In a landmark moment for both the venue and the company, Les Misérables makes its long-awaited amateur debut at Nottingham’s Theatre Royal – and Nottingham Operatic Society’s production (in conjunction with Carlton Operatic Society and The Cast) rises superbly to the occasion. Directed by David Covey and staged as part of the society’s centenary year celebrations, this is a heartfelt, visually sumptuous and vocally thrilling rendition of one of the world’s most beloved musicals.
From the first rousing chords of the overture under Morven Harrison’s assured musical direction, the production strikes a bold and confident tone. With a cast of 100 drawn from across the East Midlands, the scale and ambition are immediately apparent – yet this is no bloated spectacle. Every ensemble member earns their place in the story’s tumultuous sweep through post-revolutionary France, from chain gang to barricade.
At its emotional core is Ollie Last’s towering performance as Jean Valjean. His voice is rich and expressive, handling the demanding vocal range of the role with astonishing ease. But it’s the emotional nuance – the inner turmoil, quiet resolve, and profound transformation – that makes his performance so compelling. His rendition of “Bring Him Home” is a true show-stopper, tenderly delivered with aching sincerity.
Opposite him, Dan Armstrong’s Javert is equally impressive – cold, authoritative, and rigidly moral, with a steely vocal command that heightens the tension in every confrontation. His “Stars” is a brooding, beautifully controlled number that captures the character’s obsession with justice. Armstrong’s downfall, when it comes, is played with gut-wrenching fragility.
In the romantic subplot, Craig Youngman brings youthful sincerity to Marius, and his chemistry with Laurel Jones’ radiant Cosette is endearing. Youngman is an exceptional Marius – his vocals are faultless and the power behind his voice is a wonder to behold. Jones sings with clarity and elegance, making the most of her lyrical moments. Despite being a severely underwritten role in the show, Jones’ performance is a definite highlight. Francesca Lewis is an excellent Éponine – raw, grounded and emotionally exposed. Her “On My Own” is delivered with heartbreaking understatement and control, never veering into melodrama.
A special mention must go to Hilary Leam’s scene-stealing Madame Thénardier. Vocally assured and comically menacing in all the right ways, she dominates every scene she’s in. Simon Theobald as her grotesque partner is gleefully repellent, with good timing and vocal grit. Their “Master of the House” is a riotous, brilliantly choreographed highlight.
Harrie Evans leads the revolutionary students with stirring fervour as Enjolras, commanding the stage with strength and purpose. The student ensemble – notably Jonah Williams, Jack Lawrence, Nathan Curzon, Owen Patten, Louis Chadburn, David Hass and Jonathan Jaycock – all impress, contributing powerful harmonies and a sense of camaraderie that makes the barricade scenes utterly convincing.
Three young performers also shine in this production. Harley Butler deserves applause as Gavroche – charismatic, cheeky, and vocally confident. Caitlin Leighton and Betty Barnes also do excellent jobs as Young Cosette and Young Eponine respectively.
Visually, the production is a triumph. Scenic design by Morgan Brind conjures Hugo’s world with grandeur and authenticity, moving slickly between locations thanks to clever set transitions. The barricade is particularly striking – both as a physical structure and a metaphorical symbol. David Birt’s wigs and the sumptuous period costumes complete the aesthetic, helping to root the story in time while allowing the characters to shine. Credit must also go to Justine Lee’s movement direction, which ensures the large ensemble moves with energy and purpose, never crowding or distracting.
There’s a palpable sense of occasion throughout this production. More than just a local staging of a global phenomenon, Nottingham Operatic Society’s Les Misérables is a testament to what can be achieved with talent, vision and community spirit. Every note, every costume detail, every ensemble movement reflects the care and commitment poured into this once-in-a-lifetime production.
Whether you’re a die-hard fan of the musical or a newcomer to its sweeping story of redemption, this production is not to be missed. It’s an extraordinary achievement – one that affirms the power of local theatre and leaves its audience, quite rightly, in tears and on their feet.
Les Misérables – Let the People Sing plays at the Theatre Royal Nottingham until Saturday 31st May 2025. Tickets are currently sold out (unsurprisingly), but you can find more about Nottingham Operatic Society here and Carlton Operatic Society here.
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