LES MISERABLES (MUSICAL)

 

Music by Claude-Michel Schönberg, lyrics by Alain Boublil and Jean-Marc Natel

Book by Boublil and Schönberg

Based on the novel by Victor Hugo

Directed by Dale Rheynolds

Musical Director: Brigid Cummins

Conductor: Jen Hinton

Movement director: Belinda Hassall

Queanbeyan Players production

The Q, Queanbeyan to 6 June

 

 

Reviewed by Len Power 22 May 2026

 

The world-wide phenomenon that is the musical ‘Les Miserables’ is back! Queanbeyan Players have mounted a production that shows why this epic sung-through musical is so popular and admired.

Victor Hugo’s story, written in 1862, is set in early 19^th Century in France. Jean Valjean, who spent 19 years in prison for stealing a loaf of bread, breaks his parole and disappears. He strives to seek redemption over the following decades by living a blameless life and helping others while being pursued by an obsessive police inspector, Javert, who asserts that Valjean’s re-capture is a necessary ‘justice’. The characters are swept up in a revolutionary period where a group of young idealists attempt to overthrow the Government at a street barricade in Paris.

This production has been very well-directed by Dale Rheynolds. Particular attention has been given to ensure that each of the many characters are real people with emotions and motivations that we can relate to.

Dave Smith (Jean Valjean)

Outstanding in the cast is Dave Smith in the huge role of Jean Valjean, the ex-convict. Smith plays him with a moving strength and emotion that is always valid and believable. He owns this role with his performance and fine singing. His performances of the songs, ‘What Have I Done?’, ‘Who Am I?’ and ‘Bring Home Home’ are expertly sung.

Max Gambale, as Javert, the police inspector, gives an equally fine performance. Gambale uses his commanding presence and strong vocal gifts to give a truly threatening performance. His performance of ‘Stars’ and his final song in the show are two of the many highlights in this production.

Sophie Hope-White (Cosette) and Alexander Unikowski (Marius)

There are so many excellent performances in this show, all with strong characterizations and fine singing. Particularly memorable are Alexander Unikowski as Marius with his song, ‘Empty Chairs and Empty Tables’ and ‘A Heart Fall of Love’, his duet with a luminous Sophie Hope-White as Cosette, Jess Waterhouse as Fantine with a heart-breaking ‘I Dreamed A Dream’, India Cornwell’s touching Eponine with ‘On My Own’ and her death scene with Marius, Greg Sollis and Tina Robinson as the evil and oily Thenardiers with ‘Master Of the House’ and William Allington as the revolutionary Enjolras leading the rousing ‘One Day More’.

William Allington (Enjolras)

There are also fine performances, full of character, by Matilda Hutchison as the young Cosette, Hanna O’Keeffe as the young Eponine, Harlan Blazeski as the young Gavroche and Ricky Best as the Urchin. These roles demand a lot from young performers but all four shone in their roles.  They will alternate with other young performers in subsequent performances of the show.

The large chorus sang magnificently and displayed individual characterizations that added considerable depth to the show. The scenes involving movement were well-designed by choreographer, Belinda Hassall.

The musical direction by Brigid Cummins has prepared the cast very well for the huge amount of singing in the show. Conductor, Jen Hinton, and her orchestra performed the epic score superbly.

 The cleverly devised set was designed by David Abbie, the well-balanced sound design was by Telia Jansen and the lighting design was especially imaginatively designed by Zac Harvey.

 Costume designer, Helen McIntyre, and her large team produced the huge number of period costumes that suited all members of the cast.

This is a huge production involving many people onstage and off. Bringing it all together is director, Dale Rheynolds, who has done an excellent job recreating this much-loved story. It’s a long show, but highly rewarding, and Queanbeyan Players can be justly proud of this one.

 

Photos by Ben Appleton - Photox

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs.

 

VANYA AND SONIA AND MASHA AND SPIKE (PLAY)

 

Written by Christopher Durang

Directed by Steph Evans

Mockingbird Theatrics

Belconnen Arts Centre to 23 May

 

 

Reviewed by Len Power 15 May 2026

 

When playwright Christopher Durang decides to have some fun with the characters and themes of Anton Chekhov, his play, ‘Vanya, Sonia, Masha and Spike’, is the result. It’s wildly and outrageously funny but underneath all the exaggeration and absurdity, real characters emerge with their pains, hopes and disappointments of life. You don’t need to know anything about Chekhov’s plays to enjoy this, but it adds extra depth if you do.

It’s 2013 in Bucks County, Pennsylvania. Gay brother and adopted sister, Vanya and Sonia, live in a country house with a small orchard. They feel that life has passed them by. Their sister, Masha, a famous, ageing, yet troubled movie star, who owns the house, arrives with her young and handsome boyfriend, Spike. When Masha announces she wants to sell the house, Vanya and Sonia are plunged into turmoil about their future.  Spike begins to show interest in a pretty young neighbour and aspiring actress, Nina, upsetting Masha, and the housekeeper, Cassandra, adds to the drama with her dire warnings and prophesies of disaster.

Tracy Noble (Sonia), Helen McFarlane (Masha) and Chris Baldock (Vanya)

The cast of six – Chris Baldock (Vanya), Tracy Noble (Sonia), Helen McFarlane (Masha), Darcy Worthy (Spike), Lily Welling (Nina) and India Kazakoff (Cassandra) – give their characters real life while playing the humour for all its worth. There are many delicious moments to enjoy including the characters’ monologues, an awful play reading and a voodoo doll sequence. The actors all display excellent comic timing and maintain a frantic pace throughout.

Director, Steph Evans, has obtained a fine balance between the truth in the characters and the frenzied humour. It might all be crazy fun but the humour is grounded with a logic and truth, nicely realized by the director and the cast.

With a running time of 150 minutes, including interval, the play did seem a bit overlong, but, overall, this is a very funny play expertly done.

 

Photos by Zac Bridgman

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs.

 

 

LOSE TO WIN (PLAY)

Written and performed by Mandela Mathia

Directed by Jessica Arthur

Belvoir Street production at The Q, Queanbeyan May 2

 

Reviewed by Len Power

 

A young man surviving a childhood in war-torn South Sudan and becoming an actor in Australia sounds like an impossible dream, but that young man, Mandela Mathia, tells all in his compelling and moving one man show.

Mandela Mathia grew up in South Sudan. He barely knew his father who died in the war there and lost his mother who drowned during a search for food. He and his older brother survived and, with a second foster mother, left South Sudan for Egypt. Eventually – and luckily – they made their way to Australia. Against all the odds as a young refugee, he pursued a dream to become an actor and succeeded.

Mandela Mathia

Mathia is a charismatic young man with a commanding presence and a fascinating story to tell. His show gives him the opportunity to tell his personal story as well as showcase his skills as an actor and singer. Trained as an actor at NIDA, he gives a strong, confident performance that connects immediately with the audience. His story is an emotional one but his personal resilience shines through his telling. Momentary flashes of humour in his story succeed because of his excellent comic timing and he is also a fine singer.

Yacou Mbaye

He is accompanied on stage by musician Yacou Mbaye, one of Australia’s leading West African drummers and dancers. Mbaye also engages personally and skilfully with the audience. He and Mathia work very well together presenting this story in words and music.

Director, Jessica Arthur, has created a fine production around Mathia. Her sensitive staging heightens moments of drama as well as making the show entertaining. Set and costume designer, Keerthi Subramanyam, lighting designer Kate Baldwin and sound designer and composer Brendan Boney have all contributed very effectively to give this show its unique look and sound.

At the end of the show, Mathia proudly announces that he is now as much Australian as South Sudanese. His story of resilience, self-acceptance, perseverance and hope is moving and uplifting.

 

Photos by Brett Boardman

This review was first published by Canberra CityNews digital edition on 3 May 2026.

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs.