28/05/2025
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Last night, TheatreBean were thrilled to visit the Nottingham Theatre Royal for East Midlands’ monumental performance of Les Miserables: Let The People Sing! The UK Amateur Premiere marks the 40th Anniversary of this universally loved Musical. A project that was years in the making, Nottingham Operatic Society have marked their centenary year by joining The Cast and Carlton Operatic Society, to bring the full production of Les Mis to the people of the Midlands. This collaborative project has provided once in a lifetime opportunities for some exceptionally talented individuals - each of whom rose to the occasion in this landmark performance.
With Direction by Dave Covey, this production of Les Mis is like nothing you have seen before. It is no easy feat to find a new and unique way of portraying such a well known production however Covey has creatively stripped back this piece and rooted it as a heavily ensemble based physical piece. For long standing fans of Les Miserables expecting the traditional production, perhaps a touch of uncertainty and surprise to begin with, however the cast brought a gusto and energy to the performance that was electric.
The role of Jean Valjean is a split casting between Ollie Last and Zak Charlesworth. Tuesday Evening’s performance featured Ollie Last, who has been fully transformed beyond recognition for the role. Last’s unique voice shone through the hair and make up though, to reveal a well rounded and controlled performer. After seeing Last in many roles, I must admit this was undoubtedly his finest to date. His outstanding vocals were refined, with clarity and control throughout. His use of falsetto in “Bring Him Home” was flawless and his angelic voice rang like a bell throughout the auditorium. It is clear that Ollie has worked tirelessly to create a well rounded and polished performance that truly deserved the roaring applause from the full auditorium! Kudos for remaining in character throughout the cacophony of cheers!
The role of Inspector Javert is also a split casting played by Dan Armstrong and Kirt Hammonds. Last nights’ performance featured Dan Armstrong. The part of this rigid and relentless police officer, obsessed with law, order and justice is often played with a controlled discipline that can make the part rather wooden and one note. Armstrong though, was able to bring much more depth and empathy to his character. We were able to see more than simply his unwavering belief in justice, as Javert battles his inner conflict between right and wrong. Armstrong’s commanding stage presence and deliciously rich vocals were outstanding. A particular highlight was the final section of “Stars”, as his deep and rich voice projected throughout the auditorium with ease. As I felt his vocals rush through my chest, I held my breath, not wanting to miss a second of this spine tingling moment. A truly unforgettable performance.
Ella Greenwood takes on the role of Fantine with poise and control. Her rendition of “I Dreamed a Dream” was uniquely staged to demonstrate her turbulent past, and heartbreaking journey. Greenwood brought not only a great deal of emotion, but also an inner strength to Fantine that I haven’t seen before. This aided in demonstrating the complexities of Fantine, who faces the harshness of her reality. Greenwood didn’t shy away from this performance, belting the top notes with power and ease.
Offering another vocal masterclass is Francesca Lewis in the role of Eponine. This part is also a split casting with Jenna Hancock. Lewis brought a youthful charm to Eponine that made her instantly likeable. Her powerful belt was nothing short of extraordinary, particularly evident in Eponine’s iconic number “On My Own”. A lovely touch was the loving yet playful dynamic she shared with her sibling, little Gavroche played by Harley Butler. A touch that often gets overlooked in some productions of Les Mis, it demonstrated the research and care Lewis has put into her performance.
Craig Youngman as Marius brought a kind and naive charm to this young student. He offered a sweetness to the role that made the audience warm to him instantly. His vocals were beautifully delivered, showcasing his delicate and balanced tones. His rendition of “Empty Chairs at Empty Tables” was a standout moment for Youngman, as he battles the guilt and emptiness of being a survivor. Youngman had a wonderful chemistry with Laurel Jones as Cosette. Their innocent and loving duet “A Heart Full Of Love” blended his soft tenor voice with Jones’ adept soprano beautifully.
Simon Theobald takes on the role of Thénardier in Tuesday Evening’s performance alongside Hilary Leam as Madame Thénardier. Also a split casting, audiences will see Daniel Bogod and Siân Scattergood-Grantham taking on the roles in this Evening’s performance. Well known audience favourites for their comic relief in numbers such as “Master of the House” and “Beggars At The Feast”, the pair played these comedic characters with a natural ease and chemistry. I particularly appreciated Leam’s glum and disappointed stare into the audience before disclosing her dreams of meeting a prince! Theobald brought a grittier side to the role of Thénardier, making the role much darker and villainous. I appreciated the way he was able to make the audience feel uncomfortable with each grotesque glare. The pair had a twinkle in their eyes and their enjoyment was apparent throughout.
One point worth noting was the noticeably muffled sound quality of the microphones for Eponine, Cosette, and Thénardier, which at times gave their vocals an almost underwater effect. When performing alongside principal and ensemble roles with much clearer audio, the contrast was quite apparent. While this didn’t significantly detract from the overall performance, it did occasionally affect the clarity of their dialogue and vocal delivery. I feel I must mention this, in the hope that the issue can be resolved for the remainder of the run.
This performance featured an array of talent, particularly found in group numbers such as “Red and Black” and “One Day More”. Often in amateur theatre, there seems to be an abundance of women with very few strong male performers. It seems this production is where they have all been hiding! It was wonderful to see so many talented men stand together in unity. The students, led by Enjolras (Harri Evans), showed an admirable camaraderie onstage. A particular highlight was Nathan Curzon in the role of Grantaire. Not only stunning vocals, but his deeply moving response to Gavroche’s death was a truly poignant moment.
Two performers of note that must deserve a mention are Jack Readyhoof and Kheenan Jones. I have had the pleasure of reviewing this talented pair on many occasions now, and their stature and characterisation was still able to stand out in such a large talent pool. Kudos to both.
Not only do we witness exceptionally talented adult performers, but the production features three sets of young stars who share the same passion and drive as their onstage mentors. In the role of Gavroche, we see Harley Butler, Henry Armstrong and Henri Reynolds. As Little Cosette we meet Caitlin Leighton, Emily Taylor and Mabel Kay. Sharing the role of young Eponine is Betty Barnes and Sophie Shropshall.
Tuesday Evening’s performance featured Harley Butler, Caitlin Leighton and Betty Barnes. Each shining stars in their own right, these little dots showed immense promise and confidence in their roles. I look forward to seeing what they do next.
Christopher Grantham takes on the role of The Bishop of Digne. Beginning the show with his rich deep baritone voice, we see The Bishop’s faith in Valjean as he offers him a second chance at life. Usually a minor role at the beginning of the show, this production features the Bishop throughout the show, acting as Valjean’s conscience as he is faced with difficult decisions that test his newfound moral compass. his calming presence served as a stark reminder to Valjean of the promise and vow he had made many years ago, allowing for an all the more powerful performance from Ollie Last. This was a clever and symbolic way of portraying this character. Certainly a moment of creative genius that added an extra layer of depth to the production.
A show would not be successful without a bubbling ensemble, and this production did not disappoint. Every transition and scene change was seamlessly masked and surrounded by the constantly flowing movement onstage. I struggled to find a single still moment in the production, with every move and step perfectly choreographed, a concept I haven’t seen before. The physical theatre was incredibly produced, although at times I did find this a little distracting. With so many performers onstage, it is a production that you could watch countless times and still find something you hadn’t seen before.
Morven Harrison’s Musical Direction relished the skills and intricacies of each performers abilities - particularly evident in the masterclass performances from the principal cast. The company’s vocals surrounded the entire audience with harmonic bliss, enhancing the production to a penultimate orchestration of sound in the “Finale”. I hadn’t realised the magnitude of the ensemble until this final climactic moment; where the cast flooded the stage - a truly magnificent performance from all of them.
Prior to casting this production, NOS, The Cast and COS offered open auditions for local amateur performers to take a chance and feature in this incredible once in a lifetime production. With an intense and testing audition process, this production features over 100 performers, all members and associated with groups from across the Midlands. Last night’s audience was a vibrant mix of fellow theatre companies, friends, and families - coming together in a powerful show of support, culminating in a well-deserved standing ovation for the cast’s remarkable storytelling. The shared support is something that is very close to our hearts at TheatreBean, as we all strive together to uplift one another on and off stage.
I would like to personally thank Amanda Dixon-Smith and the full team at Nottingham Operatic Society for making us feel so welcome and appreciated at last nights performance. It was a pleasure to speak to Siân and Daniel prior to the performance, and the warm welcome truly made such a difference.
This triumphant production is certainly an opportunity that will stay with the cast forever more. The time, effort and dedication has certainly paid off and I must commend both the cast and crew on such an astounding success. Thank you once again for inviting Theatre Bean to come and review this production. I look forward to seeing what Nottingham Operatic Society, The Cast, Carlton Operatic Society and all of these familiar faces do next!
Production: Les Miserables: Let The People Sing!
Rating: ★★★★★
Date: 27th May 2025
Reviewer: S.M.
