The hairs on the back of your neck stand up, the rest of the audience disappear and there is no world but the one being portrayed on stage in front of your eyes.
These are the moments that make a trip to the theatre one you will remember forever. A handful of minutes when the latest Brexit debacle, up coming meetings and a flat that could do with an early spring clean, simply do not exist.
I was lucky enough to experience several of these moments on a trip to Edinburgh’s Festival Theatre to see Cameron Mackintosh’s epic musical Les Miserables. Now on its first UK tour in almost a decade, Laurence Connor and James Powell’s directorial take on Alain Boublil and Claude-Michel Schonberg’s original stage production, packs in its fair share of emotional punches and display of spectacular talent.
Based on Victor Hugo’s French historical novel published in 1862, the story centres around Jean Valjean (Killian Donnelly) as he tries to build a life for himself after spending 19 years as a slave for stealing a loaf of bread (Technically 5 of those were for the bread and the others for trying to escape). Valjean struggles to find work as his papers identify him as a criminal and when a kind Bishop takes him in for the night, Valjean steals some of his silver. When Valjean is caught by the police the Bishop informs them it was a gift and that he should be freed. From then on Valjean vows to start a new life. Valjean breaks his parole and changes his name to Monsieur Madeline and eventually becomes a factory owner and mayor. Police officer, Javert will not rest until he finds Valjean.
Les Miserables’ epic score is as always, the back bone of the show, and the performances in this production were at times, utterly flawless. Killian Donnelly as Jean Valjean is fantastic and his rendition of the notoriously high Bring Him Home, is nothing short of mesmerising. Katie Hall’s performance as the ill-fated Fantine, was beautiful and as we settled in to hear her take on the iconic ‘I dreamed a dream’, it was clear she had no issues reaching and holding those colossal notes with ease. Tegan Bannister brought a strength and sense of vigour, not normally seen in the character of Eponine which was a refreshing change and added another dynamic to this otherwise tragic character languishing in a state of unrequited love. The role of Javert was handled exquisitely by Nic Greenshields’ whose physical stature lent itself to the formidable nature of the relentless police officer and his rendition of Stars was one that triggered yet more goosebumps.
Other performers of note were Gavroche played by Charlie Hagan, the cheeky little chap who never fails to make the audience smile (or cry). The slimy sneaky inn keepers, The Thenardiers, played by Martin Ball and Sophie-Louise Dann brought an added touch of humour while also representing the grim reality of life in Victor Hugo’s Paris. Ball and Dann’s performances both as a duo and individuals were hugely entertaining and well executed.
The staging was impressive and didn’t fail to deliver the all important barricade. Fight scenes were well choreographed, with a fantastic lighting and sound design that added much to the intensity of the battles and their often fatal consequences.
With the audience offering a standing ovation, it was clear that those wonderful moments of tingly joy were felt by all and I wasn’t on my own.
Les Miserables continues until 16 February, but is completely sold out. Check with the Festival Theatre box office for late returns.
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