I HAVE been reviewing the town’s art scene for almost 30 years and can honestly say that I have seen nothing better in that time than Ariel’s productions of Les Miserables.
Their ‘young actors’ school edition was back for a third outing at Chequer Mead this week and so were many of the audience.
Like me, they had been brought to their feet by Ariel’s previous productions and were eager for a reprise.
And we were not disappointed.

For a school edition production the cast must by under 20 and in full-time education, but the mature and nuanced performances of Ariel’s youthful cast made age irrelevant – they were simply astonishingly good.
Tom Ball played Jean Valjean’s transformation from embittered convict to a man of saintly goodness with tender humanity, and the lovely timbre of his voice was particularly touching in the prayerful Bring Him Home.
Olly Hopkins was a marvellous and implacable Javert, a man incapable of understanding the difference between the law and justice. And in the powerful suicide scene when Javert is overwhelmed to realise Valjean is, after all, the better man, Olly deservedly brought the audience to their feet.
Bethany Elliott’s Fantine was also a wonderful performance.
Her voice, which has always been powerful, has matured beautifully, and as the abandoned mother-turned-prostitute, Beth’s performance was both nuanced and touching.
I Dreamed a Dream was a heartrending paean of angry pain, while the tenderness of Fantine’s death scene was one of the evening’s many emotional highlights.
So the comic interludes provided by the villainous Thenardiers came as a relief.
Peter Heppell as the ghastly innkeeper and Megan Roberts as his wife were terrific and their bawdy double act earned them well-deserved applause whenever they popped up.
Tara Lucas, who has her sights set on a career in musical theatre, was simply beautiful as Cosette. Tiny in stature, and sweet of face, her lovely soprano voice soared effortlessly through the demanding score.
Conor Paterson was a handsome and accomplished Marius, and in Empty Chairs at Empty Tables his performance went straight to the heart of Hugo’s dark fable.
Emily Nott as Eponine put in a stunning performance, and On My Own rightly earned her tumultuous applause from the first night audience, as did her death in the arms of Marius.
Plaudits too for the younger members of this outstanding cast.
Harvey Thorne was terrific as the cheeky streetwise Gaveroche and if he doesn’t play the Artful Dodger at some stage in his career, I will be astonished. And Nicole Clements was delightful as Little Cosette.
The show was well-served by its large cast of ‘lovely ladies’ and doomed youths, particularly Will Carey as idealistic Enjolras and Jarrod Hopson as drunken, cynical Grantiere.
An inspiring and uplifting evening’s entertainment – and one which I suspect will have its many fans looking forward to more weeping in the dark next time around.