Les Miserables (School Edition)
at Welland Centennial Secondary School

Reviewed on April 23, 2010

Isaiah Klassen
Eden High School
Submitted for publication to

Welland Centennial's production of Les Misérables immersed its audience in the grit and disorder of post-Napoleonic France. Directed by Iraina Neufeld, the musical's two hours of non-stop singing created a realistic and engaging atmosphere.

Les Misérables tells the tale of the ex-convict, Jean Valjean, whose attempt to begin a new life is thwarted by the dogged pursuit of the police officer Javert. Seeking escape, Valjean and his adopted child, Cosette, are plunged into the street fighting of the Paris uprisings. Valjean's unflagging quest for redemption is interwoven with accounts of the harshness of 19th century France.

The great strength of Les Misérables was its ambiance. Fog enveloped the first few rows, drawing the audience into the world of Les Misérables and symbolizing the uncertainty of the times. The skillful use of lighting combined with the fog to create memorable effects: light streaming out of a sewer grate, and later representing the life leaching out of doomed revolutionaries. A changing skyline and contextual narrative were projected onto a screen at the back of the stage, effectively providing a sense of place and context as one scene gave way to another.

Just as impressive was the cast of Les Misérables. Avery O'Rourke as Jean Valjean played well against Tyler Agnew's Javert, whose biting lines and vindictive stage presence was intense. Michael Reid played the role of the smooth and slick Thénardier, the unscrupulous innkeeper, with entertaining pomp and flourish. Jamie Kiess and Lisa Proveau, who played the student Marius and Marius' admirer respectively, commanded attention with their ringing harmonies. Special recognition is due to elementary-school-student Davian Hart, who played the orphan leader Gavroche with convincing energy.

Gavroche was not the only orphan; an entire ensemble of actors aged eight to thirteen, portrayed a charming band of miscreants. Also noteworthy were the Revolutionaries, a troop of male actors with impressive harmonies. Although the orchestra was hidden from view, its accompaniment of the singers and its musical transitions between scenes were flawless.

Music added atmosphere, but it was the costumes and makeup that completed the realism of Les Misérables. Costumes were highly detailed; torn, tattered and dirty, they realistically portrayed the poverty and desperation of those at the barricades. Similarly, makeup made the smudges of dirt and bruises look authentic, but its most impressive use was in portraying the aging of Jean Valjean and Javert through the many years covered by the storyline.

The musical's exquisite sound was projected with the aid of microphones deployed in over forty locations, with only a few easily forgiven slip-ups.

The well designed set featured a revolve in the center which allowed for flexible set-ups and smooth scene changes. Moveable staircases served multiple purposes from different angles, and the pieces of the barricade looked amazingly complex, yet they were carried on and off the stage with dispatch.

Welland Centennial's production of Les Misérables offered a two-hour window into an era that was bloody and bleak, yet in the midst of which, people could find beauty, hope and peace.

Katie Klassen
Eden High School
Submitted for publication to

The streets were crawling with hapless people and guns continued to fire during Welland Centennial Secondary School's presentation of the musical Les Misérables -- Victor Hugo's classic work as adapted for the stage by Alain Boublil and Claude-Michel Schönberg and directed by Iraina Neufeld.

Set during the upheavals in France of the 1830's, the story follows the life of Jean Valjean (Avery O'Rourke), a former member of the chain gang. After nineteen years of imprisonment for stealing a loaf of bread, Valjean is freed. Vowing to become a new man, Valjean breaks his parole by changing his name and moving away. He eventually becomes mayor of Montreuil-sur-Mer, where he adopts a daughter, Cosette, upon the deathbed wish of Fantine, a former factory worker. Yet he cannot escape the watchful eyes of the policeman Javert (Tyler Agnew).

As grinding poverty agitates the people, the authorities tighten their grasp on the throats of the starving French. Throughout the story, Valjean desperately fights to protect his daughter and to escape the snares of Javert.

The set powerfully suggested the streets of 19th century France. Although there was a slew of scene changes, the set was maneuverable and stage managers Sara Allison and Hannah Fuaco did a fantastic job of ensuring seamless transitions.

Moveable stairs stood on either side of the stage, and in the center was a revolve which could be turned to display one of three different settings. Smoke and lighting effects enhanced the realism of the grimy Paris streets. A cyclorama provided a beautiful backdrop to signal the transformation from night to day. Perhaps the most creative elements of the set were the barricades constructed of jumbled chairs, boxes, and barrels, which the set crew effortlessly whisked on and off the stage.

There were over sixty people in the cast, all of whom had to sing, as there is no dialogue in the two hour production. For sheer stamina, Jean Valjean (Avery O'Rourke) deserves mention. The soaring voices of the revolutionary Marius (Jamie Kiess) and Javert (Tyler Agnew) were powerful. Similarly, the dying beggar Fantine (Heidi Whitnall), the factory worker Eponine (Lisa Proveau), and Cosette (Melissa Chernish) had mellifluous and amazing voices. One of the show's highlights was the group of orphans played by young people from Centennial's elementary feeder schools. Abby Etling played a lovable young Cosette and Davian Hart performed with the confidence of a seasoned actor as the little revolutionary, Gavroche.

The strain of singing for two full hours may have shown a little toward the end. However, strong ensembles such as the Ladies of the Evening and the Revolutionaries sustained the volume and kept the audience engaged. Although the singers' microphones cut out occasionally, the Band was superb, smoothing over any technical issues. The musical's challenging content, scope, and vocals made the production risky, but the casting and direction were brilliant.

Although the musical is set during the grim years of post-revolutionary France, Les Misérables evokes the passion for freedom and justice. In Centennial's production, moments of darkness give way to love and hope.

Joy Coppell
Ridley College
Submitted for publication to

Welland Centennial Secondary School took on an ambitious project this year when director Iraina Neufeld decided in September that their performance should be the worldwide hit Les Misérables. Les Mis was recently adapted for high school productions, but that did not stop it being a huge undertaking. With a cast of nearly 80, including one dozen performers from Centennial's local feeder schools, and a multitasking orchestra, this musical showcased a huge amount of Welland's talent.

Set in post-revolutionary Paris, France, this story of despair and oppression tells the story of Jean Valjean - locked away for nineteen years after stealing a loaf of bread to feed his starving family. Given his freedom and then granted reprieve by a kindly bishop, Valjean sets out to restart his life; he adopts the orphan Cossette after promising her dying mother to raise her. His struggle is set against the backdrop of revolutionaries fighting for their rights and freedom.

There was no doubting the singing ability of any of the performers, frequently doubling roles, near constant costume changes and a makeup team that cannot have stopped working. Many of the performers found themselves in a number of roles leading to a lot of stage time. It was unfortunate that occasional microphone difficulties muffled the range of some of the vocal performances, but the sound appeared to improve as the evening wore on. The stage crew, in particular, was rushed off its feet; the professionally designed set used the space creatively and was very visually effective.

Avery O'Rourke as Jean Valjean was vocally strong and acted well; his scenes with Tyler Agnew as Javert were convincing. Heidi Whitnall's rendition of Fantine's "I Dreamed a Dream" gave me chills; the role of Gavroche was played by 10-year-old Davian Hart, who was cheeky, lovable and talented beyond his years. Lisa Proveau showcased a strong acting talent as well as vocal ability in her role as Eponine; the love scenes between she and Marius, Jamie Kiess, were convincingly touching. Morgan Allan and Michael Reid made for a darkly humorous double act.

For a high school to attempt Les Misérables was a huge undertaking and an ambitious one that Centennial went for with enthusiasm and guts. There is no doubt for me that the ensembles were the strongest scenes however; the Ladies of the Evening never left their characters and the orphaned children, played by the real children of the area were the energy of the show.