One might reasonably argue that Les Misérables is an ambitious choice for any company, let alone a school production. With its vast scale, moral seriousness, and unrelenting emotional demands, it is not a musical that forgives half-measures. Yet ambition, it seems, is not something AKS Lytham is inclined to shy away from.
Victor Hugo’s epic tale of redemption, justice, and moral conflict remains as resonant now as it was nearly two centuries ago. Set against the turbulence of post-revolutionary France, it charts the journey of Jean Valjean, an ex-convict striving to live a life defined by compassion rather than punishment, while being relentlessly pursued by Javert, a man whose faith in the law allows no room for mercy. It is a story that demands clarity of purpose and emotional honesty, both of which were evident throughout this School Edition.
From the opening moments of the Prologue, the audience was immersed in a world defined by hardship and inequality. 'At the End of the Day' established the tone with admirable restraint, favouring physical discipline and ensemble cohesion over melodrama. This approach paid dividends, grounding the production in authenticity and allowing the emotional weight of the story to unfold naturally.
The staging was both effective and intelligent. Scenes transitioned seamlessly from the brutality of the chain gang to the bleakness of factory life, from the chaotic excess of the Thénardiers’ inn to the stark, improvised barricades of revolutionary Paris. The design was simple but purposeful, serving as a constant visual reminder of struggle, resilience, and hope.
Most striking was the sheer scale of commitment underpinning the production. As Producer and Director Martha Worthington has noted, Les Misérables is not merely a musical, but a statement about unity, endurance, and the strength of the human spirit. These values were reflected in the dedication of the 58-strong cast, who collectively devoted over 300 hours of rehearsal to the production, an effort that showed in every scene.
Lila N shone in the first part of Act 1. Her portrayal of Fantine was immediately affecting and she conveyed sorrow with conviction, making her character entirely believable. Despite the emotional weight in her singing, the performance was never reduced to mere tears. Her musicality remained clear, allowing both vulnerability and technique to coexist, a challenging feat delivered.
Henry C’s Jean Valjean was compelling from the very first scene, immediately establishing the emotional and moral centre of the production. A seasoned contributor to AKS productions, Henry’s maturity and sensitivity were evident throughout, and his portrayal stood as a testament to discipline and experience.
Equally compelling was Johnnie R as Javert. It was hard to watch him fall. A character hated throughout, yet suddenly we understand him. Johnnie made it effortless to feel the pain, the hurt, and the inner conflict, capturing the devastating human complexity at the heart of Javert’s downfall. A difficult personality to encompass, yet Johnny was able to do so with remarkable maturity.
Eponine’s arc was one of the production’s most affecting elements. Jen R’s On My Own was delivered with quiet sincerity, emphasising her underdog quality and unrequited love. Her death on the barricade was emotionally powerful, the first of the key losses that grounded the audience in the narrative’s human cost.
Finlay L, grew increasingly commanding as the production progressed, his rendition of 'Empty Chairs at Empty Tables' particularly striking, evoking the emptiness and grief of the character with remarkable depth. Alongside Finlay, Maisie M in her first principal role as Cosette, was equally impressive. She suited the character flawlessly, and her voice was angelic, mirroring Cosette’s purity and gentle spirit.
Jacob B and Amelie C brought remarkable energy and irreverent humour to the Thénardiers. Their timing and chemistry were exceptional, and neither performance suggested the ages of the actors. Instead, they projected the fully realised, grotesque comic energy of the characters in a way that consistently drew attention and elicited laughter, providing a welcome contrast to the show’s more sombre moments.
Jacob H, making his debut at AKS, delivered an impressive performance as Enjolras. His portrayal reflected the strength and conviction of the character, with a presence and intensity that exceeded expectations for a newcomer. In leading the barricade scenes, he conveyed both the courage and determination of Enjolras, a testament to his own emerging talent and promising future at the school.
The youngest members of the principal cast Maisie F (Young Cosette), Elena B(Gavroche, Young Eponine) Matilda M (Gavroche, Young Eponine), should be commended for demonstrating remarkable professionalism, contributing confidently throughout. Though small, their roles left a lasting impression.
Equally notable was the work of the principal supporting cast. Though not always in leading roles, they were integral to the success of the production, providing essential depth and emotional resonance throughout. Their contribution to the barricade scenes was outstanding. The intensity, urgency, and unity they brought to these moments elevated the entire performance, creating a powerful sense of realism and collective struggle. This group’s commitment, versatility, and emotional investment were central to the show’s overall effectiveness, demonstrating that every role, large or small, played a vital part in bringing Les Misérables to life.
Ensemble work was a particular strength. Students aged between 11 and 18 performed with impressive unity, especially in large-scale numbers such as 'Do You Hear the People Sing?' and 'One Day More', which were delivered with confidence, energy, and a clear sense of collective purpose.
The final moments, in which Valjean dies, were the emotional pinnacle of the production. With Maisie M as Cosette and FinlayL as Mariusfully invested, the scene transcended narrative to become a profound display of live emotion. Sitting close to the stage, it was impossible not to be affected. Marius and Cosette’s tears were evident, their acting conveying raw grief, love, and loss, making the moment feel unbearably real. The audience’s response was evident. I found myself overwhelmed with emotion, and it was clear that I was not alone in feeling the intensity of that shared experience. It was a testament to the performers’ commitment and to Henry’s enduring control and sensitivity as Valjean that this scene resonated so powerfully, establishing the production’s emotional and moral heart.
Strong technical elements supported the storytelling. Lighting and set design established mood and place effectively, while costumes clearly defined character and historical context. A particular highlight was the live orchestra, led by Musical Director Chris Hodder, supported by, Adam Brown, David Hewitt and Ed Rugman whose precision and sensitivity added depth and momentum to the performance.
Ultimately, the success of Les Misérables lay not only in the sheer talent of the principal cast but in the clarity of vision and leadership behind the production. Martha Worthington, supported by Assistant Director Emily Hobbs, led a complex and demanding show with confidence and purpose, while Musical Directors Chris Hodder and Adam Brown, played a crucial role in shaping the performance’s musical precision and emotional depth. Talent alone cannot drive a production of this scale.it is vision, discipline, direction, and musical leadership that allow such skill to come together into a performance of genuine impact.
It is hard to believe that this is a school edition. The discipline, emotion, and sheer professionalism on display make the achievement all the more remarkable. What the audience witnessed was not merely a school production, but a testament to what can be accomplished when talent is matched with leadership, vision, and unwavering commitment.