difficult to argue with standing ovations and rousing applause, and this production was a great way to celebrate the company's 10th anniversary.

Performed on a multi-level set unrecognisable as the glitzy setting that graced Catch Me If You Can a few short weeks ago, the sturdy structure formed the basis of multiple locales. Well designed by director Adam Salathiel, it perhaps could have been used to even greater advantage. Costuming, by Sheryl Gale, was for the most part accurate to period, and lighting design, completed under great strain, due to upheaval in the venue, was by Chloe Palliser.

A strong fifteen-piece orchestra under the leadership of musical director Natalie Winsall and Orchestral Director Akari Komoto accompanied the show beautifully.

Jean Valjean and Javert are both intimidating and challenging roles, which were filled by Neil Young (lovely voice) and Gerard F Rosman (outstanding presence). They created a believable relationship which helped to sustain the action well.

Larger than life performances from Mark Thompson and Sarah McCabe as the Thenardiers added some contrast, while Jessica Huysing had tenderness as Eponine.

Tomas Clifford’s Marius was a standout and his performance had great depth and colour. He created a believable romance with Lily Wakeling, a sweet Cosette.

The students, whose rebellion lies at the centre of this story, were particularly well played, with Matthew Walford excellent as Enjolras. Grant O'Neill brought dignity and strong voice to the Bishop of Digne.

Jennifer Gadecke’s Fantine was one of the most vulnerable and fragile I have seen, despite her quiet strength.

Solid focused performances from the children, including Ronan Young as Gavroche, Amelia Tourtouris and Madison Young alternating the roles of Young Cosette and Young Eponine as well as the youngsters in the chorus.

This show had a hefty ensemble, all performing with gusto, but did suffer from its small proportion of men, with some scenes feeling less than full, despite the large numbers in the ensemble. 

While the audience was highly appreciative and very impressed, this isn't the best production of Les Mis we have watched in recent years, although a mighty effort and a huge achievement from this small company.

Great to see Laughing Horse achieving huge box office success. I hope this will lead to even bigger and better things. 

Kimberley Shaw