Les Misérables

Noteable Theatre Company’s revival of their April 2019 production of Les Mis was a fresh, heightened version of the classic musical. It was a nice way to journey back into the theatre post Covid, with some brilliant touches of direction and brave performances along with some slight head-scratching moments that just went too far.

The production team of Rod Herbert, Anthony Cutrupi, James McAtamney and Sarah Friedrich have staged the classic Victor Hugo story on a large scale, moving it to The Concourse in Chatswood. I am a big fan of the show and after seeing many different companies’ versions around Sydney, this one stood out for many reasons. There were a few changes in this cast from the original Noteable production, both in lead roles and ensemble parts and these additions all gave strong performances.

The directional choices made by Herbert and his team enhanced the main themes of the plot including Faith, Justice, Wealth Differences and Revolution. These were highlighted in the portrayal of the two lead roles of Jean Valjean and Javert. The change in heart of Jean Valjean, from anger and hurt, once given a second chance by the Bishop to do what is right, along with newly added responsibility, was a powerful take. The intensity of Javert to chase his fugitive on the run was a driving force throughout the show and was a more violent version than I have previously seen. The role of Grantaire had more prominence, not so much in his dialogue, but the emotions of struggle in battle scenes, to the stage where he almost committed suicide. Master of The House was way too over sexualised for me, though, and took focus away from portrayals of the innkeeper and his wife’s roles.

Javert’s death scene was a highlight for me - staged better than any production I have seen so far.

Paired as musical directors, Cutrupi and McAtamney ahave conducted a brilliant full-sounding 18 piece orchestra - the orchestration sounded somewhat different to other productions but this was a big positive in this case.

The ensemble cast sounded amazing, especially in the Act 1 finale number “One Day More” and in the students’ number “Red and Black”, led by powerful vocals from Reece Lyndon as Enjorlas. Sarah Freidrich’s choreography was effective in the intended dance/movement portions of the show although there was too much dancing in “Master of The House”, while the stylised marching in “One Day More” felt over the top.

The leading cast members overall for this production were terrific, and chemistry and relationships between characters very believable. The tension between Jean Valjean (Marcus Hurley) and Javert (a very grounded Lachlan O’Brien) shone. Hurley’s focus in parts seemed to ebb and flow, though, and his hand gestures became very predictable, especially in solo numbers. Vocally you couldn’t fault him though, and his falsetto amazed in sections. O’Brien was superb, bringing a hard edge to the role right until the death scene. His glorious endition of “Stars” received a well-deserved the cheer from the audience.

Keira Connelly as Fantine soaked up every moment of her shorter stage appearance as Fantine. She chose the right pivotal moments in “I Dreamed a Dream” to move and emote. Coming into the production as a last minute replacement for Marius was Sam Hamilton, who had played the role in the previous production. The lack of rehearsal time had no effect on Sam’s performance - he was convincing as the struggling student who was torn between his new-found love of Cosette and fighting alongside his friends and fellow revolutionaries. He and Isabelle Kohout as Cosette harmonised beautifully in “A Heart Full of Love” and their chemistry was moving.

Reece Lyndon had strong physical appearance onstage and lead with determination in gathering the students to the cause in the number “Red and Black”. Liz Cornwall was engaging as the heartbroken Eponine - a force on stage, her vocals in “On My Own” were among the best in the entire production.

The Thenardiars, played by Neville Bereyne and Sally Redman, were very over the top which I thought worked in some scenes, but not in others. Redman commanded the stage and the comedy she brought to the role seemed to enhance the performance where as Bereyne over sexualised the role and more often than not pushed it too far.

For me the set design didn’t really work. The wooden looking back drop that was used looked to clunky, the barricade was to polished and some additional set pieces that were flown in stole focus from performances in some scenes. There were a few sound issues on opening night in pivotal scenes but the actors did their best to project.  The costuming and make-up, for the most part, looked amazing except for a few mis-coloured sideburns and too harsh an aging palette on some characters.

Noteable’s Production is certainly a must see for all fans of the show and for those who want to see a slightly more exciting delivery of the classic story.

James Russell