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Les
Misérables
Presented by:
Windmill Theatre Company
Venue:
The
Drum Theatre
Reviewer:
Kym
Davies
Date Reviewed:
Friday 12th June 2009
Windmill Theatre Company have brought Les Miserables, the
most famous, most loved of the musical theatre genre, back to
Dandenong’s world class Drum Theatre.
The music is so emotive and masterfully written around the epic
story of Jean Valjean and the stirrings’ of revolution in 19th
century France, that it becomes forever engrained in your psyche;
those famous words and images that can pack a theatrical punch like
no other show. Windmill has re-staged this masterpiece with
enthusiasm, obvious devotion and heart.
The production team has put together a truly talented cast with some
of the most outstanding voices and acting potential I have seen in a
long time. There was not one weak link on the stage in terms of
vocal performance, yet this production failed to fully connect with
the emotional heart of the story and left me personally unable to
feel the right amount of sympathy or compassion for the characters
journey. Stand and deliver is just not enough for this theatre goer.
More work was required on character development, scene transitions,
delivery of the scene arch and the climax of the story. Some of this
may be attributed to opening night nerves, and as such these areas
may settle in and develop as the season progresses.
The score was perfectly rendered, but the decision to put the
orchestra in the Drum basement heavily detracted form the impact of
the live music. It simply sounded like the cast were singing with a
pre recorded orchestra, limited emotion, limited energy and a flat
sound. Yet musically the show was flawless and this must be
attributed to good casting and hard work from the production team.
The settings were disappointing, with sterile use of colour and
uninspired flat looking boxes that transformed into multiple parts
of the scenes. Why go to all the trouble of a false floor and
revolve, only to paint it in a flat charcoal very similar to the
original floor of the drum? This being said, the use of the revolve
in many of the scenes was a highlight of the blocking and movement,
creating perspective and emotive stylised action.
Lighting Design delivered by Jason Bovaird was a focal point of the
show with interesting water motifs and good use of colour,
perspective and mood.
Jean Valjean played by Timoti Bramley carried the action with
strength, sensitivity and a connection to the dramatic content of
the character clearly pre-empted by his extensive Opera background.
His statuesque frame and open vulnerable approach to the role
provided the most compelling individual moments of the night.
Valjean singing the heartbreaking Bring him home, perched on
the top of the barricade was impeccably and beautifully delivered in
all aspects. I adored this part of the scene and his overall
performance, in this his musical theatre debut.
Glenn Thompson as the unstoppable tenacious man of justice Javert
was played with courage and unending purpose. His performance being
blemished only by what I assume was a broken leg, limiting his
movement and no doubt affecting his confidence. It barley showed and
Glenn deserves singular applause for his focus and determined
performance under very trying and difficult circumstances.
Sarah Watson, as the sorry victim of the barricade and unrequited
love Eponine, was simply gorgeous. Her performance and in particular
her song On my Own was effortless for this star in the
making. Her acting was measured and delivered with understatement
and real emotion.
The leader of the students Enjolras played by Paul James was
suitably strong and charismatic showing a natural understanding for
the part.
Roland Lack-Powell as Gavroche was confident in his portrayal of the
political antagonist and little hero of the barricade. He stood out
with massive potential in this pivotal role.
Ryan Jacobs as the student and love interest for Eponine and Cosette,
Marius Pontmercy was solid. His song Empty Chairs and Empty
Tables was delivered with superb effortless understatement, in
the most emotive scene of the show.
Rosa McCarty as Fantine was competent, with a beautiful voice and
strong focus; yet due to some costume choices and perhaps nerves,
it was not until her death scene that I felt any real connection or
pity for the long suffering Fantine.
Kylie Novotny as Cosette was suitably costumed and sang beautifully.
However I would like to see Cosette developed into more than just a
two dimensional heroine.
Peter Roberts and Wendy Alberni as the Thenardiers, were mildly
amusing as the villains and they looked the part in exceptional
costumes, but just missed the mark with their timing and delivery of
the comedy. This should hopefully improve as the season progresses
The ensemble cast made a huge impression in this production with the
best performances of the night delivered by Matt Hillman and Andrew
Head in multiple roles. Other performances of note included Robert
Harvey and Anthony Baisman providing a solid backbone to the
ensemble. Amara Jensen stood out with a strong voice and stage
presence while Salina Henderson embodied the idea of the ensemble
with understated character work and an impeccable and memorable solo
in Turning.
Les Miserables
has such high expectations and such iconic characters, that it will
always inevitably be judged much harsher than the average. No matter
what I think of this production, Windmill Theatre Company will
experience huge financial and creative rewards from this show. Well
done to the production team for their positive heartfelt approach
and to the energetic and adoring cast for bringing Les Miserables
back to an appreciative theatre community.
Since graduating with a Bachelor of Arts-Drama from LaTrobe
University Kym has been heavily involved in all facets of theatre,
both on and off stage. Previous Directing credits include Cabaret (DTC
Inc) Playspotting (Melbourne Writers Theatre), NineworksNineminds @
The Arts Centre( Nine Minds), Waiting for Godot (Cracked Actors),
Short and Sweet Festival 2007(Communities) and Lottery (Fringe
Festival 2007).
Her extensive acting credits include Cassius in Julius Caesar,
Belinda in Noises Off, Farrah in Popcorn, Truvy in Steel Magnolias,
Mavis in Dimboola, Titania in A Midsummer Night’s Dream and Susan in
Dons Party. Kym’s talents extend to Production, Set and Costume
Design with many credits including Cabaret, Waiting for Godot,
Lottery, Sweeney Todd, Fame, The King and I, Dinkum Assorted, Gypsy,
Hamlet, A Midsummer Night’s Dream, Steel Magnolias, Popcorn and
Noises Off.
Kym is currently President of Dandenong Theatre Company Inc.
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