BECAUSE the word amateur is often used in a derogatory manner, many people, including those involved, shy away from it when referring to local non-professional productions.
Decidedly not of that number are Sir Cameron Mackintosh and his Music Theatre International company. Sean Grey, managing director of MTI, described amateur theatre in these words, “Here at MTI we cherish amateur theatre companies. They nurture and develop talent in a unique and invaluable way.”
Prepared to back up those words with deeds, Cameron Mackintosh decided to release the jewel in his theatrical crown, Les Misérables, to 11 venues throughout the UK where, backed by MTI, a local company would draw together all the talent in the area for a full-scale production to celebrate the 40th anniversary of Les Misérables.
BLOC Productions (Bristol Light Opera Club), which has staged productions at Bristol Hippodrome since 1956, was chosen to lead the project, and, supported by Bristol Amateur Operatic Society, Bristol Musical Comedy Club, Bath Operatic and Dramatic Society and Weston Operatic Society, held open auditions for all the amateur groups in the west country. The result would have been a surprise to those Doubting Thomases who believed that amateur theatre was struggling to exist in a modern world – more than 700 people auditioned to take part in the production.
Not only were the numbers high, but so was the quality of singing and acting demonstrated to co-directors Alex Tarasiewicz and David Baxter and their selection panel, and although the nine principle roles, plus two juvenile roles, were double-cast, a great many talented performers were left disappointed. Many of those who still wanted to be part of this unique theatrical experience joined the 50-plus ensemble and an equal number provided live offstage vocal backing.
It was a toss up as to who was most excited on opening night – the players or the audience, who roared their approval after virtually every number.
Because the word “opera” discourages some people, Les Misérables is described as a sung-through musical , and while the co-directors and splendid lighting and staging teams were making such a fine job of visually telling Victor Hugo’s epic tale, musical director Brendan Casey matched them all the way, in complete control of Claude-Michel Schonberg’s wonderfully emotive and descriptive score. Under Brendan’s baton, the orchestra provided strong, sensitive support to soloists and chorus alike.
Sir John Gielgud said that one great advantage that amateur actors had over professionals was that they could tear themselves apart delving to the bottom of a character knowing that after a few nights they would return to normal life, a professional could not allow themselves the same emotional luxury knowing they might be still playing the same role in a twelve months time.
On opening night David Bryan, Luke Whitchurch, Dani Copperstone, Leo Sermulins, Anna Townhill, Zoe Farrow, Ryan McKenzie, Emma Griffiths, Dominic Callaghan, Belle Barker and Finlay Blackman, took no prisoners as they flung themselves emotionally and vocally into bringing Jean Valjean, Javert, Fantine, Marius, Cosette, Eponine, Thenardier, Madame Thenardier, Enjolras, Young Cosette and Gavroche, vividly to life. And there were 11 excited performers, waiting like greyhounds in the slips to display their vocal and dramatic talents in the same roles on alternate nights.
Any future touring company that comes this way with a production of Les Misérables will not get away with skimpy numbers in the chorus or lack of commitment amongst the principles while Bristol Hippodrome audiences have this full-blooded, highly emotionally charged production etched in their memories.
GRP