The hit musical Les Misérables is not an easy show to do – not even the edited down School Edition which we are seeing tonight running at a running time of just over two and a half hours including interval. More about the amateur show at Nottingham Arts Theatre later.

For those who may not realise the back story of the musical it all began with the French classic author Victor Hugo completing his densely populated Les Misérables novel in 1861 and it went on to become an international best seller.

Moving forward to the 1970s we find the French songwriter, Alain Boublil, who had the inspiration to adapt Hugo’s novel into a musical while at a performance of the musical, Oliver!, in London. When the Artful Dodger appeared on stage, the idea of Gavroche narrating the story of Les Misérables came to mind. He pitched the concept to composer, Claude-Michel Schönberg, who then began developing a rough synopsis in 1975.

Les Misérables had its French language world premiere in September of 1980 at the Palais des Sports in Paris. The production was directed by filmmaker Robert Hossein and ran for over 100 performances.

Following the world premiere run of the original French version, Herbert Kretzmer and James Fenton were given the task of adapting the material into English. This new version, produced by Cameron Mackintosh and directed by Trevor Nunn and John Caird for the RSC, opened on October 8, 1985, at the Barbican Arts Centre in London. The original cast included such notables as Colm Wilkinson, Roger Allum, Frances Ruffelle, Alun Armstrong, Michael Ball and Patti LuPone. Theatre history notes that after Colm Wilkinson sang “Bring Him Home” from Les Misérables for the first time in rehearsal, director Trevor Nunn said, “See? I told you this show is about God.” One of the actors in the cast then responded, “Yes, but you didn’t tell us you engaged him to sing it.”

When the original professional show opened at London’s Barbican Theatre in 1985, to mixed reviews, even the biggest fan of Les Misérables would not have predicted it would still be packing out theatres worldwide thirty-nine years later. It has become the second longest-running musical in the world and the second longest-running show on the West End. Despite the mixed and even downright bad reviews the public voted in droves by proclaiming the show a huge artistic musical theatre success. The Barbican presentation was over three hours long!

The School Edition remains an epic tale of passion and redemption in the throes of student and public rebellion but die hard Les Mis fans be aware that the songs Stars, What Have I Done?, A Little Fall of Rain, Turning, and Castle On A Cloud have each lost a verse according to La Google. To be clear these choices are not made by The Arts Theatre but by the writers and producers of the show in order to allow for changes in vocal ranges and keys appropriate for young student performers. It still works a treat and this five star production at Nottingham Arts Theatre is supremely good with not a note nor on-stage time wasted.

You may see from the top of this review that I have given it five stars and it deserves every one of them – if not more stars (in their multitudes). The Nottingham Arts Youth Theatre are a bunch of very talented actors and singers and given that Les Misérables is a sung through musical it is a brave choice to put on a show of this calibre and pedigree and make it the success it proves to be tonight. Ooh La La! In short they have 100% knocked this show out of le parc.

The whole youthful ensemble are totally engaged in selling the story on stage and when they come together to sing the large choral numbers such as At The End of The Day, Lovely Ladies, Master of The House, The People’s Song, One Day More and The Epilogue they sound terrific and decidedly professional. Although they are singing in unison each and every ensemble member puts across an individual character. Director Abby Wells has clearly put a lot of passion and fine detailing into this very slick production.

The principals are super strong in both acting through song and working together as a believable cast. On this, the opening night, all of the solos and duets and larger numbers get rewarded with rapturous applause. George Young makes a fine Jean Valjean and his Bring Him Home brings out the hankies in the audience. With his dark voice and physical presence Jonathan Jaycock is commanding as Javert and his Suicide Song is very good and cleverly executed – if one can further apportion such a fatal word to the act. Chloe Chapman Deas makes the ill fated Fantine her very own.

Mia Rathbone shines vocally as the adult Cosette and brings out a genuine humanity in a character that has potential towards the too saccharine. And wow, Lizzie Kenny is straight out of Central Casting as the frail but lovable Cosette the miserable put upon child. Castle On A Cloud never sounded so lovely. Francesca Lewis puts in such a professional performance as Eponine and sings the heart and soul out of her. At times she is soo good I fear that she will be kidnapped in the interval and whisked away to Londres to join the West End cast.

The Thenardiers are always gonna steal the show with their humorous depictions of common vulgarity and greed and rest assured that The Nottingham Arts Youth Group have cast a brilliant pair of comedy actors in Jamie Adlam (M. Thenardier) and Elizabeth Fitzgerald ( presenting a truly deplorable Mdme Thenardier). Comédie gold.

Joshua Preston is a believable and likable romantic lead in Marius and is the owner of very emotionally warm vocals. His scenes with Cosette are done with commendable body language whilst expressing his undying love.

With all of these student performers one has to be reminded that even the older ones are only fifteen or sixteen. They all give very natural and mature performances. Tony Foad’s charismatic and sympathetic Enjolras is fine voiced with a timbre that can only get better as he gets older. One to look out for I think. Seth Burgess is spot on as the cheeky Gavroche.

The live band (hidden behind the barricade effects on the simple yet impressive set designed by Abby Wells and Mark Russell) is magnificent and conducted by musical director Gareth Wynne. The lighting is equally atmospheric and artistically impressive and designed and operated by Oliver Read. Rob Kettridge does a sterling, nay faultless, job with the sound design and operation. At one point I am sure I am ducking the realistic volley of bullets sound effects. The Wardrobe and Props are sourced from a variety of quality sources and together they really lift the production to its own high standards of authenticity.

To conclude, this local School Edition of Les Misérables has made this reviewer very ‘appy he was asked to review it. C’est formidable.

PS: If you are a fan of dry ice effects you’ll love this production.