REVIEW: LES MISERABLES – THE UK AMATEUR PREMIERE AT THE GRAND OPERA HOUSE
“Let The People Sing!” said Cameron Mackintosh to mark the 40th anniversary of Les Misérables – and last night at the Grand Opera House, Northern Ireland rose to the occasion – and then some!
Last year 11 amateur musical societies across the UK were offered the chance to put on a special licensed amateur production of the legendary musical. In Belfast, this extraordinary production is a collaboration between Belfast Operatic Company, St Agnes’ Choral Society, the Ulster Operatic Company, and the Grand Opera House.
With a rigorous audition process, the best of Northern Ireland’s amateur performers took to the stage, proving that talent in this country runs deep. The entire cast consists of amateurs who balance their passion for theatre with full-time jobs or education—an incredible commitment that shines through in their performances.
From the powerful opening scene featuring the convicts, it was clear this was going to be something special. Every performer on that stage could have been a lead, and the level of talent was staggering. The singing was exceptional across the board, and the orchestra delivered a breathtaking accompaniment.
David McCrossan, our Jean Valjean, was outstanding. His soaring vocals, particularly in Bring Him Home, were deeply emotional and showcased his incredible range. Boyd Rodgers as Javert was equally impressive and his vocal match, delivering a mesmerising rendition of Stars that left the audience spellbound.
With International Women’s Day this week, it’s fitting to shine a spotlight on the outstanding women of this production. Kerry Rodgers, the director, deserves special recognition as I believe she is the first female director of Les Misérables—a remarkable achievement. The three female leads were simply West End standard: Beth Tiffney (Fantine) delivered a heartbreakingly raw I Dreamed a Dream, Caroline McMichael (Eponine) brought incredible emotion to On My Own, and Lauren McCann (Cosette) hitting those impossibly high notes with ease and charm.
A particular highlight was Local Women columnist Jordan Arnold as Madame Thénardier. Her broad Belfast adaptation had the audience in stitches, perfectly complementing her Thénardier , Desmond Havlin, who was equally fantastic. Once again, I found myself questioning why I adore these villains so much—they are utterly despicable, yet we can’t help but love them!
For me, Marius can sometimes fade into the background in productions of Les Mis, but I loved Aodhan Halfpenny who brought a fresh, playful charm to the role. His singing was simply beautiful, and his chemistry with both Cosette and poor Eponine made him stand out.
Every single ensemble member was brilliantly defined, and I loved the use of local accents – it added a new and exciting dimension to the show. More of this, please!
If you get the chance to see this show do not hesitate. There are limited tickets available, so hurry! Having seen Les Misérables over 20 times, I am always amazed at how I continue to discover new details in each production. This performance was no exception—it was powerful, moving, and simply joyous.
REVIEW BY KIM KELLY
www.goh.co.uk
