"I
was very impressed by the talent, maturity and discipline shown by every
member of the cast, whether in the chorus or in a leading role. There were
some wonderful performances from the leads, and it's not often I join in
wiht a standing ovation, but I did that day!
My
favourite memory will be the barricades battle which was 'choreographed'
so superbly that, when the barricade revolved slowly to show us the other
side, we were presented with a remarkably moving 'still life' of bodies,
arranged so naturally that they really did seem to have died where they
fell. Well done!"
Liz
Mullen, BBC Essex.
WEEKLY NEWS REVIEW
A breathtaking opening night for Young Gen, giving their all in this
special performing edition of the long-running Victor Hugo musical.
Apart from a few balance and focus issues, there was no weak link in this
most demanding of shows.
Ray Jeffery’s spectacular
production had crisp chorus work [chorus master Patrick Tucker], a
revolve, clouds of atmospheric smoke, a barricade and a host of talented
performers.
I liked the ensemble work from
the students leading to the heart-stopping Act One finale. Lauren Basten
sang Fantine’s big number beautifully; Jade Spivey and Becki Martin
equally impressive as Cosette and Eponine.
The boys’ voices were
naturally a little less secure, but Nick Cowling made an effective Marius,
and Paul Synnott grew in confidence and conviction in the part of Valjean.
Tom Moore showed enormous promise as that grasping inebriate Thenardier,
singing and acting both superb, matched by Laura Bradley as his missus.
Bart Lambert had a good presence as Gavroche, and Joe Toland was a
sinister Javert, vocally and dramatically very strong.
A huge cast, literally
tumbling onto the stage, big set pieces, and a beefy pit band under Bryan
Cass. Some of the tenderest moments, though, were the most moving, and the
West End has nothing to teach this company about emotional impact and the
magic of Les Mis.
It is very rare for me to go
to see a production a second time. But Les Misérables was such an
amazing experience. A standing ovation seemed the natural response, and
a second look enabled me to pick up some detail overlooked on the first
night, and to mention some players I missed for lack of space.
The production seemed
tighter and smoother, with better balance between voices and band.
Many of the key roles were
split, and in the coveted last night spot were Constance Lawton as
Fantine, Keeley Allen as the tragic Eponine, and Amy Macgregor as
Cosette. Joe Baker was the hapless Marius – Empty Chairs at Empty
Tables, beautifully staged, and Sam Toland the feisty street urchin
Gavroche.
Young Cosette, who sings so
heartbreakingly of her Castle on a Cloud, was Charlotte Broad on the
last night, and Isabelle Casey on the opening night.
Two more names from a huge
company – Andy Chafer, whose lighting design did much to enhance the
magic, and Jean Pinkey, who took many of the rehearsals as Production
Assistant.