As NSTA representative, I had the great pleasure of attending the Sherborne School production of Les Misérables on Saturday 6th December 2025. It is always ambitious when a school chooses to stage Les Misérables, but the Sherborne Schools Group rose to the challenge with confidence and success. Under Alastair Kirby’s assured direction, pupils from Sherborne Boys, Sherborne Girls and Sherborne Prep were seamlessly united to recreate revolutionary Paris. Dan Marks’ musical direction sustained the drama wonderfully, with the 16-piece band rarely taking rest, heightening tension and momentum throughout. Jodie Glover and Lily Potter played vital roles as Choreographer and Assistant Director, supporting Mr Kirby’s vision and uniting performers from across the schools.
Les Misérables is a musical masterpiece, adapted from Victor Hugo’s novel and set against the turbulent backdrop of 19th-century France. Since opening in the West End in 1985, the production has become a firm favourite with UK theatregoers, winning the Olivier Award for Best Actress for Patti LuPone’s iconic portrayal of Fantine. Its Broadway transfer in 1987 further cemented its legendary status, earning eight Tony Awards, including Best Musical, Best Original Score and Best Book of a Musical. At its heart lies the epic journey of Jean Valjean, whose transformation from hardened convict to respected citizen is shadowed by his relentless pursuit by Javert, a man convinced that no one can ever truly escape their past.
Staged in one of the school’s Great Halls, surrounded by generations of names etched into its walls, the sense of heritage and occasion was immediate. The prologue saw convicts move through the audience, placing us among the oppressed, before Forest (Valjean) and Jonah (Javert) established a compelling rivalry that anchored the production. Oliver’s Bishop of Digne was a standout performance, offering Valjean the mercy that reshapes his life.
The ensemble came into their own with a powerful rendition of “At the End of the Day”, bursting with energy and expertly balanced across the varied vocal ranges of the three schools. Fantine’s tragic arc followed, Coco’s rendition of “I Dreamed a Dream” was delivered with sensitivity and emotional clarity, charting her descent through exploitation and loss. The sharp tonal shift of “Lovely Ladies” was slickly choreographed, briefly unsettling the audience before Fantine’s inevitable death returned the focus to suffering and injustice.
The arrival of the Thénardiers brought much-needed dark humour. Siena and Nenad formed a deliciously slimy double act, sinister yet entertaining, drawing strong audience reactions. The ensemble supported them with raucous energy, while the orchestra’s stamina remained striking; this was a score played with relentless commitment.
Act One built to a memorable close. Jonah’s commanding performance of “Stars” was a clear highlight, greeted with rapturous applause. Jonah is an excellent performer, with a strong voice and stage presence. The introduction of the ABC students launched the audience into the revolutionary heart of the story, from “The ABC Café” to the thrilling “One Day More”. Hector’s Enjolras and Charlie’s Marius were impressive here, while Esme’s Eponine brought warmth and vulnerability. Her unrequited love contrasted beautifully with the blossoming romance between Marius and Cosette, portrayed tenderly by Charlie and Jane in “A Heart Full of Love”. The act ended with a striking tableau of rebellion, enhanced by effective lighting and the bold use of the tricolore on the cyclorama.
Act Two sustained the production’s emotional intensity. Esme’s rendition of “On My Own” was exquisitely controlled and deeply affecting, balancing vocal precision with genuine emotional truth. This was not merely a beautifully sung number, but a fully realised piece of storytelling and a stunning example of acting through song effectively.
The barricade scenes were powerfully realised through smoke, gunshots and flashing lights, expertly underscored by the orchestra. Moments of tenderness followed in “Drink with Me” and Forest’s moving “Bring Him Home”, showcasing stunning vocal restraint and emotional depth.
The final scenes were handled with care. Charlie’s rendition of “Empty Chairs at Empty Tables” was truly haunting, leading into a gently harmonised trio with Jane and Forest in “Every Day / A Heart Full of Love”. Valjean’s final prayer brought Fantine and Eponine back as guiding spirits, joined by the fallen of the barricade and the hushed ensemble epilogue, creating a sense of calm resolution. With the final note, the production closed to a well-deserved full standing ovation.
This was an impressive production and a testament to the depth of talent across the Sherborne Schools Group. From the assured central performances to the strength of the ensemble work, the company demonstrated a clear commitment to storytelling, musical precision and emotional integrity. Supported by thoughtful direction, effective design and a powerful score delivered by a talented orchestra, the production captured both the epic scale and the human heart of Les Misérables. The audience response reflected the impact of the evening, which stood as a moving and memorable achievement for all involved.
National School Theatre Awards
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