REVIEW: BMOS presents Les Misérables

© BMOS

The crown jewel of musicals – Les Misérables – arrives in Birmingham in a spectacular production which touches upon the themes of freedom, acceptance and redemption. 

BMOS presents Les Misérables is now playing at The Alexandra Theatre.

Cameron Mackintosh’s legendary show may be based on a French novel written in 1862 yet the revolutionary themes of Victor Hugo’s searing book speak to a 21st century audience.

This Birmingham and Midland Operatic Society (BMOS) production of Les Misérables has been put together by special arrangement with Cameron Mackintosh and Music Theatre International as part of the 40th anniversary celebrations of this landmark musical which will see over 10 community “Let the People Sing” productions of the show being performed across the country.

The stupendous quality of this show – both in terms of production values and performances – ranks it as one of the very nights at the theatre in 2025.

BMOS in collaboration with Bilston Operatic Society, Bournville Musical Theatre Company and West Bromwich Operatic Society unveil a magnificent UK amateur premiere of Boublil and Schönberg’s timeless musical which continues to thrill and speak to audiences.

The startling similarities between the musical’s themes and the current poor and unsettled state of the world are uncanny.

Homelessness, child poverty, unemployment, the vast chasm between the ruling class and the working class, lack of access to food and water, injustice, political corruption, the exploitation of workers, intolerance, the mistreatment of women, misinformation and lies peddled as truth, and the descent into paranoia and suspicion as communities  – including migrants and ethnic minorities – are placed under scrutiny and blamed for every evil under the sun, all of these themes are explored in a profoundly moving manner in this sociologically topical and psychologically powerful show.

The mirror being held up by novelist Victor Hugo, and by the show’s composer Claude-Michel Schönberg and lyricist Alain Boublil, makes the audience realise that, despite the passing of more than a century, our world looks fairly similar in terms of severe social injustice and desperate destitution as that inhabited by the characters of Les Misérables.

The English version of the musical Les Misérables, which premiered in 1985, is one of the longest-running shows in West End theatre history, and it continues to engage and thrill audiences to the present day as evidenced in Birmingham where the curtain rose on an exciting new amateur production.

Birmingham Opera Society (formed in 1886) and the Midland Opera Society (formed in 1916) merged together and been entertaining audiences for over a century. BMOS, which performs twice a year at The Alexandra Theatre, first performed upon The Alexandra’s stage way back in 1923. After last year’s sparkling and joyful Charlie and the Chocolate Factory, BMOS returns to The Alexandra stage with Les Misérables which showcases the company at the height of its powers.

This BMOS production uses every inch of the stage to amaze the audience with a show that brims with romance, excitement, suspense and spectacular song and dance numbers.

The sheer scope and magnitude of this show has to be seen to be truly believed. The costumes, props, staging, and huge cast and crew – including live music from The Midland Concert Orchestra under the direction of Phil Johnson – are on an epic scale.

This is a night at the theatre where no cost or detail has been spared to translate the show to a 21st century audience that demands top quality entertainment.

The dramatic show tells the story of an innocent man named Jean Valjean who is unjustly sentenced to hard labour in prison for stealing a loaf of bread to feed a starving child. Almost 20 years later the grizzled and embittered Valjean is granted parole but when he breaks the terms of his release Valjean is pursued doggedly by a police officer named Javert.

In a remarkable scene where Valjean steals some silverware from a Bishop who has sheltered and fed him, he’s apprehended by police officers and dragged back to the church where instead of condemning him the Bishop takes pity on Valjean and tells the officers that the valuable items were not stolen but given as a gift and he adds further silverware into Valjean’s knapsack. The kindly Bishop gently confides to Valjean that he has bought his soul for God and prays that he will travel upon the road of redemption, compassion, and love.

Valjean’s journey – which requires him to make huge personal sacrifices – becomes the thread which links various characters throughout the epic narrative of this vast and sprawling tale. The spirit of freedom and revolution pulses at the heart of Les Misérables. The world depicted by Hugo is mired and sinking in the filth of lies, vice, avarice, elitism, misogyny, division, and hatred.

The power of any show is the ability of the material to connect emotionally and philosophically with the audience, and this show does that with scenes of such emotive power that members of the audience were visibly moved by the electrifying drama taking place on the stage.

The scale of this musical requires a cast with immense stamina – the show clocks in at almost 3 hours – and the performers need to be able to sing, dance and act for long sections without much in the way of a breather.

The talented cast in this production rose to the challenge and performed as if their very lives depended on it.

Wil Neale was mesmerising as Jean Valjean, a man torn by honour and love. Neale’s voice carries the emotional weight of the sacrifices he has made over the years as he tackles the trials and tribulations thrown at him from all sides. His vocal range was coloured with the pain felt by Valjean. Neale’s distinctive characterisation doesn’t just end with his vocal performance, he adds to it with incredible acting skills. When Neale took his bow at the end the audience clapped with such appreciation and passion that the floor of the theatre shook.

Valjean’s nemesis Javert was performed by Robbie Love who effortlessly conveys the menace simmering in his tortured and tormented soul as he relentlessly and remorselessly hunts and searches for Valjean across the years. Love received plenty of well intentioned hisses and boos for his role as the baddie when he received his much deserved applause at curtain call.

The treacherous roles of Monsieur and Madame Thénardier were performed by Tim Jones and Sophie Grogan. Both of them brought a bright-eyed vaudevillian mischievousness and villainy to their roles. Their comic timing was in perfect synchronicity with each other and the rest of the cast, including the children.

And talking of children, let us just take a moment and commend the jaw-dropping and magical nuance they brought to their roles. These fiery and passionate youngsters stood toe-to-toe with the adults and delivered what can only be described as professional and seasoned performances. These children – just as the ones who inhabit the pages of Hugo’s classic novel – are the light and hope of a future where the world is a more charitable, merciful and kinder place.

Florence Hickman (Young Éponine), Polly Lewis-Gvozdenović (Little Cosette), and Gavroche (Jaron Lewis-Haynes) are destined to become stars of stage and screen if they continue along this career path. The rapture and standing ovation they received at the end of the show was absolutely thunderous and joyous.

The heartbreaking character of Fantine was brought to life by Annabel Pilcher who invested a haunting fragility to her role. Pilcher was incredible in each of her harrowing and gut-wrenching scenes which demanded physicality and intense emotion. She brought an operatic depth to her melancholy.

Beth Dickson transmitted the unrequited and lovelorn Éponine with such grace and beauty that members of the audience were weeping in the aisles. Dickson’s melancholic voice brought a solemn hush to The Alexandra’s auditorium.

The two lovers – dainty Cosette and the revolutionary Marius – are sung and acted by Ismay Dudzinski-Grubb and Luke Griffiths who share a lovely chemistry. Dudzinski-Grubb brings passion and strength to the role while Griffiths is fuelled by the fire of freedom and love as he rouses the citizens to stand up against tyranny and injustice.

The sumptuous costumes and evocative set designs are absolutely astonishing and entice the imaginations of the audience to engage and be drawn into the world being crafted on the stage. The depth of field in some of the scenes really grabs the senses and gives the illusion of being sucked into the space inhabited by Hugo’s characters. Smoke, sound, lighting, and movement are executed with cinematic clarity.

The direction by Stephen Duckham is tight and crisp, with scenes moving along with energy and gusto. There isn’t a single moment of boredom. This show crackles with excitement.

As our world spirals towards darkness and uncertainty, this intelligent and gripping musical offers us the glimpse of hope and a new dawn.

The music of Les Misérables resonates with our polarised times, and the songs and melodies inspire the human spirit to rise above the darkness and pain of the world.

This sensational show heated up the audience with thought-provoking drama and spellbinding songs that had everyone up on their feet at the climax as the curtain came down and the lights came on.

Verdict: ★★★★★

BMOS presents Les Misérables is now playing at The Alexandra Theatre in Birmingham until Saturday 14th June