Les Miserables
at St. Margaret's Episcopal School

Reviewed on March 28, 2015

Chase Robinson
San Juan Hills High School
Submitted for publication to Orange County Register

St. Margaret's offers a revolutionary ‘Les Misérables'
written by Chase Robinson, a senior at San Juan Hills High School

A tale of redemption and compassion unfolds at St. Margaret's Episcopal School, as the seasoned actors whisk the audience off to 19th-century France: a country where poverty, injustice, and revolution run amuck.

"Les Misérables" chronicles the life and times of ex-convict Jean Valjean, who overcomes his troublesome past but cannot seem to escape from his tormentor Javert or the impending rebellion. Through unrivaled passion and vivid storytelling, St. Margaret's illuminates Valjean's plight and the Parisians' battle for independence.

Liam McGregor exudes confidence and strength as the impassioned Jean Valjean. He exhibits a significant emotional arc as his hunched and staggering stance blossoms into an upright posture. This is evident in "Who Am I?" as McGregor reveals his true identity with a fire in his eyes.

Portraying Valjean's persecutor Javert is Brent Cahill. As Javert, Cahill dominantly presides over France. He manifests his determination to capture Valjean through longing in "Stars"—vowing to the celestial bodies that he will exact his revenge.

Heather Nielsen portrays Fantine with grace and vulnerability. Tears cling to her glassy eyes and her entire body quakes with emotion during her inspiring performance of "I Dreamed a Dream." Likewise, Morgan Higgins captures both courage and insecurity as the tragic Eponine. Her poignant rendition of "On My Own" showcases her vocal mastery and powerful conviction.

The conniving and comical duo of Chris Lanham and Olivia Keane commands attention as the Thenardiers. As Lanham struts across the stage with animated gesticulations, Keane mirrors her husband's sleaze by stealing precious materials and stuffing them down her dress.

Matt Nicholas also presents a commendable performance as Enjolras. As he rallies the troops during "Red and Black," Nicholas demonstrates exceptional dynamism and stage presence. Similarly, the ensemble embraces the show's high-energy in large group numbers like "Master of the House," as drunken revelry ensues, and "One Day More," as the Parisians take up arms against their oppressors.

Nicole Fava's choreography incorporates various dancing styles to highlight specific numbers. In "Lovely Ladies," the women of the night flounce on boxes and flirt with passing sailors, as make-up designer Nathalie Eidt accentuates their prominent features. Working with a revolving stage, Cooper Zediker ensures all scene transitions run seamlessly and reveals his technical prowess.

St. Margaret's rendition of "Les Misérables" embodies the musical's classic spirit, but also reinvigorates it with electrifying energy and thorough investment.

Jason Marrs
Mission Viejo High School
Submitted for publication to Orange County Register

At St. Margaret's, Revolution is Won
written by Jason Marrs, a senior at Mission Viejo High School

As prisoners shuffle onto the stage, scuffling with the supposed "scurrility" of their sins, St. Margaret's cast of "Les Miserables" begin to stir in their symbolic shackles, aching for atonement in an oppressive society.

Tearing his yellow-ticket of parole, born-again convict Jean Valjean frees himself from the stigma of criminality. Thrust into a world of sedition, suffering, and suppression, Valjean devotes himself to the downtrodden while wrestling with redemption. In turn, each character must fire a barrage of emotion as they battle for revolution both in France, and in themselves.

Liam McGregor embodies inner struggle as the passionate Jean Valjean. Whether contorting his face with confliction, or clenching his chest with grief, McGregor's fight for salvation is palpable. Furthermore, McGregor's hunched, haltered gait as the aged Valjean is convincingly elderly.

By contrast, Brent Cahill is incorruptibly resolute as inspector Javert. Striding with upright principle, Cahill towers over criminals, manifesting a man-of-the-law. With subterranean thunder, Cahill conveys a commanding depth of power in his voice, only faltering in his forlorn final moments.

With serene, soaring vocals, Morgan Higgins evokes the despair of longing as Eponine. Albeit sprightly and amorous with her love, Marius (Maxwell Morin), Higgins crumples into herself when Marius falls for Cosette (Mackenzie Greiner). Higgins' fervor erupts into a passionate note of anguish in "On My Own" as she laments her unrequited love.

With ample pomp and obscenity, Chris Lanham and Olivia Keane are utterly slimy as Mr. and Mrs. Thenardier. Oozing sleaze, the two incorporate cacophonous cockney accents and suggestive swagger to swindle sous and hearts with hilarity.

The ensemble brims with impassioned faces as each cast-member energetically commits to each number. Whether they're drunkenly raucous at the inn, or bellowing with revolutionary intensity, the ensemble remains entertainingly present as they strike towering tableaus.

Makeup (Nathalie Eidt) and choreography (Nicole Fava) effectively distinguishes the cast and creates impressive fight sequences as well as interesting movement during exciting numbers, particularly in "Lovely Ladies". As women kick out their legs and caress their frames, the choreography and sleazy, dolled-up urchin makeup combine to evoke a sense of suggestive desperation in these women's forced dance.

Having to deal with large set-changes, and a revolving stage, the Stage Manager, Cooper Zediker, succeeds in speeding the lengthy show along with smooth professionalism.

In the end, the spirit of the human condition is evoked, and forgiveness is taught by St. Margaret's "Les Miserables".

Allison Cruz
Aliso Niguel High School
Submitted for publication to OC Cappies Facebook

St Margaret's 'Masterfully' Handles 'Les Mis'
written by Allison Cruz, a junior at Aliso Niguel High School

On the heels of the French Revolution, under the imminent threat of gunfire, a personal war - one between love and sacrifice - begins. In his search for redemption, Jean Valjean must leave behind his difficult and troubled past, and pave the way for a new life of morality and compassion.

With stunning harmonies and a resonant message, St. Margaret's Episcopal School's heartfelt rendition of "Les Miserables" strikes a powerful chord.

Liam McGregor embodies the role of the escaped convict Jean Valjean. McGregor adroitly portrays his character's internal struggle, from pained expressions of shame to peaceful acceptance of salvation. With a grounded stance and firm gaze, he determinedly faces his exile in "One Day More."

As the stalwart police inspector, Brent Cahill as Javert stops at nothing to find Valjean. Cahill's erect posture and booming voice underline Javert's militant persona.

On the other hand, Fantine, played by Heather Nielsen, is desperate to save her child's life. As she is pushed to the brink of destitution, Nielsen collapses on her knees and looks to the sky during "I Dreamed a Dream," highlighting Fantine's inner strife.

Fantine's daughter, Little Cosette (Nicole Fava), suffers similar distress at the hands of the Thenardiers, played by Chris Lanham and Olivia Keane. Lanham's unctious appraisal of Cosette, as well as Keane's distinct cockney accent, humorously contrast with Cosette's innocence.

Mackenzie Greiner transitions nicely as the older Cosette, bringing a sense of maturity with her dulcet vocals and ardent love for Marius (Maxwell Morin) in "A Heart Full of Love."

Morgan Higgins as Eponine displays her infatuation with Marius with a sprightly smile. However, as she realizes this love is unreciprocated, Higgins begins to crumple into herself. In an exceptional performance of "Little Fall of Rain," Higgins skillfully uses her rich timbre to portray Eponine's final moments of despair. Higgins demonstrates great control over her voice, especially as she fearlessly belts at the climax of "On My Own."

As the cast closes the show with "Do You Hear the People Sing?" their voices gradually grow louder, building up to a powerful, poignant finish.

Cooper Zediker's stage management reaches a level of professionalism that surpasses a regular high school show. Skillfully maneuvering the rotating set, Zediker paces the nearly three-hour show extremely well.

St. Margaret's moving production gives a voice to the universal struggles of man, reverberating with the sound of hope.