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Les Miserables
Presented by: Panorama Youth Theatre
Venue:
The Frankston Arts Centre
Reviewer: Emily Doran
Date Reviewed: 12th October, 2007
When Panorama Youth Theatre Inc. first announced that they would be
putting on Les Miserables, it left many to wonder exactly how such a
spectacle as Les Mis could be performed by such a young group of
people. It was lovely to see such a young cast (some as young as
six) on stage participating in what would be their first show.
Fortunately, Panorama has a tradition in which they allow past
company members to audition and participate in their shows, which
made for an absolutely wonderful, all-rounded, all-ages and
all-family cast.
Before attending Les Miserables, many people had talked the show
down, explaining that they had lost their original director two
weeks in, only to be saved by the talented Danny Ginsberg, that
their conductor was
changed
approximately
two
shows into the run,
replaced by the incredibly competent Erich Fackert and that all in
all, it was an incredibly stressful rehearsal period. Naturally,
hearing all of these rumours would leave one fearing a 3-hour long
production of a classic musical. As such, I am happily here to say
that such fears were unfounded as Panorama’s Les Mis was marvellous,
showing no signs of the trials endured in bringing it to the stage.
I
think one of the main challenges for an audience member was to
switch off from the fact that it was a very young cast. There were
some very young boys on the chain gang who sang of their hardships
who may not have really understood where they were, pre-pubescent
girls singing of ‘turning through the years’ with their loved ones
gone and even some prostitutes in ‘Lovely Ladies’ that almost seemed
inappropriate to watch.
In saying all this, at times during the show the younger cast
members made a bigger impact on the show. The fact that the students
of the revolution were so young actually had a stronger effect as it
made it more apparent to the audience that those on the barricades
really were only boys, very young men who fought for what they
believed in.
The show ran smoothly, especially for such a huge cast with so many
children. It was apparent that there must have been a lot of hard
work and long hours put in to pull such a big show together so
successfully.
Vocally, the show was fantastic with ensemble numbers very well
sung, although songs such as “At the End of the Day” were overly
shouted and the top lines were somewhat piercing at times. Diction
on the whole was so precise that I heard words that I’d never heard
before, which for me is amazing as I thought I knew the show back to
front. There were a few ensemble moments where I noticed some of the
older members of the cast slipping up on the words in more instances
than one, but I think I could quite safely say that this cast could
make a great recording of the show and I’d like to commend the
repetiteur Kathryn Leonard for her fine work.
Apart from a few exceptions, the leads in this show were very well
cast.
Playing the huge role of Jean Valjean, Michael Fletcher carried the
show brilliantly. Mike’s performance made it obvious what an
experienced and seasoned performer he is, showcasing his wonderful
acting abilities and gorgeous voice perfectly. I really enjoyed
seeing the role underplayed a little more than usual, which really
invited the audience to empathise with the character and follow him
on his journey throughout the show.
Scott Winrow as the obsessed, ever-persistent Javert captured the
role perfectly, singing each song so passionately with a Phillip
Quast-esque tone that truly sent shivers up my spine. His Soliloquy
was a definite standout, as we watched him come to grips with his
pain and finally reach his demise.
Eponine was played by Year 10 student Madeleine Featherby - and what
a performance it was! Maddie’s voice is phenomenal. Her range, her
diction, her warmth and her beautiful tone all contributed to the
depiction of the pain in Eponine’s life. Madeleine’s voice showed a
great combination of styles from poppy, to classical to a musical
theatre belt. This young lady has a very big future ahead of her.
Young Cosette, played by Sarah Ginsberg, sang ‘Castle on a Cloud’
beautifully, playing the role so sweetly and innocently which was in
fine contrast to the two standouts of the show - The Thenardiers.
Cameron Sweatman and Shirley Bowen were simply hilarious. Both roles
were cast perfectly and the pair together made for a perfect comic
match. Shirley’s professionalism in playing to the audience,
remaining constantly entertaining and in character for every moment
she was on stage was outstanding.
As for Cameron - what a character! Although seemingly far too young
for the role, he completely looked the part, his gravely cockney
voice suited Thenardier perfectly and his take on the role had the
audience in stitches. Both his performances of “Master of the House”
and “Dog Eats Dog” were brilliantly done. The Thenardiers are
written to provide the comic relief from such a ‘miserable’ show,
and Cameron and Shirley certainly provided this in abundance.
Lastly, I must mention the outstanding leader of the revolution
Enjolras, played by Will Sayers. Will’s presence on stage truly
lifted the performance and his enthusiasm and drive provided the
perfect vigour and drive required for the leader of such an
important cause, even to the point that he had me on the students’
side for the first time. Everything he sung was amazing, with his
strong control and beautifully rich tone, I completely fell in love
with his voice.
I
would also like to make a special mention of two standout ensemble
members, Lauren DeSilva and Bryn Bowen, both carrying the ensemble
very well in each scene and maintaining strong characters in
whatever roles they undertook. Well done.
Having not cast the show himself and then taking on this huge role
with a huge group of people in such a small time frame, the very
talented Danny Ginsberg’s direction was a phenomenal achievement.
One directorial highlight was the inclusion and re-enactment of the
students in “Empty Chairs at Empty Tables”. I enjoyed how it was set
in the ABC Café and showed Marius’ fond memory of their times spent
there, it certainly showed how sad the loss of these men (boys) was,
although it may have detracted from the emotion of the song a
little. The inclusion of Cosette was an interesting choice too. I
enjoyed Danny’s choices to stray from the traditional, over-done Les
Mis ways at times, it made for a nice change to a show that’s been
done many, many times before.
Technically, the show was very well done. The lighting was
beautiful, very subtle and suitable for the show and hardly
noticeable which I believe is a great way for stage lighting to be,
so not to detract from the action on stage. Sound was also great, a
few glitches on sound cues and cracks on certain mikes at times, but
generally very well controlled and maintained.
There were some interesting costuming choices made in a few places,
although this is understandable due having to manage such a large
cast. Bright pink and tinsel clad feather boas in “Lovely Ladies”
looked very out of place with the reds and blacks of the rest of the
costumes, and unfortunately the wedding scene looked as though it
was set in an 80’s dance party rather than a wedding ballroom in
France circa1832. As I said though, dressing this great a number of
people would be a difficult task and generally the costuming was
relatively close to the era and looked fine on stage.
All in all, Panorama provided a wonderful production of this moving
and classic show. Their talented cast and crew, along with brilliant
direction made Les Miserables a very enjoyable theatre experience.
Emily has recently
graduated from her Bachelor of Arts/ Music at Monash University
specialising in Drama and Theatre Studies and Voice. She has been
performing for many years various musical theatre productions. Her
credits include 'Les Miserables' and 'Bye Bye Birdie' with
Whitehorse, 'Avenue Who' and 'Songs For a New World' with Devanesen
Productions, 'For A Change', a Tsunami Fundraiser revue, Lucille
Frank in Monash University's production of 'Parade' and Lizzie in
'Baby' with Fab Nobs. Stella Entertainment's production of Rent and
Anthony Crowley's 'The Wild Blue'. Emily has worked professionally
with Alpha Theatrical productions, a company specialising in
Childrens Shows touring around to primary schools around Australia.
With Alpha, she performed as Fairy Floss/Mite in Sleeping Beauty and
Esmerelda in The Hunchback of Notre Dame. In July, Emily was lucky
enough to perform in her dream role of Belle in Disney's Beauty and
the Beast with PLOS. She is currently working at Titanic Theatre
Restaurant in the role of Miss Dorothy Gibson.
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