Les Mis Opening Night - Please someone turn on the lights!!

The first part of this i actually wrote during the intermission last night on my iPhone and tried to post it here (but for some reason wasn't working properly) and the second part is new... Part 1: Intermission iPhone update to theatre.asn Well, here i am at the opening night of Les Mis and i am so frustrated. The lighting, oh god, please someone turn on the lights on stage!! I mean, i understand and get that it's supposed to be gloomy and depressing, but seriously, not to the point where i can't actually see people's faces on stage! ... I'm talking about where a lead or someone stepping forward to sing is in _complete_ shadow!! It's as if they decided not to use _any_ forward facing lighting at all! ... Let me put it into perspective, the conductor had a spot on him so the orchestra can see him, that spot is _twice_ as bright as _any_ of the lighting of the characters on stage... I know people in the show, and the only way i've been able to recognise them, unless they accidentally hit some of the sporatic lighting, is by the way they move. The only way to tell who is singing a line is to try and peer through the gloom to work out who's making more movement than the others. ... You know how at the start of a show when the actors are all on stage as you enter and the lighting is all dim, well, that's how the lighting has stayed the entire time! Ok, rant over, second act about to begin. Sigh, even the lighting in the auditorium is brighter than anything on stage... Aside from that, i'm loving the show. But i am so very frustrated :( Part 2 ... Next day thoughts. Ok, so the lights finally came up for the wedding scene, again, i do understand that it's supposed to be a contrast, but i'm sorry but it really detracted from the show not being able to even see faces or expressions, only shadows and slightly darker spots where u could tell they had their mouth open and they were singing. I was in row R, about 2/3 of the way back. Speaking to the ppl i knew after the show, i even commented to one of my friends who was in it, wow, u only had that bit at the start and right at the end ... to which he told me he'd been in and out of costumes and on stage all night... i was amazed. ok ok ... enough about the lights. I'm just saying, please put some gentle spots at least so the we can see their faces a little as they do their major songs at least?? Jean - He was bloody great! Controlled acting and singing, a pleasure to watch and listen to! Your diction was exceptional, i was with someone who had never seen the show or heard it at all before and she was able to completely follow. Javet - Peter, i told you last night when i caught up with you that you were great, and i really meant it, fantastic mate. Amazing voice, you and Jean sounded great together, gave me goosebumps in "Confrontation" with the overlapping. Your suicide song was amazing, and great choreography, loved the whirlpool and demons taking you over. Bishop - Alan, great work mate! That is one of the highlight songs for me in the show, good stuff! (Just disappointed i didn't see you in the rest of the show ;)) Young Cosette - you were great, beautiful voice and played really well :) The Thénardier's - *grin* nice one, sounded just like the recording :) ... Just wished there was more energy in that one, seemed to be a bit puffed though :( .. love her laugh :) Marious, Eponine and Cosette - Great work you guys, loved the performances, really nice voices and i was especially impressed with Eponine ... although, it wasn't until the Wedding scene that i actually saw what u guys looked like :( seriously Marious, half the time you were singing with complete shadow on ur face (not ur fault though) The rest of the cast ... seriously well done!! Great performance, loved it!! ... stand out parts were the drunken priest, GOLD LOL, Julia doing her thing (she plays a very good whore), Tim ... i got goosebumps when you were doing the Red, etc in Red and Black, and also the fact that ur character was a drunkard and a coward not being able to face the barricade, well done! Gavroche's death was really well done too, good stuff ... Oh god, if i've forgotten any of the others i knew in it i'm sorry, but you were great!!! :D Sigh, i really would have loved to have seen it with lights that showed faces and not just shadows :( i know i keep harping on about it, but i missed out on so much not being able to see :( Great work all!! Matt :)

For those out there who have yet to see the production, please rest assure that you will see the cast's faces! Due to the huge technical aspect of Les Mis, the lighting was not yet completed for Opening Night. Yes, this was unfortunate but happens in theatre . . . The lighting has been completed, and after numerous enquiries after each performance on Saturday and Sunday, there were no complaints! Quite the contrary, the production has received nothing but enormous praise for bringing a new visual aspect to a fantastic show and the professional production value of the cast, crew, set, etc. Enjoy the rest of your run . . . Chookas!

Hi Gaafa, Um, have you seen this production? if so, I suspect you would have seen that all whores/factory workers/urchins etc were really quite grubby with fairly scruffy hair.... If we're not dirty enough, please let us know and we'll put more on! Cheers Casey :-)

Highlights: Les Mis still a crowd pleaser Review: Ali Taulbut ' The MS Society's production with John Senczuk at the helm and Tim Cuniffe in the pit is everything that diehard fans and newcomers alike could want ' ' In condensing such a huge novel the adaptation is left with largely two-dimensional characters and the opera-style recitative is very uninvolving and declamatory ' ' The plot manages to skip over details, making non sequitur leaps that leave your head spinning and yet seems to drag on interminably at times. There are moments where you need the full Kleenex supply and others that left me emotionally cold ' ' The pro-am cast led by an excellent Ian Toyne as Valjean was on good musical form. Dominating the principle players was the impressive but bland "musical theatre course" style of singing, resulting in few original or interesting vocal styles ' ' The sound system did no favours to anyone's voice, distorting at high notes and loud volume ' ' This "by popular demand" season of Les Mis comes just three years after its last Regal Theatre outing. I realise that it's purpose is primarily fund-raising and it's obviously a money-spinner but please, something else next time ' ' But don't be put off, the cast does a great job and the crowd were loving it ' The West Australian 10th August 2009

The west review was very badly written in my opinion. Especially when you only post some quotes from it. The reviwer didn't like the show, not because of our production, but because they dont like les mis. When you read the entire review in context all the negativity is directed toward the musical as it was written. Obviously there's nothing we can do about that. But when comments are made about this particular production they are positive. Performers, orchestra, Director and MD all got positive comments. If anyone from the West reads this, In the future if your going to send someone to review a show please make sure they dont have a negative approach to it before they even enter the theatre.

...it could be a benefit, because as Taulbut's article notes- you won't put off the LM fanatics; they'll see it and every other production regardless of whether the reviewer likes it or not. Taulbut, to be fair, gives great notices to the cast... and that doesn't always happen. Ask the cast of "My Father's House", which was summarily dismissed by The West. It certainly makes a change from the fawning "reviews" you read in the West and elsewhere- where the brief is all too often to push the local talent regardless of the merit (or otherwise) of the production. Eliot- making an unexpected return, to which he anticipates a whole pile of infantile turgid dross to be flung about, despite his best intentions.

The reviewer's job is to review the whole show including the script not just the performances, directon and design. Les Mis is one of the few musicals I actually like: it's big, bold and potent. However, also being a fan of the novel I quite agree with the west reviewer. The stage musical just dosen't do the book justice. I think the review was even handed and very fair. The reviewer could have allowed prejudice towards the text influence their commentary on the cast and crew but they didn't. Instead, there is praise for still giving a good performance despite what the reviewer feels are pot holes in the very blue print of the show. Perhaps next time the West can send along a die hard Les Mis fan who will inevitably draw comparison with when they saw the production on broadway or the west end, with a multi million dollar set, in a fantastic venue and with seasoned professional singers from the hardest job markets in the industry. Do you still believe your performances will stand up under such scrutiny David? I say, be greatful for what you're given. We live in a town where getting a professional reviewer to come to a show can be like drawing blood from a stone. I only thank my lucky stars that we have this website where people are willing to donate their time to give feedback and if it's negative feedback, well at least you have something to bitch about backstage, right?

Garreth, You made interesting comments on the review, which have been taken on board. However, I must disagree with your mention of the cast bitching backstage. If you have ever performed at the Regal, you will understand that there is no time or wind at all for bitching, due to the amount of stair climbing required to the chorus dressing rooms. One great plus is that the ensemble all have fabulously taut thighs!!

That's silly: the best writers put aside any personal objections. An actor can dislike a play, a role, or a character, and still perform it well... why can't a writer? I agree that the review is... well, not what I would expect from a reviewer at a newspaper. But you don't see all reviewers panning shows that they don't like at the outset. Puppets and patterns at Puppets in Melbourne

We're all so bloody precious in amateur theatre aren't we? You were lucky to be reviewed at all. I hear that the star of the show was the refreshingly new design, thanks to a giant of australian theatre. I also heard that some of the leads were rather lucky to be there...

I hate the damn show. Over long, overblown and pretentious and it annihilates the book which is one of the great works of fiction of all time. But that has nothing at all to do with this thread. Is that all there is? Well if that's all there is my friend, then let's keep dancing. www.tonymoore.id.au

Methinks this backlash from little amateur actors is one of the reasons why they're very rarely reviewed in the West. Fair call?

I've been saying for years that the West should acknowledge the huge and largely high quality amateur scene with a page dedicated to reviewing them under the distinction that they are performers doing it for fun or fundraising. It's a positive thing to do. They do it for sport??? But then again, amateurs should remember why they do it. Not for reviews. I'm sure the very pro staff on the show (Director/MD) couldn't give two hoots about what appears to be a very amateur review.

I'll be seeing it on Friday night so with any luck I'll be able to offer a fair review of it. As per usual, the thread that is supposed to be solely made up of reviews has become another bitching session. I only came on to find out what people who had seen it honestly thought of the show. 1 out of 14 postings I've read on this thread make up the "reviews" so far (not counting the quotation marked West Australian review which seemed a bit pointless.) I do have reasonable expectations that it will be a well-performed show - at $59 bucks a pop, it ought to be. Having said that, The Regal seems to have a curse over it which makes the ticket prices more expensive than other venues, and it always seems to have sound problems. Meh. The show must go on.

Yes, that's generally why The West avoids reviewing amateur shows. Why not email them at cos@wanews.com.au to give your thoughts if your opinion differs.

That comment wasn't aimed at the Les Mis cast in particular, it was meant much more generally and with a light heart. Apologies for any confusion.

Rather than 'hearing' why don't you actually go and see it and make the decision for yourself? Rather than passing on other peoples opinions! I saw the show on opening night and a)could see everyone's faces and I was in row T in the stalls b) thought the review was fair - she didn't like the show itself but complimented the cast and creatives and c) certainly DON'T agree that 'some of the leads were rather lucky to be there'. Well done to the cast and crew, I have seen this show a few times and loved your production! Keep up the good work, you all deserve every success!

anyone out there who has seen the show and would like to give any more reviews, rather than continuing with petty drivel?

(just as long as your reviews are positive :p)

As I hadn't seen the show before, I came in with a relatively blank slate (having said that I am very familiar with most of the songs and had a general idea of the synopsis). I am well aware that there is a great divide between those who love Les Mis, and those who can't stand it. For me, I wouldn't go as far as to say I couldn't stand it, but at nearly 3 and a half hours including interval, it was a struggle to sit through, though this is not a slight against the cast, orchestra and crew who battled on through what must have been a very challenging undertaking, so kudos to them. I am therefore only really inclined to review this show based on the quality of the production on the whole. I do apologise in advance for my refusal to purchase one of the glossy $10 programmes, it seemed a bit pointless as my only real reason for doing so would have been to have access to the cast list! But I will do the best I can. There really are some lovely songs in Les Mis, and these to me were the real highlights of the show. There were some very strong moments amongst the forgettable ones. I will admit to getting goosebumps at certain moments. The finale song, in particular, was very stirring. If anyone is particularly interested in the talents of the performers, this production is a great showcase. I appreciated seeing a few new faces that I haven't seen on the Perth theatre circuit before, and no doubt that we will be seeing more from them in the future. It is also a pleasure to see some of Perth's more seasoned performers, namely Ian Toyne in the role of Jean Valjean. As an ensemble, I thought all the voices blended very well - the harmonies were great. And believe it or not, there were minimal mic problems (though I think those who were naturally louder needed to either tone it down a bit or have the volume of their mics taken down so as not to be too overpowering.) I felt that the ensemble were just a touch too quiet without mics and needed to project more, I'm not sure if this is to do with the acoustics of the Regal. The cast's diction was excellent. They really spat those words out, and made an effort to pronounce all the consonants. This is so important for a show that doesn't contain regular spoken dialogue and so much rests on the singing. And more importantly, they ACTED out their parts. I was very drawn to the activity that was going on amongst the ensemble, it was nice to see how everyone seemed to have established their own character, and were very absorbed in their stage business, which was quite amusing at times. Standouts - Ian Toyne was obviously a highlight in the lead role. He has a lovely richness and resonance to his voice, and a strong grasp of the character. I was particularly touched by the early scenes with Jean Valjean and the very angelic sounding young Cosette, I felt there was a great conviction in his portrayal of Jean Valjean as a father figure to her. I was only a little concerned that he may have been really pushing to sustain those high notes in "Bring him home", which is evidently more suited to a tenor with a stronger upper register, but I admired that he managed to stay on pitch. Casey Edwards' Fantine was also a definite highlight for me, though as anyone who is familiar with Les Mis would know, not nearly enough time on stage! Her voice sounded so beautiful and truly did justice to the showstopper "I dreamed a dream" – forget about Susan Boyle (no offence). I also enjoyed the talents of supporting roles such as Tim Campbell (who I think played Enjolras?), Ben Doncon as Marius, not to mention the talents of Eponine, who really belted out "On my Own". Madame and Monsieur Thenardier were also an amusing pair, very over the top (in the right way) with great character voices. The young boy who played Gavroche is also a promising performer, and I was impressed by his confidence throughout the show… he seemed to attract a lot of chuckles from the audience. The actress who played grownup Cosette was very fitting as the ingénue, with a lovely soprano voice that will likely improve as it develops; there was a very high note which she just managed to scrape up to towards the end. There were a couple of pitching problems in the solos, more notably with Javert, who seemed to be straining a little. However, his voice was powerful and loud, which seemed very fitting to the character when matched with Toyne’s own equally powerful voice. I thought the sets were appropriately simplistic to allow for the quick scene changes – there were plenty of them! - and there was a good momentum with this, which was just as well. It looked quite effective having the formation of rectangular wooden planks (or "blades" as I'm informed they're called) hanging from the ceiling to form different parts of the set, and being positioned accordingly for each scene, eg. an illuminated crucifix was projected onto it for the church scenes. I also particularly liked the stars that lit up on the blades during Javert's song "Stars". I gather the backstage crew had quite a task in constantly having to move the blades around at each frequent cue. The lighting issue which has been raised was something which I sadly am compelled to agree with. The ambience that was created by all the different lighting affects was very well suited to the mood of the show, but a gentle spot could have been used to highlight individual performers. It would have made a big difference. I could see that many were trying to give emotional, impassioned performances, but the lighting seemed to limit my view of this from where I was sitting. There may have been moments in which I felt the some of the cast lacked energy. This was not a consistent problem, but often the ensemble seemed less than confident in themselves. It is hard to tell, as I don't know if this was simply an effect of the performance being so predominantly in shadows to the point that I couldn't see their faces properly. The costumes, as I observed, were wonderful. With a decent sized cast to dress up, the costume department outdid themselves, giving a very professional look to the production and authenticity to the era. And finally – I must commend the orchestra, and the conductor keeping it all together for so long. There really was some lovely sounds coming out of the pit; I believe the guitar or harp or similar stringed instrument was responsible for some of these lovely sounds that I heard. Not to mention the strength of the woodwinds and brass, which were probably the most featured instruments. All in all, as far as recommending the show, all I can say is Les Mis may or may not be for you. It is intense, long and sometimes hard to follow. Its success rests on all the usual elements that make up a good show, but you can only do so much with what you have in the script. Yes, there are moments of extreme melodrama, and let's just say it's not the most upbeat of musicals. C’est l’histoire du miserables, after all. But I can guarantee that worthy efforts have been made to do it justice, and certainly not half-hearted by any means. This semi-pro production was of a reasonably professional standard, and the nearly full house audience were clearly pleased. And in the name of a charity, that is a far from miserable outcome.

The young boy who played Gavroche in Friday nights performance was Sam Tye.