Sophie Gray reviews Les Misérables, presented by North Canterbury Musicals, directed by Tom Hart, with musical direction from Gavin Hurley, at the Rangiora Town Hall, Thursday 7 May 2026.
Les Misérables is a show that is so incredibly well-known and beloved, it is hard not to arrive with expectations in place. Luckily, my expectations were well and truly met in the stunning production put on by North Canterbury Musicals.
The novelty factor was high on opening night as I was accompanied by a friend who has never experienced any production of this show before. We entered the Rangiora Town Hall Theatre and joined the rest of the packed opening night audience, buzzing with anticipation. This theatre is so intimate it means no matter where you sit you are relatively close to the action compared to larger venues like the Isaac Theatre Royal, and it was wonderful to feel so connected to the story through that sense of intimacy.
This is a show that holds such a special place in the hearts of musical theatre lovers that it is worth acknowledging its tremendous impact across its 40-year history of being performed in English. Some members of this cast have been in previous productions of it (so special), an audience member behind me started singing along at one point (special, in a very different way), and it is a testament to the material that it has attracted some professional actors from our local community into this unpaid production simply because of how much they love it (a true treat for us all).
And the calibre of this cast is exemplary. James Hart as Valjean and Grant Lowe as Javert beautifully encapsulated the push and pull of the struggle between these men as they remain entangled with one another throughout their lives, and as each pursue their own guiding light of redemption and justice. Their vocal abilities are unmatched, and each gave me goosebumps in specific moments of the show. “The Confrontation” was especially electrifying. Grant’s diction was the real MVP, as my companion said she always knew exactly what was happening when Javert was driving the story forward through his songs – a testament to his supreme skill and talent on display.
Jessie-Jane Rosewarne shone brightly in the role of Fantine, and it was exciting to see her back on the NCMS stage after her stunning turn last year in their production of Little Women as Meg March. Another familiar face from that production, Alannah Hounsome-Vail (previously playing Amy March) was stunning as Cosette and her lilting soprano voice was a gorgeous match for the rich baritone of Samuel Baird as Marius. Lucy Sutcliffe’s soaring voice was perfect for Eponine, giving the role enhanced light and shade. In fact, it’s hard not to turn this review into an itemised list of the entire cast. So high is the calibre of their performances, and so tight is their timing you can see the immense payoff of their long rehearsal period to get this show looking, sounding and feeling so good.
The lighting, designed by Jesse Rogers and Michael Campbell, was very good to the point where I want to praise most of it as being exceptional. There were only a few moments throughout when actors were not lit well, and it is my assumption (and hope) that might have merely been due to not quite hitting certain marks on stage on opening night. The changes in atmosphere and tone were well carried by lighting transitions, and the show is all the richer for it. The descending lanterns were a heavenly touch.
The set, designed by director Tom Hart and overseen by Reuben Green, adds impressive height and depth to the relatively small stage in the theatre – creating multiple stories in buildings and key vantage points for characters to deliver important moments. The barricade’s transformation / reveal was impressively swift, especially for a production without a revolving stage. The costuming, overseen by Ghislane Smith, beautifully evoked the period and class system represented throughout the show.
The orchestra sounded terrific. Some tricky passages might not have sounded exactly like they do on the London Cast Recording, but it is so immeasurably valuable to have the music played live. The musicians create the beating heart of this show, and it is a shame musical director Gavin Hurley doesn’t get the opportunity to bow at the end of the performance. Sound designer and operator Tom Robertson created a beautifully balanced mix across the music and microphones, my only gripe was that my chosen seat was very close to the speakers where atmospheric sound effects are being played – and in the beginning of the show these were so loud they actually tipped the scales towards distraction, resulting in the magic spell of the show almost being broken.
I’ve seen this show put on elsewhere with bigger budgets and a bigger stage, and no part of me felt that this production was at a loss or inferior. In fact, I would say that the ticket prices for this show probably represent the best value you’ll find all year when it comes to seeing local performance art of the highest quality. It is a long show, because this story is a sweeping epic which covers a LOT of ground, but it never feels stagnant or plodding. This production is a welcome addition to the canon of Les Mis history, and if you’re wise you’ll book your ticket before they all sell out.
Les Misérables runs until Saturday 23 May.
Flat City Field Notes 