As an NSTA representative, it was a privilege to watch the joint production of Les Misérables by Hampton School and Lady Eleanor Holles, performed on 15th October 2025 at The Hammond Theatre. Staged in the 40th anniversary month of this legendary musical, the company tackled this epic score with commendable dedication. Under the direction of Mrs Jones, with musical direction by Mr Roland, this production leaned heavily into atmospheric storytelling and sophisticated staging, creating a visceral experience that captured the revolutionary spirit of 19th-century France.
Based on Victor Hugo’s 1862 novel, Les Misérables is a sung-through musical set in 19th-century France. It follows Jean Valjean, an ex-convict seeking redemption while being pursued by the relentless Inspector Javert. As Valjean adopts a new identity, his journey intersects with a student-led uprising in Paris, where young idealists fight for justice at the barricades. The original West End production famously won an Olivier Award for Patti LuPone in the role of Fantine, while the original Broadway run secured eight Tony Awards.
The production elements were excellently executed. Performed on a proscenium stage with moveable set pieces, the barricade was a formidable construction that wheeled in across the width of the stage, supported by atmospheric lighting and sound effects during the final attack on the barricade. The team behind the set and props – Xavier, Sasha, and Ollie – should be highly commended. Costumes and wigs by Annabel fully immersed the audience in 19th-century France, from the captivating, bold colours of the “Lovely Ladies” to the understated celebration of the “Wedding Chorale”.
The production opened with a striking “Prologue”. The chain-gang chorus, linked in unison, worked under a superb lighting plot designed by Mr Thompson and operated by pupils Teddy and Eddie. The use of sharp, directional beams cutting across the lighting to create latticework – reminiscent of light through prison bars – created an immediate sense of incarceration. This effect was a masterstroke, establishing the grim reality of the “Work Song” before introducing the central conflict between Arun’s Javert and Nathaniel’s Valjean.
In the title role, Nathaniel portrayed Valjean with a gentle, forgiving nature that grounded the character’s journey. His “Who Am I?” was a dramatic highlight, effectively conveying the internal struggle of the Mayor’s identity, culminating in a powerful, belted “24601”. His rendition of “Bring Him Home” was a sensitive moment; sitting in a wash of cold blue light on the barricade, he concluded with a wonderfully held high, soft, and sustained note that held the audience in rapt silence. Opposite him, Arun’s Javert was a model of regimented discipline. He maintained a stiff, unwavering physicality that perfectly embodied the Inspector’s immovability. His “Stars” was delivered with poise, and the staging of “Javert’s Suicide” – a dramatic backward fall from a set-piece bridge as the lights faded to black – was a dramatic triumph.
There were further exceptional performances from the rest of the principal cast too. Anni’s Fantine was a study in controlled sorrow, capturing the audience’s attention through the stillness of her performance in “I Dreamed a Dream”. Her “Death” scene alongside Nathaniel was a truly spine-tingling duet where her emotional range really shone.
Devan’s Marius was excellent, utilising a subtle vocal quiver that perfectly suited the character’s emotional vulnerability. His “Empty Chairs at Empty Tables” was a poignant showcase of dynamic range, shifting from hushed deep notes to resonant swells as the ghosts of his fallen comrades appeared and vanished in the shadows behind him. Tharuni provided a sophisticated Cosette, with a crystalline soprano that navigated the complex trills of “In My Life” with ease. Bria’s Éponine was, quite simply, a stunning performance. Possessing a rich, tonal quality perfectly suited to the role, she owned the stage during “On My Own”. Her ability to inject an emotive “break” into her voice during the most poignant moments showed a maturity and vocal prowess beyond her years. “Little Fall of Rain” was heartbreaking, featuring a beautifully controlled diminuendo on her closing lines. Ryan’s Enjolras provided the necessary revolutionary fire, encapsulating the impassioned student leader with impressive vocal stamina and anchoring “One Day More” with rousing authority. The trio of Bria, Devan, and Tharuni in “A Heart Full of Love” was truly “goose-pimple making”, and this was mirrored later in the “Every Day / A Heart Full of Love (Reprise)” with Nathaniel.
In stark contrast, the comedy and cruelty of the Thénardiers were brilliantly captured by Hayden and Leila. Leila’s Madame Thénardier was effectively sarcastic, providing a sharp contrast to the sweetness of Amie’s Young Cosette, who delivered “Castle on a Cloud” with lovely youthful innocence. Hayden played Thénardier with charisma and confident vocals; together with the large, milling chorus, the Thernadiers made “Master of the House” feel like an authentic, rambunctious inn scene. Their “Bargain” and “Beggars at the Feast” were equally delightful, punctuated by a characterful skip off-stage after the former.
The truly impressive element of this production was the sheer amount of talent available, allowing the schools to cast outstanding performers in supporting roles. Charlie’s Gavroche brought the necessary cheekiness to “Little People”, while Monty’s Grantaire added impassioned support to the ABC Café scenes with great gusto. Samuel’s Bishop of Digne displayed excellent characterisation and a kindly, strong vocal. Filip as the Foreman captured the character’s cruelty with a well-developed accent, and Maryam’s Pimp was comically delivered and perfectly pitched.
The ensemble served as the production’s heartbeat, providing a vibrant and textured backdrop for the principal cast. The entire chorus demonstrated impressive focus, with every member fully in character at all times. Scenes marking a new time and place often placed the ensemble at the downstage edge, singing directly into the auditorium from stage black. This provided a powerful visual and vocal intimacy, particularly during “At the End of the Day”. “One Day More” closed the first act spectacularly, a truly show-stopping moment. “Drink With Me” was a touching moment in the second act, showcasing some stunning ensemble vocal performances, the girls’ echoes layering beautifully with the voices of the students’ chorus. “Turning” was delicately harmonised, with beautiful solos by Dhruvi, Rachel, Zuri and Olivia. As the ensemble united for the final “Do You Hear the People Sing (Reprise)”, the sense of camaraderie was palpable.
The care and passion that had gone into this production was clear from the quality of the recitative numbers, showing that pupils had put the same attention into these moments as they had their featured songs. Marius and Éponine’s performance in “The Attack on Rue Plumet”, for example, was every bit as wonderful as “On My Own” and “Empty Chairs at Empty Tables”.Hampton School and Lady Eleanor Holles created a production that was a visually stunning and emotionally resonant tribute to a theatrical classic. The standing ovation this cast received was certainly well deserved. It is no mean feat to put on a production of Les Misérables, but these two schools have created a show that was truly unforgettable.