Les Misérables

Eleven amateur groups have been performing the renowned production of Les Miserables, and I had the honour of seeing one of them. The collective gave way to a multitude of talent, further highlighting why it's important to support local creatives because all involved talents did the production justice, and then some. It wouldn't be right if I didn't give my thanks to Musical Theatre International who chose the Norfolk and Norwich Operatic Society to perform such a rare gem for the theatre lovers of Norwich like myself. I can only wish for more opportunities like these at the NNOS, as it is these opportunities that make Norwich a fine city indeed.

I sat down in the bustling theatre before the stage, curtained with the original Les Miserables artwork. As those curtains lifted, we were introduced to a rendition of Prologue: Work Song, where those convicted are condemned to chains and forced to hustle as they are berated by inspectors such as the self-righteous Javert. We saw Jean Valjean’s origins as a young man with a brief peek into his life in chains and the kindness that set him on a path of change - a path that united with Fantine, his worker with a tragic backstory. One so tragic, it resulted in the adoption of Cosette, Fantine's daughter in the hope of making up for Jean Valjean’s participation in Fantine's misery. Those first thirty minutes set the tone of the story, making way for an array of remarkable performances.

The performance of Jean Valjean by Lewis Alves fluctuated from internal crucifixion to refusal to yield as he fought with the guilt of his past. Accompanied by powerhouse vocals and an evocative script, I constantly clung to his many moments on stage - eager to see the conflicting recital. Having acquiesced at the end, once his sweet adopted Cosette found a peace he could no longer provide - lest his past catch him and condemn her to a life of shame - he went to be with her late mother in heavenly bliss.

Jessica Bryges performance of Fantine suitably prepared us for the angst that awaited. Particularly with her performance of “I Dreamed A Dream”, which was nothing short of visceral. With an impressive voice, she depicted a life once longed for. It was hopelessly beautiful and gut wrenchingly sad, and yet I couldn’t look away.

More heartbreaking performances came from characters like Eponine who was rooted in unrequited love. Yearning for a man who didn’t reciprocate aided in more poignant performances. It was within these performances that Eponine, played by Kayleigh Perrin, stood out massively amongst a stage filled with incredible talent. I was drawn to her emotional performance at every moment.

As the June rebellion heightened, so did the despair as we lost characters we briefly loved. In between this though, a young love brewed between Cosette and rebel Marius. It gave the audience some hope to cling to as the people of France fought valiantly. Their performance brought back that feeling of longing introduced by Fantine in the beginning. One that wished for a happy ending found in their love. Hannah Cox and Will Mugford could not have suited the roles of Cosette and Marius more, they captured each essence of naivety, yearning, and sadness as they navigated their relationship in unforgiving circumstances.

Between the grief, politics, and recitals of an unrequited love, comedic relief was found with the Thenardire’s, who, despite their dishonest and conniving ways, found a way to break the impassioned declarations with their haughty one liners and crude songs. Whilst these were only a few moments of madness within the three hour show, I'd be lying if I said they weren’t memorable.

Unfortunately, the show was nearing its end after a sentimental finish. One that had the audience rising to their feet in a passionate three minute standing ovation not just for the story, but for the performance that left us wanting more.