It does take the pressure off a bit if you're reviewing a show that has already sold out. So instead of being a consumer choice, this is more of an appreciation for what Queanbeyan Players has pulled off - a grand epic treatment of Boublil and Schonberg's adaptation of Victor Hugo's epic novel of pursuit, poverty, desperation, love requited and unrequited and vast amounts of invocations of god. Dale Rheynold's production richly stages the work, keeping the action flowing across several decades worth of plot as the attention swaps between large ensemble numbers and emotive solos, keeping us in 19th century French mode from the opening to the stirring finale. As someone who's loved this show for the better half of four decades now (and last saw it 11 years ago at the Capitol), this is a version that hits all the necessary notes and keeps it fresh and lively.
We should begin where the show begins, with Dave Smith's Valjean. Smith is one of Canberra's great tenor voices, and he hits the part running (given the role requires him to go from introduction to soliloquy in about five minutes, it kinda demands no hesitation) - we feel his anguishes at his failings and his deep moral certainty just as much as his strong high B4. Alongside him is Max Gambale as Javert who gives the role all the smug moral certainty it requires from his entrance up until the point when everything shatters in his final breathtaking soliloquy. Jess Waterhouse as Fantine breaks all the hearts the role requires in a role that goes from itntrouduction-to-soliloquy-to-downfall-to-death-scene and navigates every transition flawlessly. Greg Sollis and Tina Robinson are the Thenardiers, and provide exactly the right level of criminal sleeze the roles require - it's possible to overly-cute-up the Thenardiers and fortunately that trap is completely avoided - both have the cocky interior knowledge that the audience is entirely on their side, which makes us feel complicit in their scheming. Alexander Unikowski gives Marius a blithe and cocky air on his introduction, which sets up his inevitable fall into sorrow. India Cornwall as the unrequited yearning Eponine is compelling from the moment she enters until her exit from the story, delivering a heartbreaking "On My Own". William Allington delivers strong moral certainty as Enjolras, singing the big stirring ballads strongly and compellingly. Sophie Hyde-White sells the love-at-first-sight plot well, though she's stuck with a character who really doesn't have a lot of dimensions to play - she plays the ones she has effectively. Dude Gambale is a delightfully cocky, confident Gavroche, joyous at getting to team up with the students in their revolution and getting a chance to show what he's learned on the streets. The ensemble are a strong and capable team, fleshing out the stage and giving a sense of the environments in which the story takes place.
Musical Director Bridgid Cummins gets powerful work out of both the orchestra and the ensemble, with a rich sound for this all-sung show. Costume Designer Helen McIntyre finds rich variations for the cast to wear from galley-slave-to-slum-to-student-to-wedding finery. David Abbie's set design is adaptable and rich in sweeping across the narrative requirements. Zac Harvey's lighting design hits all the right points distinguishing location-from-location, and comes up with clever light-washes for the big set changes. Telia Jansen's sound design keeps it all in balance from solos to ensemble work.
In short (too late), this is a strong, powerful production of a modern classic, with fine performers engaging in the material in a meaty way. If you've got a ticket, enjoy, if you've missed out, watch out for these performers in anything else they may do later.
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