As an NSTA representative, I had the absolute joy of watching The Gilberd School’s Les Misérables performed on 14th February 2026. The show was ably directed by Carly Howard and Joshua Betteridge, choreography by Carly Howard, with musical direction by Ryan Hanlon. Taking on an exceptionally complex score with assurance and apparent ease, this production was the embodiment of excellence in school theatre.
Les Misérables is a timeless, mature, and complex work based on the 1862 novel by Victor Hugo. Since opening in the West End in 1985 and Broadway transfer in 1987, the production has become a firm favourite with musical theatre audiences, earning eight Tony Awards, including Best Musical, Best Original Score and Best Book of a Musical.
It tells multiple stories of characters battling to survive during the political upheaval of nineteenth-century France. Primarily, the narrative follows Jean Valjean as he attempts to escape his past as a convict; his former gaoler, Javert, as he pursues him; the heartbroken and isolated Fantine; the hopelessly in love pairing of Cosette and Marius; the plucky Éponine, who pines for a man who will never love her; and the courageous revolutionaries led by Enjolras. It is a story of hope, salvation, and the power of love in the most tumultuous of times.
The dramatic staging and excellent positioning of the band were the first elements that caught my eye at the opening of the show. The powerful opening of ‘Look Down’ was immediately arresting for the audience and was supported by excellent lighting choices. From their first entrance, the ensemble demonstrated depth and precision in their singing, alongside excellent posture, strong acting through song, and clear projection. The skill required to manage such a large cast should not be underestimated. There was real talent throughout the company, from the youngest to the oldest pupils on stage.
Les Misérables is a complex and challenging show even for a professional company, so in a school setting the standard of the lead performers was remarkable. The opening duet between Valjean and Javert was delivered with power and control, and was nothing short of sensational from Felix and Noah, whose vocal delivery sounded far beyond their years. Felix’s Valjean was assured, nuanced, and vocally impressive throughout, with a particular highlight in ‘Who Am I’, which was engagingly delivered with real vocal flexibility. Noah’s portrayal of Javert had poise, strength, and authority, with a voice full of gravitas and accuracy throughout. ‘Stars’ was especially beautifully performed.
Emily displayed outstanding vocal control in ‘I Dreamed a Dream’ and was entirely convincing as Fantine. Lilah, as Young Cosette, embodied the innocence of her character. Tilly’s Madame Thénardier was delightfully malicious, while Kobe’s Thénardier was marked by excellent comic timing, strong stage presence, and boundless energy. Angus presented a cheeky, endearing, and confident Gavroche. Harry demonstrated real vocal ability in the famously challenging tenor role of Enjolras while commanding the stage effectively. Ginevre’s Éponine was a standout, with excellent vocal placement and accuracy throughout, and ‘On My Own’ was a masterclass in acting through song. Hugh’s portrayal of Marius was nuanced and vocally accomplished, particularly in ‘Empty Chairs at Empty Tables’. Precious also shone as Cosette, and she delivered a beautifully rounded soprano in ‘In My Life’, showing a genuine connection with her fellow performers that was a joy to watch.
One of the real strengths of this production was the exceptional standard of the ensemble throughout. I was completely engrossed during ‘At the End of the Day’, which featured brilliantly delivered solo lines alongside clear and well-rehearsed harmonies. The entire company reacted with authenticity and full commitment whenever they were on stage. Notable performances included Lex’s thoughtful portrayal of the Bishop of Digne, delivered with clarity of tone, and Noah’s beautifully realised Grantaire, particularly in his moving performance of ‘Drink with Me’.
In coeducational schools, it can sometimes be a challenge to achieve strength and balance across the ensemble, but this production was a clear exception. It was a delight to see such a wide range of ages and genders represented so effectively, and the male choral sound in particular was especially impressive.
The choreography by Carly Howard was well judged and effective throughout, adding greatly to the staging. Considerable care had been taken with both staging and set design, with the barricades serving as a particular highlight due to their impact and effectiveness. The lighting design by Simon Deacon, Bradley Rabett and Mark Rassell added significantly to the production, with the battle scenes feeling frantic and perilous through clever use of effects.
The musical direction by Ryan Hanlon – assisted by Vicky Chamberlain and Kaira Botha – was outstanding. The orchestra plays continuously in Les Misérables, and it is no small feat to lead this, made all the more impressive by Ryan Hanlon’s success conducting from the keyboard. A great deal of attention had clearly been given to vocal training, and the musical directors deserve high praise for the overall standard of singing throughout.. This production of Les Misérables was far from a typical school performance. It was immersive, thoughtful, and nuanced, serving as a fitting showcase for the extraordinary talents of the cast, creative team, and technical crew. The Gilberd School has managed to take one of the most demanding scores in the musical theatre canon and deliver it with a level of maturity and vocal prowess that would be the envy of many professional touring companies.