Les Misérables

When Victor Hugo wrote about the political and social issues of his day, he never would have imagined the ripple effect his novel would have in the musical world. The questions are epic. We follow protagonist Jean Valjean and the iconic characters and their struggles to face what it means to be humane and compassionate, to love and to die, and to listen to the stories of silenced voices. With Savoyards at the helm, they take this already iconic show and bundle it together with some of the best talent Brisbane has to offer.

One of the great triumphs of this production is the vocal chops across the board. This cast can sing. Some musical moments were simply perfectly executed. I’ll name a few: Eponine (Erika Naddei) and Fantine’s (Sarah Copley) duet in the Finale, the harmony in “Drink with Me to Days Gone By”, Thenardier & Madame Thenardier in “Master of the House” and the entire cast in “One Day More”.

Shannon Foley consistently and strongly delivers an exceptional performance of character depth as Jean Valjean, a spiritually tortured man who expects to die after he is freed from prison for nineteen years in stealing a loaf of bread.  Upon stealing the silverware of the kindly bishop who offers lodging for the night, Valjean once again expects to be imprisoned for his crime. Instead, the kind bishop proceeds to give Valjean two expensive candlesticks in exchange for Valjean’s soul for God. Foley captures beautifully the conflict Valjean experiences in his quest to do the right thing. Pay close attention to his eyes as they so naturally reflect his inner turmoil.

As Inspector Javert, Christopher Thomas immediately captured my attention upon his first entrance. His Javert is bold and brave. This Javert is not one to mess with at any costs as it is the law that must remain firm and resolute. Thomas’ fiery performance intensity in emotional character development is pure gold to watch.

The show is well cast. Matthew Geaney’s Marius is everything you want in a young lover in a musical: wide-eyed, hopeful, heartbroken, and present. The Thenardiers are appropriately despicable, with infectious energy and chemistry.

There is poignance in the scenes with the young men. They seem like actual young men who don’t know what they’re in for other than being bonded by their passion for their country. Special mention has to go to Travis Holmes as Enjolras, who takes the show to the next level towards the end of act one. His resounding voice and ability to command the stage give the story another dimension.

If there was to be any surprise in the show, it’s Elijah Fern as Gavroche. Having seen Les Misérables twice on Broadway, I have yet to see this character played better than Elijah’s performance. 

It’s common for Savoyards to bring the best of the best to their shows and Les Misérables does not disappoint. The casting, the orchestra, the intricate use of entries and exits with the set, the vocal ability alone - make this one of their best productions to date. 

One vital part of Les Mis that most companies forget, is the importance of the cohesion in the ensemble. In this show, every ensemble member contributed as one fluid movement both in vocal ability and common goal of the scene. It is a true credit to their dedication, as without them, it would just be another version of the same show but they make it layered and whole hearted (even in the grittier of scenes). 

This is a production of Les Mis that will satisfy Les Mis lovers. It’s full-throated. If you don’t want an evening where you feel feelings, stay home. But if you could go for a night sitting in the dark being moved by a story of grace and redemption and hearing a timeless score executed flawlessly, book your tickets.

Mel Bobbermien

Photographer: Mark Duffus