Les Misérables - Norfolk & Norwich Operatic Society (02.07.2025)

When Cameron Mackintosh and Music Theatre International announced its intention to permit amateur productions of Les Misérables for eleven specially selected companies, the musical theatre community in East Anglia was collectively thrilled to hear that NNOS had been granted the chance to show what they could do with the iconic musical.

As the region's premier musical theatre company, NNOS has been delighting audiences for 100 years now, so it was fitting in their centenary year that they should be celebrating with a production of this magnitude. Along the way, NNOS has had some help from its friends over at Threshold Theatre and Echo Youth Theatre, for whom lots of credit is also due.

While there was a lot of excitement over the production, I'm sure the nerves were also jangling among the company, eager to do both the theatre and the region proud. So, how did they do?

It would take the meanest of souls to suggest it was anything other than magnificent. Every single one of the 60+ strong cast contributed significantly to the show's many anthemic ensemble numbers. However, as much as it was about "letting the people sing", the show was arguably stolen by a couple of individuals who elevated this production to an incredible level.

I'm talking about Lewis Aves and John Derekson as Valjean and Javert.

John's performance was packed with a wonderful, masculine menace as the unrelenting upholder of the law pursues prisoner 24601. His two big numbers, Stars and Javert's Soliloquy were executed to stunning perfection, with the latter a chance to show his acting chops too.

Stars, or more accurately, just the one as John Derekson wows us as Javert (photo credit: Richard Jarmy)

Aves as Valjean was a revelation, and I say without a hint of condescension, as good as any Valjean I've seen or heard. He was note perfect throughout in a portrayal full of desperation, anger, remorse, fear, and tenderness. He had it all. And as for Bring Him Home - well, just wow. It was a wonderful example of power and restraint combined as he moved the audience with his anguished prayer.

Valjean prays for Marius in Bring Him Home (photo credit: Richard Jarmy)

Picking these two performers out isn't an indication of anything lacking elsewhere, and in fact all the key protagonists were near perfect. Kayleigh Perrin as Eponine brought a raw emotion to her performance as she tugged at the heartstrings in On My Own, Hannah Cox's soaring soprano complemented Will Mugford's gentle but impactful portrayal of Marius. Oscar Noble as Gavroche did a fantastic job of stealing every scene he appeared in, and also demonstrated some brilliant vocals along the way.

The critic in me feels compelled to mention that while Alex Green's characterisation of Thernadier was excellent, leaning heavily into the comedic elements, his vocalisation was strangely subdued almost to the point of being inaudible at times. This was in contrast to the much more traditional, assured portrayal of Madame Thernadier by a bombastic Hannah Lucas.

There were also plenty outside of the principal cast that made an impact. Rowena Croston-Clegg and Ruby Bardwell-Dix both shone in Lovely Ladies with finely delivered solo lines and excellent physical theatre. On the barricades, the richness of Christopher Davidson and Lucas Fox's voices stood them out from the crowd. And Leo Stewart Oakley's Bishop was suitably divine.

Hearing the people sing (photo credit: Richard Jarmy)

The large set pieces of the barricades were handled with minimal fuss by the well-drilled and choreographed cast, contributing superbly to a seamless, non-stop performance. The setting of the stage, from an audience perspective, could have done with more careful attention, with a fair bit of the action being masked from those sat on the left hand side of the auditorium. This meant it was a struggle to see what was happening in the 'Robbery' scene outside the gates of Valjean's house, and where Marius is led there by Eponine prior to A Heart Full of Love, and again when Valjean carries Marius in the sewers.

But of course it wasn't just about hearing the people sing, it was also hearing them play - and what a show the 16 piece orchestra put on for us. Led by MD Kevin Bell, each musician played their part beautifully, adding some extra weight and drama to the numbers with their flawless performance, in what was another showcase of the incredible musical talent that Norfolk has at its disposal.

Tempting as it is to get carried away and suggest this is the company's finest work, I think that's likely doing a disservice to the wonderful body of work achieved by NNOS over the last century. But what a stunning piece of theatre to celebrate 100 years of entertainment. Let's hope they continue to let the people sing for the next century and beyond.

Les Misérables is sold out for the remainder of its run at Norwich Theatre but you can catch NNOS back in action at the venue with their production of Carousel in Feb 2026.