As we eagerly took our seats at Medina Theatre for the opening night of Les Misérables, it was clear that every single person was hoping for an authentic rendition of one of musical theatre’s most adored productions. For this production, TheatreTrain utilised young performers from a variety of different Island theatre groups, bringing together a fantastic company that was in their own words “united by their love of performing”.

Set in 19th-century France, Les Misérables follows Jean Valjean, a former convict who breaks parole, after finding redemption through a kind bishop’s salvation. He is then pursued for years by the relentless Inspector Javert, Valjean becomes a wealthy mayor and promises a dying factory worker, Fantine, to raise her young daughter, Cosette, as his own. As time passes and Valjean and Cosette grow older, revolutionary student riots erupt in Paris. Marius, one of the students, then falls for Cosette whilst also pleading his allegiance to the republican cause. As the plot progresses, the plight of all the main characters becomes so fatefully intertwined and leads to both downfall and salvation.

As with every production of Les Misérables, the show demands a huge amount from its principal cast, both emotionally and vocally. This is most notable in its leading role of Jean Valjean, whose fluctuating fortunes provide the dramatic basis for the whole production. This role was in safe hands, with George Sales providing wonderful vocals throughout multiple musical numbers. ‘Bring Him Home’ was heartfelt and sentimental and was a show highlight for these reviewers. He also delivered a very balanced and thoughtful version of the iconic character. A wonderful effort from this very talented performer.

In opposition to this redemptive character, is the morally rigid Javert who doggedly pursues Valjean throughout his life. In this production, Henry Walker breathed life into the driven Inspector, skillfully managing to demonstrate his development from one-dimensional protector of the law to a morally confused, broken man. Henry’s rendition of ‘Stars’ and the Inspector’s denouement/ Javert’s suicide was particularly memorable.

Fantine was ably played by the versatile Mary Sheath, providing a wonderfully dramatic opportunity of reflection for Jean Valjean, who whilst escaping his past, had clear rippling effects for others in his world. Mary delivered an emotional performance featuring a passionate rendition of ‘I Dreamed a Dream’.

Before the plot barrels forward in time, we also meet a Young Cosette, Luna-Rose McVeigh who sang ‘Castle on a Cloud’ with a sweet wistful tone. Opposing her was the spoiled and pampered Young Eponine, played by Adelaide White, daughter of the gaudy and villainous Thenardier and Madame Thenardier. The Thenardiers’ powerhouse roles provided wonderfully raucous comic relief to the dark and sorrowful moments of the show. Thenardier played by Freddie Holme gave an energetic and bawdy performance with many moments that brought laughs and winces from the audience. Building on her husband’s humour, we saw a thoroughly enjoyable and committed performance from Ruby Clarke, whose portrayal of a wonderfully dismissive Madame Thenardier was mature beyond her years. Her humorous takedowns of her slimy partner were delivered with brilliant comic timing and she delivered strong vocals throughout.

Moving through the years, we learnt that time has not been kind to the Thenardiers whilst a now more mature Eponine, Lyla Hunter, appeared to have moved away from her parents’ purely selfish and felonious behaviour. Lyla’s performance was heartfelt and she showcased this in her emotional singing of ‘On My Own’. She fell for the studious Marius and sadly learnt he had in turn fallen for another woman, Corsette. Raffety Moore gave a stirring performance as the lovestruck Marius, with powerful vocals noted particularly in ‘Empty Chairs and Empty Tables’.

Immy Netherway as the object of Marius’ affections, Cosette, delivered a skillful and touching version of ‘A Heart Full of Love’. She provided a perfect loving foil for both Marius and her devoted ‘father’ Jean Valjean.

Interweaving between the characters on the revolutionary streets, was the cheeky and rebellious Gavroche. Lennon Sales was great and delivered a memorable performance of this iconic role with excellent vocals and a provocative and roguish swagger. His performance of ‘Gavroche’s Death’ was particularly moving.

Leading the ‘Students’ in their rebellion was Enjolras, Albert White, who gave a superbly driven and impassioned performance with some strong vocal renditions. It felt, at times, that he had even convinced the entirety of the audience to follow him into battle! Eagerly supporting Enjolras in his mission, the other students were Isaac Soar, Heston Cox, Stanley Griffiths-Nash, Maks Pasieka, Mason Goldring, Joseph Fox and Dylan Chandler.

Supporting roles were well portrayed by the ensemble, the power and commitment of which could be seen in the audience reactions to ‘At the End of the Day’, ‘One Day More’ and ‘Do You Hear the People Sing’.

The lighting design for this production had clearly been well considered and provided good technical support to many of the emotional events. The multi-levelled fixed set with the addition of the raised platform walkway was particularly well utilised during Javert’s final scene (a real treat for the Les Mis’ die-hards!)

The cast should be very happy with the performances they have given to bring this epic show to life and the company should be congratulated for their sizable efforts in bringing Les Misérables back to the Medina Theatre Stage. We will leave the final judgement to be the standing ovation from those who came to watch, a wonderful accomplishment for any show!